User reviews

Two aristocrats oblivious to what is going on around them play chess around the clock while the British plan a takeover of a northeastern Indian kingdom. These threads are interwoven seamlessly in Satyajit Ray's delightful comedy, The Chess Players, recently released on a Kino DVD. The film does not spare either side from the thrust of its gentle dagger, depicting both the apathy of the Indian upper classes and the arrogance of the colonial masters. Like many Satyajit Ray films, there are gorgeous dance sequences and appealing musical numbers, but unlike most, the spoken language is Urdu not Bengali, and it is a big budget film in Technicolor using name actors.

Based on a short story by Prem Chand, the film is set in Lucknow, India in 1856 and is narrated by the real Amitabh Bachchan. As the film opens, we learn that Oudh's King Wajid Ali Shah (Amjad Khan) has financed the British East India Company for ten years and also provided soldiers for its army. In exchange, the Company did not interfere with Wajid's rule, even though they viewed the king with disdain. This changed in 1856 when General Outram (Richard Attenborough) was instructed to depose the king and take over the kingdom to add to the British coffers. Outram, the local representative of the Company, justifies his ambitions for more territory by denouncing the king to an aide as an incompetent ruler and hedonist, ignoring his devotion to dance, poetry, and music.

In another thread, two Indian aristocrats Mirza (Sanjeev Kumar) and Meer (Saeed Jaffrey) play chess obsessively to the dismay of their wives, Khurshid (Shabana Azmi), and Nafisa (Fardia Jalal). Mirza's wife feeling neglected, steals and hides the chess pieces, while Meer's wife has an affair with his nephew (Farooq Shaikh). Unwilling to handle their domestic affairs, the two first use fruits and vegetables as their set pieces, then seek other places to play their game, refusing to believe that the British takeover is imminent. One of their stops is the home of their attorney who is on his deathbed. This doesn't stop the two from hilariously trying to sneak in a game of chess in another room.

The two players cling to their way of life, exchanging frivolous banter and smoking hookah pipes while the world around them crumbles. They finally take refuge in the home of a young boy, Kullu (Samarth Narain) who remained while others fled just to see the red-coated British soldiers march into the city. While perhaps not in the upper echelon of Ray's work, The Chess Players is a very entertaining political satire that provides wry insight into human nature and our capacity for denial. General Outram is portrayed as a well-meaning but totally condescending individual who utterly fails to understand the lives and culture of the people he seeks to control. Any resemblance to current U.S. Muddle-East policies, of course, is purely accidental.

Shatranj Ke Khilari is Sayajit Ray's first Hindi movie. It is, though a bit too slow at points, special, different, comic, and as a result unusually entertaining. This satirical drama is humorous, interesting and impressive, and Ray's direction is excellent. It is evidently well invested, with glossy sets and costumes. The writing is superb, with the brilliantly-written dialogues surpassing the storyline itself, and the culture and the atmosphere of those times is captured exceedingly well. All these aspects, along with the music composed by Ray and the fantastic narration of Amitabh Bachchan, create an engagingly artistic and poetic piece. Ray casts some of the most talented leading actors from the Hindi film industry, all of whom suit their roles and do a wonderful job. Amjad Khan is great as Nawab Wajid Ali Shah. Sanjeev Kumar and Saeed Jaffrey are exceptional as the chess-obsessed noblemen, who ironically indulge in ceaseless chess playing while showing minimal interest in the state of their marriages, wives and even their nation. Shabana Azmi and Farida Jalal play their neglected wives, and they excel in their very tiny roles (each has only a few minutes on-screen). Azmi is convincing as the frustrated Khurshid and Jalal is awesome as the unfaithful wife who has an affair with her husband's nephew Aqueel. Richard Attenbrough and Victor Banerjee provide great support. Shatranj Ke Khilari is a nice little film. It is not among the very best of Ray, but it is certainly a worthy picture and of the most strikingly unique films of those times.

Being from a particular region in a country like India comes with its goods and not so goods. People from one part of the nation don't necessarily always know of the legendary works of art that happen in another place. Like people in Orissa being unaware of the deep rooted humanitarian movies that come out of the Tamil movie industry or folks in Kerala not aware of some genuinely wonderful pieces of cinema from West Bengal. One cant do too much about this divide given that the Herculean and almost obnoxious presence of 'Bollywood' continues to act as the fort that isolates several pockets of creative work in their own shells. Sad but true.

Then there are some film makers whose movies transcend language and region. Film makers like the late Academy Award winner Satyajit Ray sa'ab. OK - I will admit. Except for a few brief scenes from 'Pather Panchali' I have not seen any other movie of this great man. Reason? Well, either it was the lack of the need to have to sit through a language I know nothing of and having to squint at the badly framed English subtitles or it was just plain desi callousness that believes the majority is usually right. You know, the classic Indian thinking that has the 'if everyone says it then it has to be great' attitude peppered all over it. I am sure there are millions out there who will still tell you that Satyajit Ray was an amazing movie maker without having seen a single frame he might have shot. Considering I too have indulged in such blatancy every now and then, 'Shatranj Ke Khiladi' seemed like the only chance I would get to savor Mr. Ray's cinematic beauty. After all, it was indeed the only Hindi/Urdu movie he made in his life, isn't it? Hence when I found the chance I took it.

Set in the late 1800s in the then Hindustan 'Shatranj Ke Khiladi' runs with two main stories parallel to one another. One – the larger of the two which shows a determinedly boorish English General Outram (a much younger looking Sir Richard Attenborough) pitted against Awadh's incompetent yet culturally aware Mughal King Wajid Ali Shah (a generously rotund Amjad Khan). The company wants to take over Awadh which remains the final province that is still run by royalty. So it decides to look past a decade old treaty that had promised that Awadh's royalty would never be lost. But, knowing the way the company ruled the sub-continent, the poetically humane King's defiance is brought under test as the concubine infested regal refuses to budge from his throne.

The second interestingly laid out strand is that of old buddies Mirza Sajjad Ali (a wonderfully flawless Sanjeev Kumar) and Mir Roshan Ali (an effervescent Saeed Jaffrey). These two upper middle class noblemen who sit around all day sucking at their well made hookahs and ignoring their frustrated spouses are absolutely obsessed with the game of chess. It is as if nothing – not even the lack of pawns to play with – can stop them from going at it well and good for a few hours each day. While Sajjad Ali's wife (Shabana Azmi is a small but well placed role) decides to find solace in the housekeeper's stories, Roshan Ali's wife (a chubby and visibly mischievous Fareeda Jalaal) chooses to find solace in the arms of a much younger man (a nervous Farooque Shaikh) right under the nose of her unsuspecting husband.

Ray beautifully juxtaposes the story of two chess players with the moves that take over their province and their lives as a foreign power enters their land. While the King is confronted by the orders of the Union Jack under the umbrella of the soulful songs he has composed, the chess players continue to find ways to get a good spot to sit down and well - play a good round of chess. A game, as it turns out, that ends up putting their friendship at stake just like the throne of their clueless King.

The one thing that comes off as obviously as the attention to pretentious 'paan holders' by these Lucknawi laat saahebs is Ray's understanding of the human condition in those times. The beautiful focus to detail of the surroundings only amplify the saga that unfolds eventually while the red vested British army marches into the Awadh province. Cinematography is crisp and captures the fading lights of the royal reign quite effectively. What struck me as more amazing was Ray's wonderful acknowledgement to the way such potentially affluent cultures used to work during that era. The fact that people in them would rather spend more time on keeping their indulgences alive than worry about their future under the Raj was an eye opener to say the least.

Performances wise everyone does his/her bit effectively. Seasoned actors Sanjeev and Saeed chip in a beautiful contribution. A young Amjad Khan (still fresh from the finely baked success as 'Gabbar Singh' in Sholay) delivers an earnest performance as the King who has his heart in the right place but his head in the wrong spot. As mentioned earlier, a tight lipped Sir Attenborough with a fluent Tom Alter play the scheming Englishmen who are preparing for Awadh's fall with orders from Her majesty the Queen.

All said and done 'Shatranj Ke Khiladi' definitely stands out as a Ray classic that is truly a testament to his life as a master story teller. I am glad that even if this is the only movie I will ever watch of Mr. Ray then at least it is based on a story by the legendary Shri Munshi Premchand. Could there be a better example of two Hindus coming together to design such a sensitive and relevant epic about the Muslim reign and culture? Unlikely, according to me.

Previous reviews have puzzlingly stated that this is one of the first films to break away from the commercial traditions of Bollywood. In fact, it belongs to a different tradition altogether - art cinema reflecting social themes - which has been going on since at least the early 1950s in India (where it was initially strongly influenced by Italian neo-realism) in the work of Ray, Mrinal Sen, and Ritwik Ghatak. All three were, perhaps significantly, Bengalis, and partook of the rich intellectual traditions of that region, most widely associated with the great poet and national figure Rabindranath Tagore.

The Chess Players is a delight from beginning to end. Taking its cue from the origins of chess as a war-strategy training game, Ray builds two narrative strands in parallel: in the mid-1850s, a pair of idle aristocrats become obsessed by chess and play it all day long, oblivious to the collapse of their domestic relationships that it causes; and in the larger world outside, the scheming and strategy of the chess-board is played out in the real-life scheming of the East India Company as it attempts to manoeuvre the Nawab of Oudh from his throne and bring the state within British jurisdiction. The two plotlines are beautifully brought together at the end when, after hearing that Company troops have moved in and the Nawab has abdicated, the chess-playing friends change their board layout to the Western manner, which involves the king and queen changing their starting positions: "Move over, king. Make way for [queen] Victoria!"

There are fine performances all round: from Amjad Khan as the Nawab, whose infinitely delicate sensibilities lead to infinite puzzlement at the connivings of the less fastidious, to Richard Attenborough as the Company representative in Oudh whose job it is to unseat him, who manages to convey a genuine belief that the state needs to be better run, with an underlying realization that he has no right to do what he is doing. Sanjeev Kumar and Saeed Jaffrey, as the chess players Mirza and Mir, both have extremely expressive faces that can switch from blustering bonhomie to pained hurt, or from deadpan seriousness to quizzical amusement, in a heartbeat. Jaffrey's talent for comedy will come as no surprise to viewers of his English-language films, and he provides the film's finest comic moment when he walks into his bedroom to find his wife trying to hide her lover (his nephew) under the bed - a moment straight out of a Feydeau farce.

Two moments of great artistic beauty stand out for me. First, when the Nawab, overwhelmed by the political situation while in conference with his ministers, seeks solace in a haunting, graceful song he had composed in a happier time (actually composed by Ray - perhaps the director showing us his self-identification with the character). Second, in a scene where Mir is left on his own at the chessboard while Mirza goes off to "see what the trouble is" with his wife, the camera follows Mir as he gets up and goes out into the hallway to see where his friend has got to. The camera then stays still as he retraces his steps, and in the vertical slice of light caused by a gap between two curtains that separate the hallway and the chess room, we see framed the precise point on the chessboard where Mir's hand slowly and surreptitiously comes into view as he sneakily moves one of the pieces. A virtuoso piece of camerawork and compositional framing that, like the film as a whole, never fails to enchant.

Legendary Bengali director Ray's only film in Urdu, Shatranj Ki Khiladi or The Chess Players, looks at the denouement of Indian Muslim power in the 1850's, focusing on the northern state of Oudh, also known as Awadh, prior to the epochal 1857 'Mutiny'.

The film contains two narratives. One narrative focuses on the political machinations of the bullish, pragmatic representative of the British, General Outram, played capably by Richard Attenborough, and the diffident response of the cultured but cloud-headed Indian Muslim King of Oudh, played with great feeling by Amjad Khan.

The other narrative shifts focus to the tragi-comic situation of two well-born Indian Muslim gentlemen, played by the always-wonderful Saeed Jafarey and Sanjeev Kumar, and their obsession with a game of chess, leading them to neglect the momentous tide of history which is about to sweep over them. Indeed, not only is chess a metaphor for the power struggle between Indian and British, but the two chess players' family situations are too, with both men locked into domestic struggles with their wives, the haughty, beautiful Khurshid, played with characteristic commitment by Shabana Azmi and the lascivious, lying Nafisa, well-played by Farida Jalal.

The twin approach is useful and well integrated, and there is even some humorous animation. Ray brings his characteristic eye for ravishing beauty, balanced with his close, sympathetic interest in humanity, particularly when under pressure, and a real feeling for the period. Also typical is the universality of the director's humanitarian outlook, with the nominally Hindu Ray studying Muslims and the British with the same warm but clear-eyed assiduousness.

Overall, this is a film, like all of Ray's films, to treasure, not only for a person of Indian ancestry such as myself.

Shatranj Ke Khilari is the first Hindi film by who is undoubtedly the best film-maker India has ever had. Satyajit Ray made this movie in 1977, having established his reputation worldwide as an ace director with his Bengali art pieces.

Based in mid 19th century, this is an account of the British annexation of one of the last independent kingdoms of India, Awadh. The British, by that year, have quite a firm hold on the subcontinent and are keen to swallow down everything that has not yet been under their direct control. So the East India Company and its representative General Outram decide that it was time for the ruling king, Nawab Wajid Ali Shah to step down from his throne.

Wajid Ali Shah, the king, is that only by name. He is an indifferent ruler whose days and nights are occupied not with the affairs of state, but the artistic charms of music, poetry and dance. He is a ruler who finds it convenient to leave the important matters regarding his kingdom to his subordinates, while he indulges in life's countless pleasures. Inevitably, the British, sensing a weak king, are tempted to take over the control of the province.

Meanwhile, two of the king's friends, Mirza Sajid Ali and Mir Roshan Ali are busy satisfying their own personal urges. In a time when the king needs their help desperately, they engage all day in the old Indian game of Chess. Oblivious and indifferent to what is happening to Lucknow and their own private household, these chess-crazy men spend days challenging each other to games of a sport played with soldiers which are not real, but wooden pieces which move on a small 64-squared board. Their inconsequential moves on that board act as a substitute to the possible resistance they could have shown to the British takeover.

It is extremely difficult to find flaws in such a movie. As with all Ray movies, this movie doesn't have too much of a storyline to boast about. This is just a beautiful account which epitomizes the kind of inactivity and submission our country had sunk into in those times. The acting is, as expected, spotless. Everyone has done his part to perfection. The direction and camera-work are as good as any other Ray movie. The dialogues are as precise as we have got from movies like Umrao Jaan or Mughal-E-Azam. Each and every line spoken is worth listening to again and again. As an added attraction, Amitabh Bachchan has lent his voice for the narration, which is something he has done quite well.

The pace of the movie being slow, it is of course not everyone's cup of tea. But this movie is a must-watch for its brilliant acting and direction. And no other form of art can possibly be more expressive of the Indian mentality back in the 19th century.

This was my first Satyajit Ray movie. And I have to tell you that he truly deserved the lifetime Oscar that he got. The movie is a true classic. And Sanjeev Kumar proves again that what a class actor he is. Sayeed Jaffery and Amjad khan were also very good. The camera angles used in the movie were simply terrific. Especially that scene in which Sayeed Jaffery changes the pawns. This movie however I might say that is not for a regular movie viewer. As the story is slow and you get to know what a real art movie is. I hope Satyajit Ray would have made some more Hindi films for the Hindi viewers. I really loved it and would recommend it to anyone who loves art movies. A true gem of a movie.

If we are engrossed in one thing then it's good not to think of anything else.

I could have easily written that the language is Hindi, since the milieu of the story is from Lucknow and is mostly in Urdu and partly in English, I gave it accordingly. In terms of language, this fim is very unlike of any other Satyajit Ray film as most are Bengali. But in terms of authenticity it has surely Ray's vision and is up there to match up the standards.

Set in 1856 Lucknow, the story is about the last king of Awadh, it questions the ethnicity and the political will of the then British empire. Played by Amjad Khan who brings out a fine performance and in fact all the performances are just in place even the one scene of Farooq Sheikh where he gives a blank expression is also done very well. I loved every actor here but Amjad Khan stood out for me as the fat bumpy king who is oblivious to everything apart from his personal indulgences.

Shot exquisitely simply in comparison to any period film, the film is very strong in drama and holds you to see if war will happen and it may disappoint you if you expected it to be a movie on freedom struggle. The pathos that the movie evokes does not bring tears to eyes but brings thoughts to minds, wasn't British so much better than such kings.

Munshi Premchand, on whose story the movie was based is in fact one of the most sarcastic writers in Hindi and his sarcasm is hidden, he laughs at a society that lives in oblivion and disowns everything but self interest.

Coming to the title, it's very symbolic if there are two games that will make you forget everything else and will become an addiction the they are the playing card games or chess and this is what symbolises, our two main story tellers are addicted so much that even though there is a British army walking to capture Awadh, they play chess under the tree.

It's simple yet strong and very daunting memory of Satyajit Memory may be with you for a long time to come.

It's 3/5 that is good. Our master Satyajit ray made many better movies

I heard great things about this movie and it lives up to expectations. I am a great fan of Satyajeet Ray and he showed us again that he is a master story teller and craftsman.

He showed us his mastery in costumes, their colors, landscape and above all the tempo and dialogs. Especially the one to one talks of Mir and Mirza are great (all are in Proper Urdu which is common in that era). From lighting (the sunsets in the end) to capturing the true emotions (the way he showed the desperation of two wives) is remarkable. Setting of the movie from the very first scene to the end is just amazing in a sense how he tackles different issues to recreate that era.

Acting is pretty good from Mir and Mirza. Rest is just doing their part well.

This movie was one of the first to move away from the Bollywood path. It is not about singing and dancing which is o so common in Indian movies but it puts the stress on the political situation between Great Britain and Oudh, a province of India in the year 1856. Two men do nothing but play chess, even when the UK takes over.

I found this movie to be refreshing, because it is also not the standard Hollywood kind of thing. Views of India, Indian dance, Indian (historical) clothing, a nice chess board, Indian ways of eating and so on. So even if you theoretically hypothetically wouldn't like the story, you would still enjoy a different culture.

I gave it an 8.

Ray has not spared any effort in mocking the lucknavi shan-o-shauqat in this movie. The upper class, both the royalty and the newly-rich, have slipped into celebrating art and culture at the expense of everything else. There is widespread loss of manhood - unsatisfied wife, cheating wife, accepting defeat without any protest. Luxury has enfeebled the mind and the chess players choose the pretentious way of displaying their intellect at chess rather than solving their real life problems.

Performances by all the characters are impeccable. Shabana has been underutilized. Ray has done a great job at recreating that period of history. The pace of the movie is slow, but I guess that is in synch with the lifestyle of those days.

It blows my mind how the late great Satyajit Ray portrays such an important event in Indian history with such conviction and authentication. While the modern directors, who have all the technology and budget to do proper research on any historical figure/person, fumble so royally.

Shatranj Ke Khiladi is a gravely tragic tale of a very crucial turning point in modern Indian history, presented in an adroitly comic and at times piercingly melancholic manner with humorous critique of compulsion and idleness.

Here, the narrator of the film also serves a purpose and feels more like a character rather than a narrative device, and his presence is felt throughout.

The eloquent language, alluring set designs and costumes, exquisite music, spectacular acting and always exceptional direction of Satyajit Ray transcends this film from a mere historical tragicomedy to the annals of Cinema as one of its greats.

This is a classic movie from the maestro. Everything seems well, a well-directed, well-acted movie. He tells us history but we never get bored.

What's Good - Superb cast, costumes, sets, and dialogues. Opens a window into a bygone, unhurried era. Amjad Khan shines as Wajid Ali Shah. Shows extraordinary range as an actor who had played Gabbar Singh so recently. Sanjeev Kumar and Saeed Jaffrey are good, but act in their typical styles.

What's Not - The tedium of having to listen to literal translations of all English/Urdu dialogues without exception, with Tom Alter playing the role of the most sincere translator in movies ever! And this goes on for a good 20-25 minutes of the movie. Also, a couple of scenes in the middle of the film with Amjad Khan and Richard Attenborough separately are too long drawn and could have done with some editing.

Well honestly I really really enjoyed this film a lot. The film is the only hindi contribution from Ray and the other exception being Sadgati.

Now coming to the performances, the casting is brilliant from Attenborough to Saeed to Amjad and yes ofcourse the brilliant Sanjeev kumar! They all provide apt and superb performances.

In a very brief small surprise we have Shabana and Victor joining the leads, who give equally well hands!

One must look out for Amjad Khan specially! His role as this very silent, feminine and demure king is something you will really really love.

And well ofcoarse Shabana as the frustrated wife of the nawab is simply fun to watch. Her role is very brief but very very aptly executed!

Overall a fun film to watch out for!

This one is a subdued political satire presenting the incapacity of the Indian kings that led to British overpowering India.The movie presents the cold and ambitious British strategies in sharp contrast with the silly and emotional outlook of the Indian kings.Indian kings focus on art and beauty.Unfortunately, at the same time, British were strategizing. For a Ray film, the movie did not offer anywhere near what 'Pather Panchali' offered. The movie did not grasp me. But since I gave it attention, I could enjoy the masterful direction and the beautiful cinematography. Sometimes your reception is not in synch with what the movie is presenting. The movie is a very good one but it did not touch me as much

Shataranj ke Khiladi was an Ensemble of such great people. Premchand(U must also read his novel Sadgati) , Satyajit Ray, Saeed Jaffrey, Sanjiv Kumar, Amitabh Bachhan, Amjad Khan, Shabana Azmi, Farooq Sheikh, David Abraham, David Attenborough, Tom Alter, Farida Jalal, Victor Bannerjee. Dance direction by Birju Maharaj, Lyrics by Bindadin Maharaj. Music and cinematography by Satyajit Ray himself.

Trivia= It was Satyajit ray's Bollywood he thought it will reach to mass hindi speaking audience but sadly his direction was ahead of his time.(It was well received by non Indian audience.)

It's always a delight to watch the movie.

Nobody emerges particuarly well from this film. Not the decadent and ineffectual Nawab, powerless to stop the British from annexing his kingdom. Not the British themselves, with Richard Attenborough's Resident a mixture of bluff moralising and deep cynicism. And certainly not the two titular characters, whose marriages, estates, and society collapses around them as they subordinate everything to their chess game. Even the chess isn't depicted as interesting or profound - it is, rather, a puerile distraction, almost a narcotic. If there are any characters who come off well here, it is the servants: the innocent and good-natured boy at the end, and, perhaps above all, the British soldier who serves as the Resident's translator. Only he, perhaps, sees this world as we see it: not with unmixed admiration, certainly, but with a cool sense of the corruption conspiring against it, and a barely-repressed love for it as it was and might have been.

Review By Kamal K

Ray's first hindi film, based on Premchand's novel. Story is about the fall of Mughal Empire and the kings' indifference to it. It shows how the kings kept themselves entertained in various leisures when their kingdom actually needed them. Alongside being a really great period piece, this film has voiceover from Amitabh Bacchan and a cool title sequence made out of animation.

What stood out for me in this film is the performance of Amjad Khan as Nawab Wajid Ali Shah. After having seen him play the rough characters in various films, to see him capture the nuances of a very sensible man was remarkable. Only a master like Ray could have got such a masterful performance out of Amjad Khan.

I saw this movie first a long time on television. I was a kid then and had no exposure of art movies, much less of movies by Satyajit Ray. At that time I though of it as a typical art movie. Something to be admired, but beyond my comprehension.

Now Satyajit Ray has become my favorite filmmaker. I have seen 17 of his movies and loved 14 of them. They are just masterpieces. So I was eager to revisit this movie. First to appreciate it on its own and secondly to see how my perception has changed.

My perception has definitely changed. I loved the costumes and the cinematography and could really appreciate them. It is Ray's most lavish movie. But I just wished that Subrata Mitra was still working with Ray. He is probably one of the best cinematographers in the history and the magic that he weaves in Ray's earlier movies is amazing. I still remember the dance sequences in Jalsaghar which were hypnotizing. They are good here also, but nowhere in that league.

The movie was a little disappointing for me. Surprising because I have loved all of Ray's dramatic movies I have seen till now. Ray is able to pull the viewer into the movie. Even Jalsaghar which had a lead character I didn't like - a fading Zamindar who was still maintaining his lavish lifestyle to his ruin, just because of his pride, made me empathize with him and ultimately cheer him.

But here the characters are further away. I think the narrative needed somebody of Chhabi Biswas ability to portray the role of Wajid Ali Shah. Amjad Khan did a good job, but not as per the complexity of the character and Ray's standard. Sanjeev Kumar has given a good performance too.

In the end, the movie still felt little like an art film, somehow a little beyond my reach. I think part of it may be due to the fact that Ray may not have been comfortable in Hindi which was not his native language. He has made all except 2 of his movies in Bengali. But I think a larger part is due to the story itself.