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Why we admire Satyajit Ray so much
Som | April 14, 2009, 9:58 AM | 62 comments | 2,139 views


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To his uninformed detractors — including the late Indian actress Nargis Dutt — filmmaker Satyajit Ray was a tireless chronicler of Indian poverty whose Pather Panchali captured the attention of serious filmgoers across the world. Much before the populist and sensational Slumdog Millionaire became an unprecedented award-winning hit, one might add.

But to Ray’s admirers, he was one of the most versatile filmmakers who tackled themes dear to the middle class, made films for young adults and children — including in the mystery genre — and questioned fundamentalism of all hues.

His admirers include movie moguls like Steven Spielberg , iconoclastic directors like Akira Kurosawa and a number of Indian filmmakers including Mrinal Sen, Mira Nair and Buddhadeb Dasgupta.

‘To have not seen the films of Ray,’ asserted Kurosawa, ‘is to have lived in the world without ever having seen the moon and the sun.’

April 15 to 30, New Yorkers and film buffs in the tristate area have a unique opportunity to study the phenomenal filmmaker.

The Film Society of Lincoln Center will be hosting First Light: Satyajit Ray From the Apu Trilogy to the Calcutta Trilogy, a retrospective of the director’s early work. The series, which has over 18 films, is also a tribute to the work of the Satyajit Ray Preservation Project at the Academy Film Archive in Los Angeles, which together with the Satyajit Ray Film and Study Center at the University of California-Santa Cruz has done so much to preserve and promote the work of this major film artist for future generations, said Richard Penya, director, The Film Society of Lincoln Center. There are plans to offer a second series that will include the rest of Ray’s films.

The Lincoln Center festival offers at least six films in new prints from the Academy Film Archive. These include Goopy Gyne Bagha Byne (The Adventures of Goopy and Bagha), Jalsaghar (The Music Room), Kapurush Mahapurush (The Coward and the Holy Man), and Nayak (The Hero).

Many films in the retrospective will surprise those who have seen just one or two of Ray’s masterpieces. Some of these films, say for example Chiriyakhana (The Zoo, a whodunit), may not be as appealing as some of Ray’s best work including the Apu trilogy, but nevertheless they are superior to most films made around that time in India.

Though he worked outside the mainstream, Ray did not see any of his films losing money. While some of his films like Pather Panchali made most of their business in Europe and America, a few of his films like Goopy Gyne Bagha Byne, which were hardly shown abroad, became resounding successes in Bengal.

‘I find I am inimical to the idea of making two similar films in succession,’ Ray had said after making over a dozen films, a tribute to him in The New York Times revealed.

Terrence Rafferty observed in the Times article: ‘Some of the films in this series like the nutty fairy-tale picaresque Goopy Gyne Bagha Byne (1968), can be a little baffling for non-Indian audiences; nothing travels worse than folk humour. And some might make you feel as if you needed to know a good deal more about the history and politics of the subcontinent — and specifically Ray’s native Bengal, where most of his stories are set — to understand the finer nuances of the characters’ behavior… Ray, however, has nuances to burn: you can miss quite a few and still feel as if you know his people intimately.’

In conjunction with the series, Columbia University will hold an April 25 conference on the filmmaker featuring professors of film and literature from universities in the United States and India, including a keynote lecture from Robert Young of New York University and talks by Samik Banerjee, vice chairman, National School of Drama, India.

The Columbia conference will also feature talks by filmmakers Mira Nair — who says Ray and Ritwik Ghatak are the reasons she became a filmmaker — Shyam Benegal — who while being an ad executive dreamt of making films thanks to Ray’s inspiration — and Ray’s son Sandip Ray.

Why is Satyajit Ray admired so much?

‘His films come as close to complete personal expression as may be possible in cinema,’ Helen Goritsas, a Sydney based film-maker and writer, wrote 15 years ago. ‘Ray’s style grows out of the material itself, and from an inner compulsion to express it clearly. The thread that ties the body of his work together is its strong humanist basis… He brought real concerns of real people to the screen… Above all, Ray’s is a cinema of thought and feeling, in which the feeling is deliberately restrained because it is so intense.’

A multifaceted genius

Satyajit Ray (1921-1992) made a movie every year from 1956 to 1981 and received an honorary Oscar for lifetime achievement in 1992. In a country where hardly a filmmaker in the mainstream has made more than 10 successful films, Ray made 36 films and half a dozen documentaries that either broke even or turned in a profit.

His first Hindi-language film Shantranj Ke Khilari (not part of this festival) featuring Sanjeev Kumar, Shabana Azmi and Amjad Khan ran for about six weeks in Mumbai and a few other Indian cities. But the film, called The Chess Players for the international audience, ran for more than 10 weeks in London and New York, and over two weeks in at least 12 European, Canadian and Japanese cities, leading it into profit.

Ray — who switched to films from working in an advertising agency after meeting French filmmaker Jean Renoir and watching Vittoria De Sica’s The Bicycle Thief was — a complete filmmaker.

Ray was a prolific and successful writer too. He created a much-loved private detective, Pradosh C Mitter or Feluda — whose adventures practically every Bengali kid who can read knows by heart — wrote science fiction stories starring the ingenious scientist Professor Shonku, and a huge bunch of short stories (bizarre, macabre, funny, touching, scary, science fiction — you name it he wrote it).

‘The world knows me as a filmmaker,’ he once said in an interview, ‘but my writing brings home the bread.’

Ray, part of an illustrious family of Bengali writers and artists, would also sketch for his stories. The drawings were so much a part of the stories that the people he cast as the characters in the two Feluda films he made were mirror images of his drawings.

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62 COMMENTS
  1. 3 Belds

    abhishek – huh? what case have u made that ray is a great director. just bcoz some pseudos gave him some awards. u really think slumdog is rahman’s best – that shows u how little the oscar juries know

    ritz – probably i went a lil overboard yday ;-) (all for good reason tho) but i can tell you that majority of folks empathize with ur thoughts.

  2. 3 Belds

    adoor is another guy who doesnt make entertaining movies. I sometimes wonder why these guys make movies like they do. hardly a few watch them, yes they get critical acclaim but that you can get making commercial movies too. I think folks like ashutosh, vishal, mani, raju are far more accomplished to dish out realistic commercial fare that is entertaining. an adoor or a ray movie reminds me of those nfdc documentaries that they used to screen before the main movie starts

  3. 3 Belds

    >>but Ray is certainly the most famous and widely considered the greatest director India has produced

    what a bunch of crock! considered by who? It is funny how a lawyer can make these outlandish comments without detailing any facts to support it. maybe its cognitive dissonance at work coz q has bought tickets for the ray festival. maybe he is the best bengali director – thats pretty much it

  4. Qalandar

    Neelu: His most recent one Nizhalkuttu (Shadow Kill) and a much earlier one Elippathayam (Rat Trap) are available. The former was interesting, but the latter was superb…

    On Satyamshot someone suggested that a third movie might be available on Youtube with subtitles (I haven’t seen this):

    http://www.youtube.com/watch?v=KTBB6ozzqpc

  5. Qalandar

    Thanks salim and neelu for some really informative posts here — on Nakhrewaali I only know (and love) the song of the same name, have not seen the film…

  6. Qalandar

    On Ray, he is not considered great because he won an Oscar — he got that very very late in his life, and was a lifetime achievement Oscar, not for a particular film. He makes every reputed film critic’s “all time” list, whether the critic is Indian or Western. Not to mention that his influence may be seen on a whole host of other filmmakers, including so much of the acclaimed cinema coming our of Iran over the last couple of decades. Above all else, I like Ray’s work because “accessibility” is not compromised by his pursuit of artistic skill, and IMO his films can be watched by just about anybody (not something one can say about every great director — e.g. Antonioni is far less accessible).

  7. neelu

    The Nakhrewali song is from the film New Delhi, and I think it is the only one!

  8. A C H I L L E S

    Beld – wud like to know which Ray movies have you watched till now?

  9. 3 Belds

    >>He makes every reputed film critic’s “all time” list,
    what crap. when it is convenient people say that all critics are useless. then we quote the same critics to make someone what they are not. as i said – maybe he is the best bengali director. best indian director – not even close….

    >>>(neelu)If that is the case then please remove my name from the list of NG members
    i second that

  10. 3 Belds

    ach i have watched shatranj and some of pather… – very boring movies. i have no clue on his bengali work and as i have said he may be the best director of bengali movies – lets not make him to what he is not – at least not proven..

  11. Rocky

    How are you Tango ? kaun jeet raha hai U.P. mein???

  12. Som

    Personal comments have been deleted and I am closing the thread.

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