{"id":40372,"date":"2012-05-01T23:24:43","date_gmt":"2012-05-01T23:24:43","guid":{"rendered":"http:\/\/www.colombotelegraph.com\/?p=40372"},"modified":"2012-05-05T22:14:23","modified_gmt":"2012-05-05T22:14:23","slug":"recollections-of-a-phenomenal-filmmaker-of-our-times-satyajit-ray-may-2-1921-to-april-23-1992","status":"publish","type":"post","link":"https:\/\/www.colombotelegraph.com\/index.php\/recollections-of-a-phenomenal-filmmaker-of-our-times-satyajit-ray-may-2-1921-to-april-23-1992\/","title":{"rendered":"Recollections Of A Phenomenal Filmmaker Of Our Times – SATYAJIT RAY [May 2, 1921 to April 23, 1992]"},"content":{"rendered":"

By Sunalie Ratnayake<\/a><\/span><\/strong> –<\/span><\/p>\n

\"\"<\/a>

Sunalie Ratnayake<\/p><\/div>Satyajit Ray is no more, yet that, with no doubt, is the most common feature in \u2018life\u2019. As humans, whether we are in favour or not, of life\u2019s unique \u2018modus operandi\u2019 assimilated on each individual, facing the surge of events from birth to ailing, including the culmination, that shall temporarily blot the end of \u2018one journey\u2019 on earth, shall remain intact, unable to be amended as one may, at times wish it could be.
\nFor the millions in number, who believe in \u2018rebirth\u2019 and the cycles in \u2018sansara\u2019, the indefinite space in time, from the ending of one journey on earth, to the beginning of another, shall only assemble a bridge of prolongation. The element of novelty unfolding in another time, another life.
\nThe moment one may enter this world, also the moment of departure shall be registered, yet undisclosed. On May 2nd 1921, a day such as today, 92 years ago, Ray entered this world, and his moment of departure was registered to fall 71 years later, on April 23, 1992. Therefore, today falls Satyajit Ray\u2019s Birth Anniversary – the 92nd in integer.
\n\u201cWell, it is an extraordinary experience for me, to be here tonight to receive this magnificent award, certainly the best achievement of my movie-making career. As a school boy, I was terribly interested in the \u2018Cinema\u2019. Became a \u2018film fan\u2019. Wrote to Deanna Durbin. Got a reply. Was delighted. Wrote to Ginger Rogers. Didn\u2019t get a reply. Then, of course I got into cinema, as an Art form. And I wrote a twelve page letter to Billy Wilder, after seeing \u2018Double Indemnity\u2019 (1944). He Didn\u2019t reply either. Well, there you are. But, I have leant everything I\u2019ve leant about the craft of Cinema, from the making of American films. I\u2019ve been watching American films very carefully over the years. And I loved them, for what they entertained. And then later loved them for what they\u2019ve taught. So, I express my gratitude, to the \u2018American Cinema\u2019, to the \u2018Motion Picture Association\u2019 who have given me this award, and who made me feel so proud. Thank you very, very much !\u201d<\/em><\/strong>\u00a0~ Satyajit Ray (via satellite at the 1992 Academy Awards).<\/p>\n

A distinguished appreciation\u00a0<\/strong><\/p>\n

That was the poignant segment of a fragile Ray\u2019s Oscar acceptance speech, merely days prior to his death, which he delivered from bed, soon after the elegantly striking Audrey Hepburn clad in crimson, made a debonair introduction of this world renowned filmmaker, at the March 30, 1992 Oscar Award Ceremony, the 64th to be precise – An introduction of a man of colossal creativity, aptitude, and simplicity, that the entire world undoubtedly needed no prologue of.
\n<\/em><\/strong><\/p>\n

\"\"<\/a>

Satyajit Ray<\/p><\/div>\n

\u201cThis year, the Academy board of governors has voted to award an honorary Oscar, to the great Indian Filmmaker, SATYAJIT RAY. Mr. Ray has been making films for almost four decades. The Academy recognizes Mr. Ray\u2019s rare mastery of the Art of Motion Pictures, and of his profound humanism, which has had an indelible influence on filmmakers and audiences throughout the world.\u201d\u00a0<\/em><\/strong>That was the brief, yet consequential preamble on Ray, at the legendary Oscars, two decades ago, by the then 62 years old Hepburn, who had also unexpectedly neared her end, having suffered a sudden abdominal pain, during one of her many UNICEF trips to Africa, and later being diagnosed with abdominal cancer, which before long, seized her life on January 20, 1993, merely less than a year from adorning the said Oscars.
\nBe that as it may, the above mentioned were fractions of the momentous and emotive moments, when the remarkable Ray received his\u00a0\u201cHonorary Oscar for Lifetime Achievement\u201d<\/strong>.\u00a0An award granted \u201cjust in time\u201d, as obviously, there certainly is no point in garlanding pictures, wreathing statues, granting or promoting in designation, lamenting for dear life, once someone has bid farewell to this world. We have immense such scenarios, that could be taken as examples of such states of affairs, in our dear motherland Sri Lanka alone. For that reason, I shall rest my case on the notion, by simply stating ; \u201cA human should always be appreciated, and even worshipped if apposite, during his or her lifetime. All the \u2018drama\u2019 following death, are mere futile affairs of hollow approach.\u201d<\/strong>
\nAn old and grey Ray, at the Oscars, seemed to be reaching the eventual finale of this riddle called \u2018life\u2019. Yet, with all that discomfort he may have been undergoing at that given moment in time, Ray, embracing the Oscar from both his now brittle hands, did not forget to also embrace the awe-inspiring moment via satellite, with some \u2018mirth\u2019, also carrying great weight in recollecting his humble past.
\nA past overflowing the abundant love and desire for the medium \u2018Cinema\u2019. And now a pair of brittle hands, attempting to feel the rigidity, and magnitude of the momentous award received, hands that once have guided instruments from a mere pencil in sketching scenes, to the potent camera in world renowned filmmaking. Hands that have worked hectically for a lifetime, giving it\u2019s best for generations to gain knowledge from, adore and appreciate, the same scenario being valid even for generations yet unborn.For that reason, today, on his birthday, we rejoice the \u201clife and times\u201d of this Cinema Maestro, a rare talent, that indeed, God once loaned to earth.<\/p>\n

Early Years<\/strong><\/p>\n

Being regarded a greatest auteur of 20th century cinema, Ray was born to a Bengali family, which held prominence in the arena of\u00a0\u201cArt<\/strong>\u201d\u00a0and\u00a0\u201cLiterature<\/strong>\u201d, in the city of Kolkata in India. Sukumar and Suprabha Ray were his parents. Ray\u2019s grandfather\u2019s printing press,\u00a0\u201cU. Ray and Sons<\/strong>\u201d\u00a0served as a vital milieu in young Ray\u2019s life. After all, the family, depicting generations in the rear, were veterans in fields alike.<\/p>\n

Having lost his father Sukumar at the tender age of three, Ray grew up in Supbrabha\u2019s abode that was meager. Though his interest confined to Fine Arts, Ray studied and completed his B.A. (Hons) in Economics at Presidency College of the University of Calcutta. Though reluctant to leave Kolkata, his mother\u2019s persuasion, in amalgamation with the esteem for Tagore convinced him to study at the Visva-Bharati University at Santiniketan, founded by Tagore.<\/p>\n

Later, a visit to London, which unfolded him a viewing of Vittorio De Sica\u2019s\u00a0\u201cBicycle Thieves\u201d<\/strong><\/em>,following a meeting with French filmmaker \u2018Jean Renoir\u2019 completely unwrapped a pathway for the ardent Ray to follow. That was a pathway rather distant from his career as a \u2018Commercial Artist\u2019 – A fascinating, yet intricate pathway towards\u00a0\u201cindependent filmmaking\u201d.<\/p>\n

Since stepping intrepidly in, and joining the \u2018club of filmmakers\u2019, there seemed to be no turning-back for Ray, who had an incomparable zeal towards his chosen field of work. The multi faceted Ray, who contributed by and large towards arenas of unreserved thirst and demand as a\u00a0Fiction Writer, Publisher, Illustrator, Graphic Designer,\u00a0<\/strong>and\u00a0Film Critic<\/strong>,\u00a0Ray, during his existence, directed thirty-seven films, which included feature films, documentaries, and shorts.<\/p>\n

The Apu Trilogy\u00a0<\/strong><\/p>\n

Each and every erudite individual, not only in a world far-flung from Asia, or Ray\u2019s native soil India alone, but also in her neighbouring Sri Lanka, irrespective of being a cinema aficionado, or not, happens to be absolutely familiar with\u00a0\u2018The Apu Trilogy<\/strong>\u2019, the three consecutive Bengali movies directed by Satyajit Ray between 1955 and 1959. Namely, they are,\u00a0Pather Panchali (Song of the little road – 1955), Aparajito (The Unvanquished – 1956),\u00a0<\/strong>and\u00a0Apur Sansar (The World of Apu – 1959)<\/strong>.\u00a0These three movies, which form the much renowned \u2018Apu Trilogy\u2019 are remarkable stories that have also been translated into the Sinhala language for the nourishment of an expanded local audience, by brilliant writers \/ authours \/ translators such as Chintha Lankshmi Sinha-Aarachchi, more importantly, without causing any harm to the originality of the tale, indeed a raison d\u2019\u00eatre for all Sri Lankan translators \/ writers to be proud of. Pather Panchali remains Ray\u2019s debut film.<\/p>\n

In an interview, Ray once claimed that\u00a0Bibhutibhushan Bandopadhyay<\/strong>\u00a0was a writer who fascinated him immensely. Hence, Bandopadhyay\u2019s two novels indubitably happened to be the birthplace of inspiration, for the creation of Ray\u2019s indelible Apu Trilogy.<\/p>\n

According to Ray, his much desired novelist, Bandopadhyay had actually been living in a village at the time of the\u00a0\u2018famine<\/strong>\u2019\u00a0in 1943, when Ray had simply obtained employment as an Advertising Designer, living in Calcutta. At the time, Ray had witnessed a populace adding up to hundreds and thousands, from the villages streaming into Calcutta. He had further witnessed refugees brimming at the railway stations in the verge of death. In Ray\u2019s scrutiny, if they did not die at that very given moment, they were to die, at least a few days from that particular moment in time. Ray\u2019s experiences from this era seemed to have been etched in his mind evermore, especially when he himself stepped across corpses lying all over the place, when stepping out from his house en route to work. All such daunting experiences in life certainly nourished his filmmaking, in the years to the fore. The same factor made his films more pragmatic by nature.<\/p>\n

Rich with his own life experiences, and later by ardently reading the novels by Bandopadhyay, Ray had immediately decided to weave the material into the mode of\u00a0\u2018film\u2019, his preferred cup-o-tea.\u00a0And, in doing so, he remained distinctive, in aspects of the \u2018medium\u2019, as well as the \u2018parable\u2019.<\/p>\n

Apart from Bandopadhyay, the Bengali polymath\u00a0Rabindranath Tagore<\/strong>, who re-shaped his region\u2019s literature and music remained Ray\u2019s greatest inspiration. Tagore\u2019s profoundly sensitive verses seemed to have elevated Ray to a much higher, yet \u2018uncomplicated\u2019, and \u2018pragmatic\u2019 podium in life, though Ray was always living in a \u2018realistic\u2019 world, with \u2018imagination\u2019 being beneficial, only in terms of nourishing his meaningful creations. Such happen to be \u2018imaginative inceptions\u2019 in Ray\u2019s mind, that we take pleasure in, as meaningful creations of Art, even decades following their birth in his mindset.<\/p>\n

Pather Panchali<\/strong><\/p>\n

Pather Panchali describes the maturation of a small boy named\u00a0‘Apu<\/strong>‘, in a far-flung village in Bengal. The cast in Pather Panchali, like in may other Ray movies, consisted of amateur actors. Due to difficulties in finances, as well as being adamant not to be dictated terms by influential sources in exchange of finances, in terms of changing certain areas of the plot, and frequent urging from the government to shift the ending to a happy one, Ray filmed Pather Panchali throughout three long years, generally quite a long period for the completion of a movie. It was released in 1955 with popular success, and had an exceptionally long run, when released in the United States.<\/p>\n

Aparajito<\/strong><\/p>\n

Aparajito being his next creation, won the Golden Lion at the Venice Film Festival, bringing him considerable commendation. It\u2019s plot is woven around the eternal struggles between Apu, the little boy from Pather Panchali, who had turned into an ambitious young man, and his mother who loves him unreservedly.<\/p>\n

During the making of Aparajito, though Ray had not planned of a \u2018trilogy\u2019, a proposition in Venice, towards such a brainchild had triggered Ray\u2019s urge to follow-up on same, and in due course, he did.<\/p>\n

Apur Sansar<\/strong><\/p>\n

Bringing Ray\u2019s planted urge to the next level, Ray concluded the trilogy with it\u2019s last segment, Apur Sansar in 1959, introducing the duo Soumitra Chatterjee and Sharmila Tagore, stars he loved much indeed.<\/p>\n

The movie unfolds with the matured Apu living in \u2018approaching dearth\u2019 in a Kolkata house. Later, the plot glides to his strange involvement in marriage with Aparna. And the poignant scenes of their lives together as man and wife, forming exemplary depictions of married life. And, just like any other duo in such circumstances and surroundings, Apu and Aparna too suffer tragedy.<\/p>\n

Defending thyself<\/strong><\/p>\n

Though Ray seldom responded to critics during his filmmaking career, he wrote an article defending a harsh criticism on Apur Sansar by a Bengali critic. Just like every other perception in life\u2019s entities, especially in aspects of individuality, Ray too had his personal favourite amongst his creations, which was the film\u00a0\u2018Charulata\u2019 (The Lonely Wife)<\/strong>.\u00a0This was another film he took steps in defending, when criticized.<\/p>\n

Nevertheless, Charulata, by many a critic was regarded Ray\u2019s most accomplished film, based on the short story\u00a0\u2018Nastanirh\u2019<\/strong> (The Broken Nest)\u00a0by Tagore. Madhabi Mukherjee\u2019s performance as \u2018Charu\u2019 the young, wealthy and lonely housewife in 19th century Bengal, married to a husband who runs a newspaper, and due to his long-drawn-out involvement at work, her developing feelings for her brother-in-law Amal, have been highly praised by critics. Soumitra Chatterjee who played Apu also plays the role of Amal in Charulata.<\/p>\n

Ray believed that Charulata consisted of the least number of flaws amongst his creations, and if given the chance, he proclaimed that it was the only movie that he would re-make in the exact same manner.<\/p>\n

Views on filmed plays of Shakespeare<\/strong><\/p>\n

Per Ray\u2019s view, in aspects of filmed plays of Shakespeare, whatever the achievements may have been of\u00a0 Lawrence Olivier, in terms of his adaptations, Ray could never accept Olivier\u2019s Shakespeare films as \u2018filmic\u2019. As opposed to same, in his filmic eye, Ray accepted Grigori Kozintsev as the only director who used features such as apt backgrounds and peasants, hence bringing a different kind of vitality to Shakespeare movies. A vitality enormously successful in Ray\u2019s eye. In due course, Kozintsev was named the People\u2019s Artist of the USSR in 1964.<\/p>\n

A simple man, who did not believe in erecting walls<\/strong><\/p>\n

At the instigation of this article, I asserted Ray to be a man of colossal creativity, aptitude and simplicity. That indeed was a statement untaught, yet naturally being born in my heart, via the attributes of Ray that I have carefully observed from intense reading about the luminary, through the years. This included the much renowned works of the said personality as well. After all, the end-products of a filmmaker who writes his or her own script, and even illustrates it, frame by frame, at one point or the other, shall have a correlation of the staging of characters, to that of his or her actual experiences in life. This may not be the case at all given times, yet a general probability.<\/p>\n

Amongst those characteristics of Ray, while absolutely appreciating the initial two, which indeed is quite obvious to the world, may I take a moment to underscore the third – \u2018simplicity\u2019. This feature in Ray may have been acknowledged only by a limited segment, as opposed to the entire world. It is the attribute, the relentless salutation that taps on my heart, above all.<\/p>\n

Therefore, in my eyes, Ray shall remain a luminary, who never lost his glow, even once he departed the nightly sky. Usually, stars are visible only in a nightly sky. Yet, Ray remains a star that blaze in skies of all time. Only because, Ray never lost the \u2018common touch\u2019, inside and outside his career as a filmmaker, even following his ascend to stardom, through the years. Only because his vision in the medium of cinema consisted of deeper meaning. Only because, that deeper meaning unfolded via depictions of life\u2019s realities. Realities that traveled constrained peripheries. Now, even following two decades of his absence from the nightly sky, Ray\u2019s beams, or rather, the beam named Satyajit Ray remain intact, in the skies of all nature, that are the hearts and minds of his many an aficionado, around the globe.<\/strong><\/p>\n

As mentioned before, Ray\u2019s lineage, which could be traced up to at least ten generations, proves to be a family-unit, well established in the business of \u201cpublishing\u201d, as well as all other features surrounding a publication, that are writing, illustrating and philosophy, to name a few.<\/p>\n

Nevertheless, Ray was a simple man, who could be reached by anyone, by simply climbing a flight of stairs. His number was in the directory. Anyone who wanted to see him, had unreserved access to him. Ordinary folks, not renowned stars, visited him on Sunday mornings, most of them, void of prior notifying. They included old colleagues from his \u2018advertising\u2019 era, in his past. Others were those who merely felt an affability towards him, most probably due to the unfading strokes he left in their hearts, via his unrivaled filmmaking.<\/p>\n

Ray always believed that it was an act of \u2018stupidity\u2019 to raise walls around thyself. For him, the simple means of doing things gave excitement. In his judgment, it was interesting and rewarding. That was Satyajit Ray, until the day he stopped breathing. That was a man who proved by act, that life had more meaning to it than hovering on cloud nine, the imperceptible or barely visible podium that most humans attempt to float on, once their rank may alter via fame. For Ray, fame meant the contentment he bestowed upon the world via his unparalleled filmmaking. –\u00a0Happy Birthday Mr. Ray ! The indebted earth shall certainly miss you !<\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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