Satyajit Ray, an Intimate Master [1 ed.]

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SATYAJIT RAY

an intimate master Edited by

Santi oas

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AWED PU9USHERS New Otfhi Mumb,,i Cakutu Chtntl1i

lid:now 8a"8a~ Hycltf~ Ahmcdab.ld N.-

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UNIVERSITY OF MICHIGAN

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Satyajit Ray : True-to-ufc lmagcrnatcr

Sary.ajit Jby and Advertising Su11ATA BANt:aJui.

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A lu:miniKcncO, MOftt"IJC and Fil• have dosed down. We have included A,.r11jit~ by Henry Han, and by B.H., ]"""81,or by Nioin Sethi, Apo,, by Amokndu BOK and by David McOncruon liom Iha< periodicals. o( material,

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UNIVERSITY OF MICHIGAN

SATYAJIT RA'I'

in his times

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UNIVERSITY OF MICHIGAN

Satyajit's Childhood and The Child in Satyajit KM.YAN! KARLEIWl I remember, on the ~ning of 3 May 1921, a tckgnm from my unck Su.ku.mar Ray (1887-1923) &om 100 Gupu Ro.>d Calcutta - 'Khob born 1.,. night, all ~,u.' My father Aru.n Nath Chakn.vani WU a Deputy Maginntc in the Bihar Civil Service. The 'prYinccs• of Bihu in those- n hut 0 0( the whole. I later fo und that Or. S. C . Sen Gupt::a, the disa;inguished 1e2cate the rckw.nt advertisements. Wit.hoot .such ac«S$ to the "'Ott of Satyajit, one cart only indulge in rcminis«n«s of worlting with him and draw attention to 50mc broad charactcristia of h.b wort. md i:onuibution ro Indian advertising.

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UNIVERSITY OF MICHIGAN

546"'.fi'I R.•7 a,ul M'ln'1isitf$ 31 It might be worthwhile recalling the environment in which Saty.tjit and ,omc of u:s a.inc to work in advertising. With a few exceptions., advc:rtising in India had been totally under the influence of the Wea:, in the early years. This is undcrswwbblc. The major advertising agencies wuc bnnchcs of foreign

agcndc-.s. They worlc.cd mainly for foreign companies. The mailet f0r the products a.nd #rvice3 wa$ limited. Those: who concd"·cd the ad,.-crtiscmcnts and those who tta.Nla.tc:d them into dcagiu were mos.dy Englishmen. The Indian anisu and executives wort.cd in this environment. 'Then came the Second World War. The Englishmen had lO k:.vc 10 fight the war. Wh2t is more, advertising was compelled to n::ach out to the entire people of the country to c;rcuc aupport for a wa.r, which no Indian could consider his own. Hence the sc:arch for a new idiom, a new language. The Go\·unmcnt o( India Md to draw upon the resources available within the advertising agencies and mo.\t of $UCh pcl10nncl were Indians. The pn>CC$S that bc::gan d\l.rin,s the war continued ffld received a ~rcr impetus after independence-, when both Indi.n and foreign busines.s hooKS were keen to usodatc thcmsch'-/ -UNIVERSITY OF MICHIGAN

G0 0 8 Ie

M•,.a 4"' His Nl&IU 31 oompotcrt of the ninc'lecnth and ~nticth ttnn.uici - Brahms.. Dcbuuy, Ravel .and Banolc - but not the avant garde of the Stodlu:uscn) Aaron Schonberg aod Alba.n Berg vari«y, He wu paaionatcly fond o( Mozart, particularly his opcru Ma""'46~ effv•~ CM f•n t11-ru, Dt,,, Ginlln11i and the Mvic Fl• u - 1 us,cd lO hcu him occasionally wh.isdc: arias &om them. Although Manilc had no formal tnining, he: was a genius with pcrfc,;t pitch, and had pkkcd it up himself, and &om 1961 on, &om Ttm K•-,a onwuds, he compo&«t the mwic for all his films. He considctcd hi$ best film, and ht gave me a very ml.Wal aplaiurion fOr' it, and Wt tOO in terms of Clu.mbcr music. He considered this his Ma$num Opus, as a String Quintet - the first violin bc:iog Cbaru.1 the 1«ond violin being Amal, the cello being Bhupui - as the duce: ccnrnl charactcn - the rwo violas being Umapacoti ukodv), Januuy 1967; Bwhub 13:11; (~ uknd>r), May 1968; Bhadn·Ash"'UI 1315 I BM.>c dumb sorrow of tbe boy io the flee of death. Wbo said the: poor die lile nu1 Mr Ray tnns6pn poverty. He d0e$0'l &cntimcntaliu it. Vay tenderly he telb us, 'this is how men INc.' a.nd 'mis i$ how lhcy die.' lt nuy oot be 1ngic, But it ii vay, very $.old, h dOC:1 DO( mU.C w tty. But it docs male: us think o( duth and ottbc loneinc:a of nwl, As Api's &thcr lks ill, the Strfft outAdc is abbu Diwlli fi.ml.iorb wl full of the happy shrieks o( children. Tbn enhances the .,.,. ol loodloao of th< dia and the image oi nt sequc:ncc

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with the: or ppns in flight and the dark, fR:nZKd faca; o( the tcmpk prkus n pn)•cr. It ~ds to our sense dctolu.ion. But the ambivalcoec oflik asserts itself. The point counterpoilu of the images pub every episode: in focus. 11IC mothu ~ up a ;ob, and Apu Is again fu:e to play. (n a pbyful sc:qucna: we KC him feed • group ol tc:mpk monkc:ys. Ufe goes oo in spite: of death. The io)'l and tol"l'O""'S or life: are to milcd up. Af,,,.fito Kodc:n this homespun philofophy in u.n.forgc:mblc inugc:s. ~ inugc:., ha~ lhc quality of ln.tcosc momcots or vision. TI,cy don' t uguc:. They conviDce u.s by their film«. Mr Ray ia sdngy to a fauJt. He do« n0< wine: ao im.ge ot • wotd. The- old man, a umiod.ar nc,y inch, hudly spew, He dodn't haw to. We know he is bored. We know that his bud h«.d DWis • gmtle musagc. Apu's mother ba.rdly spew in the dingr tenement room ffiC hu btto given in the zunindu-'s how¢, She docm't hnt to. The: loud aiuk ofthe bri.njab in the: 6yi.qg ~ tells us All chat nccdl to be told. That noac~ un almolt smell the musta.rd oil-i$ ~ny ioc:1£ We can't gc.t it out o( our head. Apu's moc-.hcr at Jut a,grccs to kDd the boy to Calcutta. But she Keis toO alone. She docso't ha,~ to MY .o. Her lttbk smlk Is dcntc with IOff'OW. It can perhaps be: argued that P• #ltt'J' p._,.dtt,J; has an emocional CobC$~t lt b&ng1 together better than A,-njiu. But &n)' such r«aoning is wholly out of pl.a«. P.,_, p.,.,h/i may h.1.vc a certain idyllk unity. But what A.JHu#jito bets in this supafidal unity it pins lll the rid>cr rhythm oi the:-COfltruU between the tempo, of life ln Ban.an&. U'I the ,i!Jagc: and in CtlC\ltu. PCf'N9' it ls oot u l)Tieal u ,,..,. Pa• dMJ;, but that docs l'lOt make it ksa poc:dc-4ot poetry depends noc on a mood but on the intensity or The pocry o( ,y..,-ajil# Km&iN, ThcK is no rhetoric, The: irony is aJw:ays geode:. The satire is nc:vu too lwlh. It may 10 the popl.llar appell of PulNr P ~ r dut dc,q n0< mu.c it ~ me tes,s &ignificant. The gttattt comptcutyo(its rhythm~ iu point counter point-tll flct makes it more: mcanin$fw. Mr ll.ay still bdic:'Ye$ iD the primacy of the: Ylsua1 image. That ia u it shc.,uld be, for -All 5:aid i.Dd done-, the cinema speaks prlnwily~ -~ ...'i>l', A,~t in A,-,.pio he bu rm.de

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1#.Xt Ray~ ofthe: CYC1')'41y

UNIVERSITY OF MICHIGAN

114 SA.n,vrr R.,,..1 : AA IN'llMATZ MAsTu noixs of life in the dty and in the village (in addition to Ravi Slwtbr'.s music tc:0tt) dut in~ the sound cndol A,.,.ftt•with a new quality. TIK music of A,.,ajil.o is DO opium. It doesn't indu« .sweet dtunu. It don ftOC &briem an atm0i5phuc or mate a mood. In.ttcad, it briag, out the full tendc:mca or poignancy oftbc: moment. But rew want to loot. u cYcnts so dearly. It i s ~ . Few have W bean to &« cvtn 1. •unflowct ts Van Gogh saw it. Out minds att: dogged 'Mth d ie.ha a.nd •ith ffOCk. ~• .Aft,nftu docs not speak in cl.id,«, le may ha\-e to WI.it b .omc time bdon; people ...;n listen to it.

S!w«w.

1k Ti.a ef /,.Ii.a. Mumbei 1955

2 Uh most tcquds:, Af'nfiu is iofcrior to P.,_ h#tltt&li, that tnfMtlg quui-docwne:nwy about the: subhu.rna.n dtily rouod in a Bengal villlge ofan impcwcriabcd Brwnin family whic.b the NacioRal Boa.rd of Rrncw ca.lk:d 1958'• ~ fottign film, ended, it will be 1trncmbertd, 'Mth the iocf&«ual by prieat, Haritw, p ~ to cake h.i• family to lknaN. Ap.'11jiu bcgiN aftr new 6gurc in film tod.ay ~ ace: the Ame grut ~ J e an Rc:noi.r. In France, the critic Andrt Bazin aught a tilm•lovi.ng ju~nik ck.linqumt named Francois Trulhut 'fut.t' u TruKaut says., 'tO low Rmoit and thtn to know bi.m..' The lives of Ray and Renoir lntcn«ttd in 19SO, when kiy, a young pain.ltr 11ootting u • byout artist for a British adve:rtisi.ng 6rm, Vt'U strugglitlg to wort oot a film uuoncnt lot Pasl#r P•1UW.

U'ld knoit 11o•.u in Cakutu. 61.ming 71# Ri,.,,,., a movie that dc:,pitc iu wcaknmn is pc.lNf)f a gcnn: in iudf- thc: ON)' fictional 61m shot in a rcmcxc cuJNte in which the director had the tu{C and tcnsitivity to preKnt m ou:aidcr'• 'licw without condaccnsion or a pcrfi.mctory 'documc:ntuy' •ryk:, Ray ha$ uicl th.at 'the only kind of prort.sional e ~ m cnt I goc: a.me &om one sin,SC man'- Jc.an Rtnoir, wtio 'insiKcd di.at I shouldn't g;~ up.' There is I common rnbwncq:,don that Ray is a 'primitive' arl:u.t and although, lftltial)y, this probtbty worktd to his adY&Dtagc In this ,ounay (&"- P-'"8~l'M'li'8!1>f and .....

•••"'"-rual,

UNIVERSITY OF MICHIGAN

Hi.s jil"'1 119 tDd imponMt because it dealt with Nnl poverty). it no-' worb «> his ~antlge, ~we his Lm:r fUIN U"C ta.ken to be corrupted by uposurc to 'Art.' aM thus k:u 'true.' 71111' Ap. TrilfB1cxprcsscs Jndb. in transition, ,bowing the dCYClopmc:nt of me boy Apu'& comcious-ACM &-om the primith-e, medieval village life o( P~r P.• dMli thn,ugh the mod('.m dry URm Uld Si:boob of &nans tO the Unittnity of Calcutta ln A,.,..jiu, and then, ln 7- W..U ofA,-. beyond Klf•cOl'\Kiousnca to r.hc dumiction of hu cg005m, ffld the rebirth ol fcding, the rcncw21 of stnngth. But Ray himxlf is not a primitive an::bt any mOR than, say, Robert Fbhcrty was whm he du'Onidcd the lilt of the Esk.imol in N•,,_ of dN Nd. Ray was infl.\lC:nccd by a wide vuicty of film&, dl05C of Renoir and De Sica in pl.l'ticuJar. (Swthtt with an opportunity fur a dusic campJc of hit ttyle and pcrccpdan : ' Chkf among the ddica.tt ttrtladons that cmerg,c &om i.u loolely fonncd a«ouJ\t of the J)WKtk little joys and toffl)'A'S ofa poor lndiffl &mily in Bengal is the touching itldicarion that pcweny do« oot nullify love and that even the ~ afflktcd people can find tome modest pkuurc:, in their \l'Orfds ... Any pkrucc u loose- i.n stru.Ct\lR Of u liscku in tempo u mil one is would barely pw as a •rough C\lt,. in Hol.fywood.' 1n a ~ of Ap•najiu, Kingsley Amis, tMn £1p;,y', mO\ie critic, thought lhn 'S.uy;i,jit Ray, me d~rnw. $CC:IN to ha\~ Kt out with the id« of phoc:ognphing without ccunngcmcnt the life &I pbycn in the trilogy ~ pwplc: just acring out their own l:iYa fur t h e ~ , may be twtkd now to sec than IR a n:lnderntb•«nrwy ml.Mon. In the c:uly pans of the ai1ogy. Ray wu able to convince m111y people that he had simply twncd hil wncru on life; be pa&,mu the wnc: miracle of an on this clccadcm. vanished period.

lbc Kaing of D,;,.. s«nu to havie been caught by th,e camc:n just befOt'c it decays. The put it pmc:rvtd for u• d.i•turbingly• ironically, in it.s jcwdjcd lnmc, Arc we not p,erhaps in thie position of the ' advanced', incfftttivc young hwbvid. who kno-1.'S that his she rads in his face his tear and rchKuna, arc the: 6na t momcr:ics in the 61m; and u W walb out, ha\'Ulg gainc.d a tetribk new i,nsi;ght i.nto the sirw.tion, we have been twc:hcd, ThK moving moments gift w the pcnpcctin: with which to unckntand and sympathiu with her tclf'lc teali()' thn Ray hu con$U\ICtCd fur w, and the ha duit we: uc touched and saddened, and full of rfflCWCd Insight about an ~ of human ttbtiom, , ix,..,s hOltf Ki1fuJ R.ty has been despite tho: 61m's wutcady b0, which e n ~ the whole action. is a dimension c,l unn:.1.lity, lihing people out of lhdr ordinary liwt., wh.h a •(om,' lite the film (M' pb.y-beginniog. middk, a.net rod 'ronwnlttg' dntna.. And finally this is a ru.lisric IUm about the unt(a}ity of filnu. All this ii COO\'u.gh i ~. The cype•casdng is mutcrty.--ivid, putkubr, but not quite ariotu~: the vain ind11stria,lm wi(h hi• slow deliberate rnc,..-cmcnu, the ne:n-y ad•miln halfcocky tulf&•-ning, Btresh the thin ~ led poiiticaJ agir.tor, Jyoti the f(ff(ty managa, Shanbn:b the stron:g•willcd mm of integrity. The ~'O drta.m scq..xncd an: the opponun:lry fu.r brilliant ,irtuosc,> pa.ssap in pwdy fil.m tcnm., boc:h surtt.alisric in ttthniquc~ fuu pusing &om cuphorb tQ the maubrt •ith a fiightcningty chilling effect ( when the: musk stops and the wind blows), d ie second cspcdllly memon.blc for the great 'A'hltc cntnnee door of dit dub sbnding but: in a kind grove. Apinsc the continual rhythm of the train (eompktdy authentic C\'Cn to the changing $OV:nd in corridor and toikt), the film buildJ up kl o,rn rti)thm of alttmadng attitudes. 11,e sk;iU this kind of itu:c,._.'Ca,ing ,.;m pcrltttly ti.t-Md o uting and babnccd M arion, has bc:ro gradually brought to perfection through Satyajit Ray'-• c:attcr.

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But tb«c is • danger Wt ln th.it punuit of flawless technique, pc:nectfy rounded l'orm, the: depth! of the: w.bj«t ~ncr may not be fully cspbl.et: 'I'll k.«p it in mind' 0C 'J'b th.ink ab(M it.' And that iU$ (u M dlcit kclif'lgu.rc ~ to

go. DAVID Mc0.rrcHION

M'11r441. Mumbai. July 1966

Goopy Gyne Bagha Byne Semc in Noosente-Satyajit Ray'• latat 61m S.cyajit R;iy's c;.,, Gr'- hu no( )'Ct been rckucd i.n Ctlcutu. 'I'herc hu been a dday. Bucd on a &iry SMIT by his gnndF.nhcr, Upcndrakilhott Ray, it i:s bound to e'IOU «intl"OYUly as bdtlg totally "1llfil;e VJ'f o( Im other fil,m. Then: ..-ill be dcbttc u ro 'A'hcchcr it is a dilldttn's ~ c people imist it is only thh-:ar whether it is, in fiict, a.n allegory directed ~ N t war and mote topical by impli«tion diM1 my prcviou, ~y film , On the

sum«: the story as such is ciertainly idQJ for children.

Goc,py, •'ho kwc:s t0 sing but has no vO.C:C, k dtfvm from his vilb&'c having m¥.1c: a muti«I fool o fhinudf. Somcwhm: i.n no man' s l.uid he meets Bagha, -a dnunmcr w h o ~ d r u m ~ abo b«n cut ou, of hh vilbg< bo" (in '

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most en.gaging sequence unuNal d ancing) a.rki bntows upon th,cm • m.gic pair of tJippc'rs t0 ta.ny them ~re they will. 1'hcy wi:sh to be mwicilll$ and, magic-JJ.ly, they b«ornc rnosc utdkn.t. They need (OQd and it suddenly .1.ppca,rs.

So their ad,-cntwing begins. ludi:ng them to the Coon of the: Good King of Shundi, who in sympathy for NS du mb $Ubj«u, -acu dumb. Hett they win a mwkal oompUl of being anachtonisdc aod .ai&hdr ridicwous. When .-c '" lhffll pbying ttMil in the ~ . the image ii ambipous dw ou, mpc:lf'IIC$ come in W2!YCI, • kay not ON)' dncted but did the Kreenpby (&om a no¥CI by Sunil G.anpty), dttW' the mdir dtla, and M'1'1tt die musk. His means U I diKCU'W IN: am0ftS the most i.nruitivdy right in all moricmiling; hc ~ when to mi.ft the camiera &om one &cc: to another to ttVaJ the utn'lost, and he mows bow to group 6gura i.n a frame MOtt upttJ&lvc:ly than tll)'One c:b,c, He doesn't butt WO • ~ he tcenu to kt it play i.uctr out. Hi, W1Clcntatcmcnt rnaka l'nOlt or what it thought of 1M film tc-c:hniquc: a,ccm l.lM(:(ffl.al)'. tnd cvc:n dcadeftt. bcca.u&c: he docs lnOl"C •ithout K. (No WMcm dftctor bu been 'Ible to imit2tc him,) The aro,y ii told with gre:at pRCilion u me wnc time thlt the mcaninp tnc1 .ocia.tions mu.ltiply, R.ay tcefflf to .sci .omtthina ,pccifially b$tcm to tht '111natal' style of Jean &noir. Renoi.f, too. P'lt l.lS in unquatiooing and tot»-yet diacrcc.t-contxt with his people, and cw:rything aeemcd t'luid and CU)\ and open in fonn. But Rcnoirs time tcrw is diffu-cnt. What is distinctive in Ly's work (and it nuy be link.cd to 8cnpJi tnditiions in the arts, and pcrtups to Sambit) ia that ,cm,c of immiticnec-thc auspensioo of the: lMaga in a brgct contcn. The rhythm of his films teems not slow but, n.thcr, nxdiwiYc-, u if the vkwct could sec lilt ptcs,c:nt as pan of the put and could alttady rdkct on wlw b going on. lbctt it a rape.. con1tmpbtiYc: qwlit)' i.n the bautifW inteWgencc of bis ideal kMn. Wc~R: not at aJI ,wprikd in this film that both hhim and Apa.ma ha¥C pbcoomeaal mcmoriu; we knew tbu from biting a.t them. lt.ay W.u a Nit when he conuuta M poetic acme ofliimc against die hascy Warcm mclodnmadc tndbioo. Ont of the four- you:na men is a 6gurc i.n the sporting ~ a r i , who is qukt•tcmptml and ttih. He bu juu been jitted by a du1.kr of a girl Kif bi, iNcn,;itMty. (He ~~red a si.x•p•ge letter &om her in a aingk cwt IIClltfflCC,) Harl picb up a local 'uilw' girl in the bat for somic fut tel, ltld he 1s abo atuetcd lnd ti.most killtd by a ICr'Yaftt he ha, wrongly xcwed of -stc:aling. The Kcncl ~bting to Hui (apccully d..iina .;d, ~ lo.

UNIVERSITY OF MICHIGAN

--------142 SATYAJrT RAv : AN bm.MAn ~

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pt«, contcmpnaously, d«nanding • tittle mott duti was &it -1$ hsrdly a &ct0t in the SWYarion. When we gtt the- dosing tkk, telling u, thu five: million Bffl:galls dkd ln the man•m.adt funit1t of 19-43, Ray wa the tcnn ' man-made:' b«:a-UK it imp1ia that the &mine was a crime. But it looks more like a horrible pileup of accidents, pfus some crimilW greed, and thn,wands ol ycan ol no planning. ffit. sutemcnt Jeems l"orccd; his whok stNCNtt il forced, and yn ~ 61:m t$ uconi5hi.ngly ben1tifw. The cblt'l('tcr of Gangachan.n~ mixture: of s.lochfuJ pea«n.i.lncs$ Alld a &eNC of diMatis.ftctfoct which he WU out on th( peuant:5 tnd an inquisitive:, modem inind-ts a &ac: era.don, uccpt fot terminal loftincu. And tbctt'• alto a dunac:r Ray ean' t quite gt' all the Jay of inventive tc:duueality. C.Ol'f Gy,u has the sponttneity of high poc:tk ima.gina,tioo mttYc:Uoosly iulizcd in the oomplu m-odium. of cine.nu. Hiru Rllfal' Dnw, ii cnic:ttaining, fu.nny and n.u,cful but pwnly a product or corucioui

cffi>rt. Mu:r ynni of dom,ad dty as regal Mlm•io•law (,oc,p)· ~ Bagtu become mtku. WaMctlust and the desire to sing md drum thdr way through u ~ couotri« llld stran~ kingdoms b«omc: inuisnl>k. They warily tut oot if the m•gk&I pain of Jhoc• alkl the other two boons still 'llo'Qr\, They do. R.c:usuffiJ, Goopy a.nd Bagha pttpan to let out to Wtc: Ofltt more the joys of fKedom and advc:ntUtt they h.ad known In their nrlkr unbound cby,. An inmttioo from the diamood ku\gdom rukd by a tyrant (oY!!rpbycd by Uq,al Ouu) COOle,$ in bltldy and Goopy alkl Bagh• g« embtoiJc:d in the (Oib, c,( oppru$ion o(' the totaliwian St-ate where a lone Khool tcacha l«P' pttcariously aloft the banner of revolt Mld protest ~ t c:,p,pttsslon and the king's dc:villsh dc:dgru to l«p his domain io a. it:ra.itjacht iruu.Lt.tcd from tdc:u and non-coofotrnin tbou,.ht. The ting We, to &eic:cntific br~wuhing a.00 book bllffliog beside, NmkM-ly exploiting die WQfkel'l at the di.lrnood mines. The $t0l')' unravels how Goopy and B~gha and the teacher (played $0fflc:what awh'Vdly by Soumitn Cbutc:rjc:c:) foll the sinlsta dc:sigm or the king a.nd wio him ovc:t, R.,iJ;u K•~ui fashion. to bdp thc:m pull down the-enormous su,ruc or the king, symbolizing the ¥Kto«y of &«dom oYCt krfdom, liberty O\'Cf totlliurilll op()l"CU,ion.

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The: KU uc: opulent., the cc,lour photognphy superb, the music a dc:light, the rhymed dialogue an i:nvc:nd~ uwr M for«, the Mt\lation, funny 1t1d &ncifu.l. And )"':'t the: 61m docJ not anti.n the artisdc: whol,c:nc:ss one cxpc:cts-evcn dc:rnancb- Crom a fUm by

Sa.tytjlt Ray. Two things MVc: been mponsiblc: for this. Ooc:, the casting. It is inc::Kapabk m a ic:qud, wherein tic, the d.u,gcr. Ray mwt h2.YC b«n fully &live to i.t and has Wm:d the: problem by writing a story tt,qui:rirtg ts ma.ny new &«s as possible:. But how could he: avoid ba,ing twbi GhOf.h tod T apc:n Owterjcc wt in the main roles~ Both have ~d and in Rabi Chosh's c:uc: his c:us,tQm h» become $talc: W the tpartk gone. We bugh .,.'hen he comes it110 the &amc: but m0tc: out or a rdk:r actioa thlll from the fi'nbnc:s. of bis comic acting. E~n in the fanwric xquc:nee of their encountering dliC tiger guudlng the dark kCttts, the: sutpc:JUC-and lhc: fun~ more: oft.he: sinia.tion than of the comicality whiNilhll-Sandip triangk. One: wiy of ~ g this ailtl&k it the 'non•kallu' one (ncvu toa.lly abk:l'lt from Tago«'$ thought}. Heft: again, kt me call up Chaudhuri (whOK A.#1~"'1 an be: read u 111 cultun.1 sub•ten of the 61m) : "The Hindu rcligiOU5 tndition r«ogniza three equally legitim.ltc modes of wunhippi.ng god : &nt,. mtQUgh ~dgc; s.econd, through aaion, and lutly, lhrougb k,vc. • In a ,,,:ry crude: but valid klUC, Nlkhil sWld:s for•~.• $.&ndip for ' action', Blmab for 'llm:'. Blffu.ta is central both to the ~ -and to the &Im. The no¥CI utn the lhapc of'lror:ies' from the point otmw ofeach the three pro~gonists. The conAiaing viewpoints ronuibute to the dnnwic: tension of the nb'\,cl wbkh is brought to harmony i.n Bimab.'s U$t story: 'I baV< passed tbtoogb fire . Whal: was in,Bam~ble tus bun bum, to uhct. What it left is dut.hkss.' It is Ray's achincmcnt that in the 61m thcle vicwp(lints slide dJortlcsdy lato each other, 'The "amlcu whok, in ~ J !lit"tein"fflBimala't $1:0t)i cncitdy, It bcgjm

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UNIVERSITY OF MICHIGAN

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His ft/.., 151 ,..;th• I tuvc ~ through fiR• a.n.d ends with it, Bimak, in a .en.c, is the 1,t,itc:r ofthe tak - 2 slight dw-igc ofemphasis m,,m the ooYd, and in my opilUOn a1J to the good. The choice ofSw:uildha Chatttrji fot the rok o( Bimala has bttn criticised. Of coo.nc. you could have bad a )'01.lllg'o : Bhupeo Gbo&h, Dwation : 115 min.

Cul' : Lau B.ancrjtc { H.,.,.,..,, Karwu S-rjcc ( S.rN;.,.), Subir 8anerjcc {A,-), Unu Das Gupui ( L>w,r), Chu:niball ~ ( l"'U' 'lNlnu, ), Rutil:i B.ancrjcc (.O.,.,_), hba Devi (.s,;.1W-..), Apama Devi ( Nil,..,,;',wffe), Tula Ch.a.kravaro (Prt&Mw, S4rooll,,uw,), Bi.ooy Mu.kbe:ijcc (&U,-.d, M•j,,IMII,'), HaR"n Banerjee ($ri111HS ,_ $-a--11lkr), H&rimob&n Na, {~ }. Ha.ndban Nag ( ~Hn1)1 NibhatlOJli. Devi (Don), K,h;,,,d ..,,. (l'na,), """'' G,np; (,.,_), 1bc film tells the SCOfy of a poor Bnhmin hmily who live in theit chrowiog Outp out ot the bou$c:, but luc:r KOdl Apu to bring her ancatral vUbg-c in lkag:al. The father ( a poet &lid by pnut, -u1 horni S by aD «i.ept KachaJu, who trie. co cnna his 'fomlul1' out of him, ia: fooikd, and COO$ up by U>fu< poll«. Sc:osing cb.nger• Patem bequudu die stone and ha properties to his tceret:ary and flees in N$ ar. But the pol.i,cc atch up with tum. Iv. P...-ub i, he.Id on a charge of unuggfu,3 gold. md me city ia: toc.kcd by the &ont ~c rte"l"S or P1.mb's -a«ivity, Priyuffl h.u a 1eriou, ~ with Hindoll and - - - ~ me stone $ORiy ncc:ded by Pvah to ~ die charg'C in ui utcmpt to commit w;icick. h wowd Kem u if' only I mindc could Cllonsucnow : Saryajit Ray. a.u.:o ON "

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Of TKl WCI JW4.I

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Clundnppa. MUHC , V,uyu JCl,on. Eb~ , Dubl Dutt,.

SovNo : [)l,llpdu Mitra, Ountion : 100 rain,

Cur : Cbhabl ldwu ( ....._......,. X.,). Padma Dn-i (JI..._..,_, llis-.if,), Pinati Sen Gupta (.8i,a6.u, J,i, . .). C.sngiipadt 1SOIC (.IWi• c-,,,,J,), Tullli Lahiri (T•,..,,.._,..., ## N•~ #' .M..~). Ktli Sarbr {AM--. c..t), Wahcd Khan {U#M Ujir Xl,a), ll.oMwl Kumari (K...,,_ Bo~.

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~ bdonpl IO • f Ola.1¢T101f : St.tytjit Rly. C~TOGLYKY : Svbnta Mii:n, A,:r om.&en(»I : lanai Ow>dngupta. MUMC : Slryajit Jt.ly, ~ : DwaJ Dutta. SoVM> : Dwpdu Mien. 0unoon : 102 min, CMr , Chh>bl a..... (/.._.,. a . ~ . ANI Chana;« ( A,.;J), lww>a aw,;.. (~ ). Aoubh> c;.pu (,._~ Su.bno Seo (- . ,),lodt,ojSiop(To.llo),Alww>daa.,,(Au• *~ AnutMukhc,jofllliooil~,

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T.. 1,,......,...,_l_har a..a.rjee (A.,_ , Apt 8'o>, """"" ~ u.--

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The yea, is 1880. A WWthy young intclkct\.W Bh-upui Dutta liva in Cuuttt and edits ai)d pu.blishct a political ...,cd:ly in Eaglish called 11N SA#IW~ luding to the Degl«t of his scruit.M" at1d vtistk wife CIW\I, who .~ ha long houn of leisure: doing ncedlcwotl and .-..dit,g B«lg,li ...,b. Smslng hk wife's loncli.nda, Bhupca.d dcddd to tend for hb brochcr•in•l•w Umapada (Charu's dckr broche:t) and his wilt Manchkitd. The laucr, Bhupatl feds.. would be adequatir comptny

"'Clwu. 11w: rwo url\« u pb.Med. Umapada usu.mes the: man,,gcr1hip or Dr, Smri,uJ, while M1tldakW----a n.atk, 1111kttcttd ~ t t c r s away by the si&: o(Clwu who rontlnuu with her artisti,c and lituuy pw,ui,s. At ltd. point um'C:S AmaJ to spend a long vaation with btsrowin Bhupati. Amal prow, t0 Ix the pcrfu:.t companion lot Owu. Knowing thlt Ama1 !w a litcruy tWt, Bhupati wggcsts that MW should help Ctwu .-I.th her litttary dfccu, and ~ c whatevtt taknt she might haw in hct. Almo« ~ thout rcahlng k , Chatu It dn.wn MCm and mott towards Amal. Bhuptti tt:ITWns ht mott: concanc:d with U'ltcmational politio dwl with dMm:de probkmt. tnd Cbatu's emotional life rem.aw a clcecd book to hlm. AJ this point. Umapada mu.a away wfth the fundt put at his cfupoul. The thdi b dl:scO'l'Cttd ~up.ad after t rapada's dcpu•

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tutc, and it completely disilhu.oiu him. This b«rtyal or rw it 90t'l'ltthin.g beyond hit wilcbt dreams. He sonowfuUy ttb.t« the incldc.nt to the only man ~ still ~bi:s deat cousia Anul. Amal rcalius .,_;(b a sinking ha.rt that the 'bl!trayal oftNSt• Might apply ~ually to hi, own tt:b.bonshlp 111ith Charu. The wnc ni.glu, Amal lav« a note for his coualn aDd sneab out of the house with his bdongi.r,.gs. His a ~ & ditcCWC'.rcd the following morning, atad only by a wp«mc eWort of will is Ch.uu able to COl'\CC'.al her true fcdingt at Amal'• bcankta action. Hu~ tnd wik go off for t'CIC to a KaSick pbcc. N they sit atad wk on the bach, ll seems u if Owu bu wiped away all lN.t was ldt: of Amal's micinory. But disasttt .«rikcs bntncdiatdy after rcNm ,o Calcutu. A letter from Amal brings back to Charu all the memories that she had bcrn dcspcn.tdy trying to oblitcntt, and she btt:US down ~q,lng. una.watt that hct husband is swding right behind. Bhupad tech under the impact ol thc incredible spcctadc and rwhcs out or the houx, unab&c to hew the m:g.tu ol an Wlfaitbful wife. The end of the film 6ndl Bhupati. ruumi.ng home having tnli.ud that be too l'llust bear ~ of the rcsponslbi.lity fflf" the pt0found tngc,dy tht hu ~ happWII.

wn:d~:M~,hgr}f

UNIVERSITY OF MICHIGAN

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--- 176 S...1YN1T lv.r : AJ.: bm.MATI! MAsnt

Kapurush O Mahapurush Tim COWAllD AND THl! HOLY MAN Pa.ool}(..'SD ff R.D. BINll uid Co. ScwT AMO Ow.cnON : Suyajst kay. 8.t.sl:o ON ntl Two STOt.W jH1Uh /!apw,..,. ga,,·,.; I T ~ Mitrt and 6iri""1i &M IY Puuhllt'lft'I (11.Jjshd.tw Boa:). Cl)(E,l,(A'l'OC'.3AfflY : Subntl Mitra, A.AT OIUCTlOM : BUW Chandragupta. MUS,1C : Satyajit by. EC>mMG : Dul&I Du.na.. Sol.00> : Nripcti PaW, Awl Chattttjtt, Sujit Subr.

Kapurusb CuT : Soutn:im Chattctjcc (..t..W. R..,.), ~ b i Mu.khcrji (brw- 0-pra), Handhan Ban«jc< (BiWM Gwf'A), Dl1raoon : 74 min. On his way to H.»iman (in me: Jal~ diMrict) to coll«t material The ftma" Clwt,tj«

eu-r : Dhrh:iinan Chute:rjcc: { Sil As • (S..,.,~ ,.;,,;).

1ht suddtn death of his father lon:cs s.ddhutba Ouudhuty to gl.w: up bis n:vdk.al stud.ea and look fot a job. &ut Sodiftg a job la 60 e:uy rmncr, for In lpLtt of his obYloua apabilida, Siddhattba bcb the all·iml)orw\t c1c:mc:nt or baaltlg. Al homt, SiddJwtha tw his wkfowcd mother, a youagn tisttt and a )'OWIFf btotbcr. 'Thc slsttr Sutapa bu got a job and is oa tht way to becoming a WiC'Ca&. She might C't'CQ rue oa w tOdal teak b«tiJ:K ofbu good loots and bcr rde:ntlcu ambition.. Bl'OtbttTuou l, a.,ht op lo ood loobd°""' upoo Slddlww for bu coavutlonal attitudes. SiddhM'tha tied, a1knltlCd &om boch of them. Whllc tht dayt for him 1ft one loClg round of boftdom and

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,lmka .. th< ...,.,,.. "" . . . - "" br old eo!kg,c frictldl. One: of them, Adltwb, taka him to a pro.tltuu.

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Slddhanha I, dlsgwttd by the e:ncounccr, and runs away u the: lint "1'9(lftUMY. Thie mne: C'l'Cclng be r:r.ecu kya. • tollcgc girl aod lhc daughter of aft iftcomc•t:u offioc:r. ~ had bt her mother at an catty a&c'·

'The rwo fttl dn,m to each other and mttt 6-eqUtntly. But the tdadol'lflljp is doudcd by Xqa•• wddcn rulludon that her &.thcr I, going to many bu matanal IW"IL It would pulupt haw hdpe:d Md Slddbanha fooftd tbu }ob &M stoOd by her iidc. At a crucW lntcMCW, whlk Wtitin,g to bt ~ . hh ttmpct begins to NC: at th( sp«t:11(.k or bl.ittallCr'Uic callousna.. :lDd in the C'.ftd he: rcachet brw:iftg potRt, gives Ydll to his J)C:l'lt•up rage, and rcftOW'ICC:S the job. He mdl up u a medical ukaman in a ltlAlJ suburban to'llm, a,ny &om the: city and the girl hC' kwa. But :a.t k ut ht b now able to JWM1 oo b1' own fttt.

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UNIVERSITY OF MICHIGAN

182 SAn,.i:rr R.Ar ; A1'l hm .MAn MA.n'Ea.

Seemabaddha COMPANY LIMITl!D hooucm ff ShwshC'.r Ju.ng 8.ahadur bna for Chitr1.0jtlL Sain ANO DtlUCTfON: Sa:ryajit luy. BMED 01" nO: NOYU. OF nil SAME NAM'.f! IY Shanb.r. CtNt.NA.TOG..,.,HY : Soumc:od.u Roy. AU

011.E.CTION : Aihokc Boec. M1.1S1c : Suyajit Ray. EomNG : Dula.I Dutta. Sot.rm> : J.D. ll'UU, Dwpdu Mien. DunOOn : 112 min.

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CAs7 : B...n ChU>Cb (~ - 1 a-,,;,,), Slwmib (S.,,,. . . . . . . . . ., To,nJ), Puomi11 Cb>udhwy "'fl), H........,,., O>anopodbyty (Si,&,,.. Ju),), Hffldhan Boncrj« ( T.,_.w), lndin Roy (~ - 1't ). Pttmod O..guJ; (56J-"'S.,.,_).

Mu a brilliant .:adcmK area in Pama, $hyamaleodu Chatterjee joiN a Britilb conuneraal Mn rrwNf:acturing fua and lamp and qwdJy riKI to the poaitioo of $ales Manager. J.ivina in a hmiriom &t in Calcutta ""1th his wile Oolan., ~ DOW k>c)b forwaid to Khiic'ving ha uldnutc aim : to become a Director or Hinduscan·fdcn Ltd. Oolao'• )'OWIIU tuter Sud&nlwu comes to tpend 2 ho,liday in Cslcutta. A, a teenager in Patna. SudanJwu had ha.rboumt a tcact tdmintioa for Cbattujce &t me time her ddcr lister p muricd to him. 11lif dtrk. in Cakum., thil ·admintion bcpu to devdop into tOCnedling ft'IICft acrioua. Ker &.dnp are ru:iproc.ated by ON Jl,;.y's OWN NOVEL OF nu SAME NA,!,(£. CtmMATOOMM-fl' : Sou.mn)du Roy. Ak.r DUJlCTtON : Asholic Bok:, Mu:Slc : Sacyajit l\ay. EDmNG : O\alal Oum. Soot,,-o : J.D. ltanl, Mil Talukdu. .Du.noon : 11s mio.

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Cur : Soumltn Olattcrjcc: (~Min#.,..,_ ., Ftl• ). Sa.ntolh Dutta (Ltl. .ft C.-.,.Ji ...... IU, . , . , .) , $iddJwtba Chatterjee ( r,,_), Xuihal Ow:nbnrd ( j/Jfhl!»..-),Suk-.n MulM,jcc (Dr. H,_.. HAN), Ajoy &nc:rjcc (A.• i,,_..... _,.,.....),Xamu M.w.hcrJcc (M..ft4M &.), Santanu ~ (M.bJ 2), Harindnttath Chairopadbyay ( u,.cJe S,,,U,.), Swm Sa,t,ar (,S,uU,,;, M.u.J,, /...,.,, Shiuli Muthajc,c (M-.hl's _..,.,, Handhan Saocrjcc: (T•pd''i fotlkr), Rd .1u Chmc:,j,cc (T•,aln .ao,.,,_), AJhokc Mul.hc:tjc:e U•,,,..JUI}, Bernal Clvru:tjcc: (A.l-..u). 1,/,tm ..,.._.,

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Mubl, the: Ill yc:ar old son uf Sudhir Dhar, fflOWI sip uf having memories I ~ous l:,inh. He: k.ec:ps alting &nd dnwinf pictures ol a place with peacocks. camc:ls &nd a 'p)Wc:n fortrca•. Panpsy· cholopt Or Kun cuminc:s the: boy and IUl'fflDCI ch.at t;hc place: may be IOfflCWhc:re in wc:su:m ~th.an. I-le: oflm co talc: Mukul to Jodhpw" to begin I scum for tbc JQkkn (on:ms. One: d,y bcfotc lhc:ir dc:pamltc:, Mukul U intt:mc:wed by a jou.malilt:. Among other d\inp, Mubl alb of having seen pfCOOUl jewdt '1l the hoUk 'ttnl(fl; be ,... bom, The: jouma.liat dlii into • hidden ~ ttoey .tlkb coma Ol.lt in tbc ptpc:n me: nc:n d,y. Two uoob., 8unnan and read the tto,y, and Kt out tor Jodhj,u,"" .... day .. d>< hop< of&oding d>< ........,, Man....tillc:, cw.nts haw led Slldhir to Swpc:,ct that hit ,on tnlY be: in danger. He: enlists the aid of private dctea:lvc Fdu (PndOffl) Mirttz. Fctu and his cousin Tapob kavc for Jodhpur a day tncr the: dc:puturc: Boec: and Burman. ~ rwo croob mamgc to dispok of Hun, win M.u.tul'• tnltt,

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and continue on their journey to Jodbf,ur. Arriving i.n Jodhpw, Fdu and Tapc:ah dllCd: iD at the Circuit Home where DI' Hun ii tupposc:d ro be: su,yi,ng, Or Hun Q now being impc:noN,ted by Bunna.n. whiJc: BOK bu ..wt'l('d the fok of a gk,bc troncr. Fclu pn:ac:ntl himldt to Bwman•Hun, who n:aliza thu hi, wk is noc png to be: a,n Qdf one. Mubd kc:c:p rtjc:co.ng fort after fort, and fflOWl tigi,t ofbc:lt'lditn qiwtc-ts. Chinn, the pimp-cwn-durwtn, ub them to wait fot • ocw girl, JuthikL Miner has an ~ t and laws Socna.uh to Md lbt himKlf. Juthlb uriYd. She is .Karun.a, the slsttt ol Somnath•• do.at 6iicnd. Somna.th rcrogn1u, be:t and dcd dt1 to drop the whole thin&, But lwu.oa studhltly ttfuscs to ~ him Uld keeps ltwsdng that the is Juthlb. Somtwh b left with M choke: but to tut her to the hotd and hand her cwu to Coe:ili.

Original from

UNIVERSITY OF MICHIGAN

-------·- -- - ----- -- - - .. ____ - 186 SA1YAJIT R.A.r : M INTI.MATE M.,,.nu.

Shatranj Ke KhilacJi 11fl! CHBSS PLAYllllS hooucm n SW'ab Jindal (DcYu:i Cbhn). ScW'T AHI> Dtucnott : Satyajtt Ray. 8AS£D ON Tm STOU OF nfl SMIS N.\M! IT Mwuhi frctnclwul. Art otUCTlO)I : Bansi Chaodragupta. As$0CIATE Au DIUCTOa : Ashob Bose. CtN£.MATOOMfHY : Soumcndu Aoy. Musac : Saryajit Ray. El)ffflf(j : Oubl Dutta. Soll'friO : Narindcr Stngh. Dundon : 113 min.

Saryajtl lby, Shima Zaidi, Javed s.ddiqL Cosruia.s : Shama Zaidt SoNG:S SUNG n : ~ Muhuri. Birju Maharaj, Cahttta Youth CbOtt. DANCE OIUCrot.: 8itju Malunj. DANCES PEI.F01MED 11Y Suwati Seo. QiQnjall. K#r.bU Balkt Troupe_ , New Dclhi. N.u.MnoN : Amitabh

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CMr , S..j«v Kw= (J,I;,.. S.jju AJ.), s-d J.aiq, ( Mi, 11.w• AJ.), Amj,d IOw, ( W•fol All SW), l\ldwd Alttnboclopmfflt Cotpontion of India. Scun M"»

DwlcnoN : Sttytjlt

&ay. &sl:o ON A NCWlL. Of na SAM! M,\M£ n lu.bindnN.tb TagoR, lt.J.T OlllCTlO.'f : A,,bot,c Bow. ~TOOM.nrJ : Sou.mffidu: Roy. Muuc : Saryajit Ray, Eomwo: DulaJ Oum. SoUNO : lt.obia Scngupt1. Duration : 140 min,

Cur : Sownitra Cbutcrjcc (S..p), Victot luctj« (NaJ,ilo6), Swtitikt.M Chanctj« (A..t.), Gopa Akh ( NWtiuJJ,', ~ . J . •). Juutlkr (Mw G~, E,vliJI, _ , M>noj Miln (Huul-=), lodnp""'1, 1'DY ( A...,,.). Bim~ a..,mj« (K.....).

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ln 1905, pursuing lhc colonial policy olDI-Ade and ltwc, die Vkcroy of llldia, Lord Cu.non., pr'Ol)OKS spllttitlg U9 Bc.ngaJ into rwo kJ)Ul.lt ~

WUu.

Curzon's pot;ey is viok:ntly oppo.cd by a larg< s«tkm ol chc middkdus intdlltc:ntsu, giviftg rlK to wldaprnd tm'OnSt actMry &Del boycott or British goods. ~ Mukhcrjtc, I k:adu of thil poU.dcal fflO'mrlent, coma to Subayv, the- country csutc of his &ictld Nikhilab Chaudhwy, to ,pttad bis gospt.l. Nithiksh. a man of modem liberal views., is k«o tbu his "'4k &imab shouJd come out of orthodoi ,cdwi,on and mix ._;th his &imd. litiwa tm railkd this !or a long tinK, but ~cs at bst tO

..... s.od;p. Bimili is s--. make $ uksayar his «run of pc)litical activity, staying u .a guest in N"ahilah 's house. Although Nikhilcsh is a stem aibl; of Cunon"s policy, he bd~cs that the t>c,,con mOYCmc:nt can only hum the p0QI' people, since

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thctt arc: oo-adcquatt Indian subcdtutcs for thc fumgn goods which UC beU'l3 boycoc.ttd. &ndip curia on ha .,olltical acthidcs in dt6ana: o( Nil:hiloh•.s~ . while Blmala's ffllodonal invoh-c:micnt g,uws deeper by the d,y. Na.hllcsh rcalius that his wife has fallen in love with Sandip, and the polmal situation is becoming more and more tcnsic. He can force Sandip to kave-in &.ct, be bows that Mndip is ka a true patriot than I man driw:n by the lwt b powa--but be. n:alluJ tbu it wouldn't bring him dOK:r to his witt: who tw yet to Stt through Sandip's shim. Only -it the bst moment docs Binub. rcaliu: dut her in&twtion bu b«n with I ITWI whose only concern is xlf.poriSadon. She rejects San.dip and goes bad: to hu husbmd wbo lorgi"¥U her. But it is too btc. Communal rioC" hu broken out. Sandip run1 away co SIXcy. Nikhilcsh rides off into the night tQ faoc the hostile mob . • .

Origioal from

UNIVERSITY OF MICHIGAN

190 SJ.nAJrr RAY : ~ hm.M..-.Tl! MAsru

Ganashatru AN BNl!MY OP TIil! PBOPLB

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r.ooucm tY" Nadotlal Film Dn-ctopmc:,u Cotpondon of India, Scain AND Saryajlt Ray. BAsro oo,, na; PLAY", A .. ~ , oft/,,~. by Hu1rik lbkn. An DIJ.2C'Jl0t,f : Ashoh Bc:»e. Cn.tENATOClaAIHY : Sou.mcl\du Roy. MUSIC : ~ j k lby. EnmNo : DuW Oum. Souwo : Sujlt Subr. Oumioft : 100 min.

c-..n : Sownitn Cbancrjec (Dr AllNlll C.,-.), Rwm Cuba 1lukwu {ltl•,-. 1nl .;ft). Manuu Sbanbr (J..Jn"4 J,is .U-.pM'), Ohntiman Ounajcc (N'uWdr). OipuLbr Dey (H • l'WU a...,rm), Subhendu Chattajcc (Bid), Manoj Mltn. (A6'r), Bhisfum Guha Thahuu { Jt-m lh.UM), lbjaram Yagnlk (Bh,.,..,•), Sa.tya Baocrjcc {M-,...), Gobmda Mul:.bcrjcit {C........). The IKll'Y uk.ct pbcc in a .smaD wwn in Wen Bengal ea1lcd Cbuidipur which n::gubrly dn.....s a large number or vlsitan fot its healthy climate md for the rcttndy built temple ofTrlpu.tuhwu ..-hlch is considcttd

., "' pu,xuluty boly. Dr As.Id Gupa., 1 pbysidan wholly dcdicatitd to his probaion, ctisa.witn dat cues or jl.Unditt, typho.d 111d otha wam•bomc di$C.lKS have suddenly m.adc their ~ in ~ . He abO diK:O\'Cn thlt thc cues uc octwTmg m0ildy in the un wbcff: thc

mnpkstands, Hitscnch1 ~pkolttl(: wattr ba.aalym. The: rc:pon l'C'YCaJs d\at the water is full ol bacttna. Or G1.ipu., who i$ an a.g,,graphical bric( to captu.tc the ric..b, mu.lWICCtcd dcw:lopmc:nt of the anist u Y.Titcr_, ptlntC'r, composcr~ the

conscience of his t i t n ~ g u a puaioaatc bumllliff to the changing hisrofy, the co,uu1y'& ,wgglc ~ independence and .ocial c.h&ngc:., a.nd the crisia in dviliz.ation, the th 0ll.lC'ft(),W : ~~j t luy. CINf..MATOCLUffY : Soumcndu Roy. MUSIC: Satra.iit R.y. EDtT01. : OuW Dutta. $1.)vNo: AmulyJ; Du. Dundon : Sl min. (approx.). A dOk look 1t tbc: cu.ltw'll vlriec:y and rkhne.5& of Silli.m, ~ 61m 1w ~ r h•d pub6c: ci:posun: llld remtiiu banned in In : S,P. Ratnanathah, Su.jit Smar, Otrid. Ouratioo : 33 min, •A tall girl wi!h long limt. and a. round &cc doing a kind of dantt I bad~ IC'Cl'l be~. The )"tf WU 1935, and the: occa$ion wu the All•Bc:ng,J MUSK C:.,nfmncc. I remember the applause ~ 1Pff1Cd 8.aluuuwui's fint puforma.nc:c CYtt of Bhvawwyam-in

Calcutta. I ,.._ I Khoolboy then. 'It didn't ta):c long afbcr- bu c.kutb pcm:,rmantt for Bab t0 tum int0 a kgmdary figure In Indian O&Mic:al dancing, ~ my &ic::Dd Or Nan,yana MfflOn Wed me to ma.kc a short film on B ~ r l . I wu delighted. Although I clidn't &l'lcy my,df u t. rnak,c;r ol doc;umenwi«, 1 &:k ~wtlicht \ ' t ~rc,cn-c the

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was wprcmc l.n bc:r fidd ,r,;u WOfth rmkl:ng. '& ~ droYic: to Bala'• hcNrc, l fdt • nringc ofrcgm: 1t ba'lng miaed hu in her prime. 1 consoled my,df with the thought that Bu 6lmcd t.t fifty-eight wu bcnu than 8ala. noc being 6.lmcd u t.11. The: rtpl pracoce that confronted usu: Wf: croued the thruhokl o(h,cr hoUIC took my brcu.h away. Face to &cc with b«, I kit a &ah turg"C of cothwi.-m b the: 61m. J told &la dut the e-.uty part o{ ~ film wuuld atttmpc to tnc:c her ca.rca- with the hdp of pbotognptu., DCWSpapct dipptn.p tl)d the like. I also -.;shed to iocludc a few ut of IOffleOC'IC who

glisnptes o{ Bala at ho~ riginal from

UNIVERSITY OF MICHIGAN

F"'"'6""phy 195 'lbc hippoint of my experience was., o( coww. the lhooting o( the: musical llfflll. We had dcddcd to iooudc twO: a,..._ to cUspby bu mime 111d her sitlgin,g. and • ,.,,... t0 f'C\.'W thc ND n.n.ge of her dancing. In filming the ..,,... I bad the cnnordin.ary ci9o nying to undcmand, in coovc:n.arion with M

gnndhth«, the meaning of 'coronary thrombo,;i$', to!Jo.,-ed by a wained bit of 1duJ«:n>1U lovemaking b«wcc:o Im mochcr and her unsyrnpubetic lover, and dOICI with Pil.oo 6.nding his gnndfith« dead &om a '"°od hun •cu.cl. M hand left touching the switch of the callint bell that he had failed to press!

Sadgati DBUVBllANCB Ptooucm n Ooordtnha.o. Scl.!PT A.NO Dl:IJ!CnOl,I : Satyajit Ray. &s6o ot>i nu sroa.r o, nm at Mu.nsbi ~inc:.h&tld. A,:r t>IMC1"IOC'i : .Nhoke Bok. CtHU&ATOOIW'H.T : Soumendu !toy. Moste : Satyajit Ray. Et>nn,o : Du.la! Dutta. SotJNO : AmW)'* Du. Dw-aoon : S2 min.

SAM£ NNa:

Cur : Om Puri (D,,il,i 0..-..r),Scnita Pull U,,.,_., D,,.Ui~ W~). Mobatl Ag:uhc ( Gkfi,ww), Richa Mishra (DNllil' .o._,.,,,.), Git1 Siddhartb (Ll.blM.l,

Qu,.,._., ..P), lhalplal Hedau (Th Gou).

nil &hon fi:uurc c:on«:1111 a day la the Wt of a villager or the Wltoue:habk cute Du.W, who C:Offlea to ult the village Brahtnln prim. Ctwin.m to come to bk bOUIC: to 6x an 11U$pi,ciou, date for bis daugbur'• ll'Wmg'C. 1bc pciat agrees but maka Dukhi pctfonn

D1glt1ze;,,

FaNfffilaM Sca.uNn..\T AND MUSIC

6nN ti. .., Du. (Prod. Gowm.mcnt of Wat Ba,,gal.) ffuuodlw, lhogupta. 19711 M IJSIC

...,_ 11,uW (Du. Nliyuw,da Dura) 1965 F • ~ (Dir, $andip Ray) 19'11 S.,,.ft/ R,,y , _ _ (U Shon &Im, m>d< I\,, - ~ ) 19'1S-86 s.,,.,;;, R,,y hnno• 2 (3 Shon 61w mod< I< 19'86•87

8""1 ~ - 1967 D , , ~ , Hi...i.,-. ,._.,,_Du. &n.l Clw>dngupca. Pn>d. Gnphk Doo;a,nc:nca,ria, 1974 C ~ r Mtul. Dir. 1bNi Chandngupa. 1970 H_. ,-., J:,lna !).a. Dir. Tony Mqa'. 1969

Mus,c ~ (Du. I""" l""Y) 1965 C.,, ...... ,.;,_, El, (IN. S-0,, R,y) 1991

Tibl Bo,J. Dit. Vtjayt Muby. Nu Mwll,r,, Dir. J~ Thid. 1973

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Cli- ,f w... Bn,p, Du.

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AdvutiaanmtFllma

Docama,uria

ScaJwouy 7lr, S.,,fT.,. SIMJ(Madc: oa chc occuion oftht Goldc:o Jubil« ofTm. Iron aod Steel Company), Dir. HtNadhan Dugupta. 1961

Ow cwu... .m-

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Du. H,ri,,dl,an Ouppta.

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A P,rfra D.1 (Made b

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National Tobilcco Co.) Dir. Harisad.twl

1948

Musoc (b,m fo, H- (M>do f0< Sondo• L Oug,,pta,

1967

Original from

UNIVERSITY OF MICHIGAN

Fil.._1", 11>7 TELl!PILMS PIU!SBNTBD BY IIAY SATYAJIT RAY P&ESEm'S : SERIES ON£, 1985•36 (in Hindi), Dirtcud by SA.H0tP IA, SM,t;' (&om Jt.ay•, .&ink-&k), SlllriliMrw• (&om lby'• l#pi"· ,W.,S--•), -(&om ..y',J1Wu),S.....,(&om1'ay'• s.,a." ...,.,. S....W.), BnlMlt(&om lay'•..,.), ~ (&om ..,., Wll"" Snolw), a,,,, Fri,,,.I c&om ..,.., a..

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E'ri,,w{J,/Hi(&om ..,.,/""),Hoa; &i"'1, (Original Ktt . -(&om""""""' by Nvrk (Crut Master) on 17 Matdl 1992. Originally directed by Bibhas Ownbuty. it was mised for me lartt tdecaM by Ahhiir Dasgupta. who incorporated v, ex~ C~ ~~ ~ '"'+ll>tllotll.. ~•1-«

Ftt\,

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.'lfii ;aAlaal),p0 ,....., ~ , 'lfii .,_ """'· 'lfii _,.""" "'""' .. - ~ _ , 'IRl1 'If'~ 1'wot,Poto "'1ll "'""""" ""~"'ltct~f< 'lfiiI •oc,lll~nqUieror in all bis p:Ky. fou Mt1: pmytd yaundfWl:IIM1, me! mack your NCM btld worthy too. 0 amll m"Crcd by tht •'Ofld. you an: ow &Youritc. Ow NklDOOm m

'°"'

1br. ~ to Jdf•aprtSIK)Q by m0Clmbucd .;th otisr.acks in coll:lnAI lndil. The .-ay iu opm in indq,mdcnl hldia tociar• You tool )'llW' ,.,.,.ft#, a -.al of rich with a litcnTJ fbTovr, olloag Iii• nc-t)-0ptnc:d way to the .cat ofju,dgma:u oltbt Wac. A Wat, at,,ud,,e:d"' itd', ~ t h e ~ ofli& th.t an lndi,. gb)wtg ill it, ~ l of ..:rlfn, nunutet 1n the mldsl of lht tKgkOlck Golda> Lowd, lkdin 19ea>I A - Cypn,, 191W,

Bat Diru:tihy, N,w Ddhl 1977.

n,.H-,•u•wm,1 I 2

Ganashatru

Joi Baba Fdunath

A•B-1 ef*lwtl-

a... lkog,li film, N 1970. , ~ , P,,,fo,,,, Sioob O lWw F 1968), Pnfo- - 0 KMJ,,U,i....,, C..W(S......, M.,y 1969), P,oft,- S6oi.b O Jt..lt•-. ~ (Slut.lkJ,, May uid JW1c 1968). Pt./uw.st-.l• 0(;.,;J/,a(S-.., Autwnn 1969), ,rt,wf..., s-..t, 0 ByHil--.r Um ( $-Wal!,~ and April 1970))

c- .

SW..O""ft-Sioob(Bn,o ,,,_Sbonku~ Anond, ........,,, C.ku«> 1974.

(Containing : As4m,,.. h••m

cs..,,,.,

AuNmn l97J),

s...,-,-,cs...,,,., M>)' ond 1... 1971 ), "'"" A...,,.(- , May 1M J\IDC 1972), Qrnl (A.,u;...t..,.:., Aununn 1972), Dr.

~..,. s-...-,; ( - - AuNIM 1974))

(Shoolw u, O..p Pm!). """"1o Pl>bli'1>< Onng< P~arl) (S.""'-", Autumn Sp«ial 1989), ~ ' 9 Pd.a (Fdu•da In Londoo) ( CW, AuNffln SPtTAaDS ,01. I>ocvJGHT,AJ,lQ

UNESCO a,.,;,,.. 1969. &printed

s..t-:~~ ~ J~liahcd lot ""'11:~ WO ~ bbu>dn

Sadan Grounds. Cakuma, 16-20, December, 1987, under the au,pi(a ol the Prinu,ry Dcpa,rtrncnr, Patha 8hann. Cakun:a with Ray u Ouirman ol «he tw~&i com.m:ittt:c•

UNIVERSITY OF MICHIGAN

3 WRITINGS ON CINEMA AND MISCELUNEOUS 3,1

WU11NGS ON CJmMA : IN BBHG.W. OIJGDtAL

1Ji""1 ~ • (Th< Subject o! Cinoma). Ao.u>da Publilll1GAU 'Nemal Ghoiic.' ~ . vol.22, n0$.

3➔4,

1987. Rtprinticd in

~ . 1 9 9 3.

4 TRANSLATIONS BY MY IN £t,,(;wH

TiMn of /,u/.ia Sunday Review, l9 September 1982.

Sukumar Ray, NOfl#NI IU,p,us. Wrlttrs Worbhop, Calcutta 1970 (In a lltnl.tcd edition oflOO oopics]. Rqrlnttd by Thom~ Inter Cultutc ASlodata, 1975. "Th, 0wy of Pro(. H""-m ~~;iid.o

s-...,..

w...,. s.-.,.

Publlihffl., Calcutta 197f. S.tMUI,, Children', periodical, Cakuttl. WKhSubhu Mul.:hopadhyay (M,y 1961-April 1962), I.Jb M>j....w(M,y 1963-M,y 1992). and Na.lini Ou (M.a,y 1975-May 1992), Sm (The Ba, of 5'ndab) (1, - , lknpJ; conupooding to 1961- 1980). A.oandl Publitbcn, C&laltu. 1981. A.cilltrrfflJ' Aa,-( A C.OogreptiOA of,Spo,ob). With Uh Majw:ndar Uld Nalini Du. New Script. Caki.atta 1991. S.nu ~ (.Entc:n::ainiag Mym:riet), With Lila MaijlUOdar Ind

""°""•

Nalinl Du. New

Sc:rvt. Calcutta 1991.

7 AUTOBIOGRAPHICAL WORX IN BENGALI T ~ ~ • 1 .,.. link), """'"' Publiih.u and UFO'), illwcnted by Abh.ijit Chanopadhpy. Anand.a Publilhcn., Calcutta 1996, P,,,fa,,w SioMb, C..,,. ,U/,ijb Shoo>.u', Coog £xi>I

x,,.,,,._;,...,,.. T,.... Yog 13NIVERSITY OF MICHIGAN

c;,.,,... :

~•#7 Roy Arma, 'Suyajit Ray ; vtrick London, August 1982. Andrew RobiNon, 'The inner ~ . Od

-boy.°"""''- ~ tJ!?'\.:, oog Le

lntcnicwcd by Pet« Cugin and Bc:nwd Cobti.,

1-li/. Par.,

Jaouuy 1970. l a ~ by Folke IAkaon., S.,, •"" S.-.., Londoa, Summer

19'70. lnta'Yicw"111 by Surah kJ:>lili, Fu.,.f•rr. Bombsy, 5 Jl,lllC 1970. to""""""1 byctuw,n Bn,dThomoa> (moiolyoo O.:,,,u N'.....

;,, ... ,.,.,,, n, ,u.,,..,...i c-,-,u..;,J). s,,i,'" S..u,

Wuttct 1971-72. J . n ~ by Casron Robcrg'C, on $crvnniting.. Occcmbcr 1973. lma,:.-1 by John Hofi!mi;,1,/,' ,'i~ ~ Sq,tcmbu--Oaob< 1911. lntcM