SATYAJIT RAY
Recollections of a phenomenal filmmaker of our times-
Part II:
‘Charulata’ - as a path-breaker
(May 2, 1921 to April 23, 1992)
Sunalie RATNAYAKE
Satyajit Ray
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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 p erception in life’s entities,
especially in aspects of individuality, Ray too had his personal
favourite amongst his creations, which was the film Charulata (The
Lonely Wife). This was another film he took steps in defending, when
criticized.
Nevertheless, Charulata, by many a critic was regarded Ray's most
accomplished film, based on the short story Nastanirh (The Broken Nest)
by Tagore. Madhabi Mukherjee's performance as Charu, 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.
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.
Views on filmed plays of Shakespeare
Per Ray’s view, in aspects of filmed plays of Shakespeare, whatever
the achievements may have been of Lawrence Olivier, in terms of his
adaptations, Ray could never accept Olivier's Shakespeare films as
filmic. 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’s eye. In due course,
Kozintsev was named the People’s Artist of the USSR in 1964.
A simple man, who did not believe in erecting walls
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.
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 - simplicity. 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.
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 common touch, 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’s realities. Realities that traveled constrained
peripheries.
Now, even following two decades of his absence from the nightly sky,
Ray’s 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.
As mentioned before, Ray’s lineage, which could be traced up to at
least ten generations, proves to be a family-unit, well established in
the business of publishing, as well as all other features surrounding a
publication, that are writing, illustrating and philosophy, to name a
few.
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
advertising 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.
Ray always believed that it was an act of stupidity 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.
Happy birthday Mr. Ray! The indebted earth shall certainly miss you!
Concluded
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