Gulte Special: 100 years of Satyajit Ray Published by GulteDesk May 02, 2021
“We all need to see the films of Satyajit Ray and re-see them, again and again. Taken all together, they’re one of our greatest treasures.” –
Martin Scorsese
“Not to have seen Ray’s films is like living without seeing the sun or the moon.” –
Akira Kurosawa.
These words of the eminent world-class filmmakers prove what a genius Satyajit Ray is. He is the first filmmaker from India who had influenced the cinematic world with his films. Today marks the birth centenary of Satyajit Ray. On this occasion, Gulte celebrates the works of the legendary filmmaker who ignited the passion called cinema in many, over the decades.
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“Read it again. I’m sending you a copy.”
I used to live on Grey Street Extension in Hatibagan, which was where Manik-da sent me the book. I read it once more; then Manik-da sent for me to read the script to me. It didn’t, however, spell out the last scene. “How will the film end?” I asked. “I’ll tell you later,” he said.
But he didn’t. When we went directly to shoot the final scene, we performed the way Manik-da instructed us to. Shailen-babu held out his hand, and I held out mine. “There must be a small gap,” Manik-da said. “Your hands mustn’t touch.” That was how it was.
Satyajit Ray s Devi : When It Was Still Possible To Interrogate the Primacy of Faith
Two Satyajit Ray films made 20 years apart present searing critiques of the privileging of insular religiosity over humanity. Can we hope to see such films being made in India today?
Sharmila Tagore in Debi. Photo: Satyajit Ray Productions
Devi, 1960 and
Ganashatru, 1990) and one short made for television (
Sadgati, 1981) â Satyajit Ray examines the intersection and overlap of unreasoning, blind faith and crushing superstition. There is a fourth film foregrounding the same theme, at any rate elements of the same theme: I am referring here to
Mahapurush, one of the two segments making up the 1965 movie
Shikha Mukerjee | Revisiting the legend @100: Ray’s iconic role to endure
Published : May 2, 2021, 12:20 am IST
Updated : May 2, 2021, 12:20 am IST
Ray did not start out as a filmmaker with an agenda. He was a storyteller. But he responded to the shifts and changes in the world at large
In the Bengali perception, Ray was an icon; his work was quintessentially Bengali, but his contribution was recognised as India’s gift to world cinema.
Cultural power surpasses the transient aggregation of political heft in West Bengal. In the natural order of things, there is a rise and a fall of political leaders and political parties, and power waxes and wanes in proportion to the will exercised by the people as voters. Ousting a cultural icon from his, and more rarely her, space in the pantheon of secular deities is an entirely different matter; it has not happened in recent memory.