I admire Satyajit Ray immensely. Not only for his keen understanding of human nature and his ability to interpret that in a meaningful, restrained and memorable way, but also for so much more: his intelligence, his eye for detail, his artistic ability. And, up there with all the rest of these qualities, his versatility. Several people have called him a ‘Renaissance Man’, and I agree completely: this man was a fine director, as well as a great writer, artist, costume designer, font designer- and so much else.
And he was versatile even in the world of cinema itself. For those who equate Ray only with ‘art’ films, works like Chiriakhana, Shonar Kella, Joy Baba Felunath and Goopy Gyne Bagha Byne may come as a surprise: but to me, at least, they constitute a happy surprise. Different from Jalsaghar or Charulata (or so many other films of Ray’s) but in their own way, manifestations of Ray’s genius. Comedy, whodunnit, adventure: Ray could do it all, and do it well.
Or romantic comedy. While Ray did not direct Baksa Badal (his assistant Nityanand Datta did), he wrote the screenplay for this delightfully romantic comedy about two people whose identical suitcases get switched, and what that switch leads to. (Ray also composed the music for Baksa Badal).
Note: The original story of Baksa Badal was a short story by Bibhutibhushan Bandyopadhyay. You can read an English translation of it here.
Kapurush O Mahapurush (The Coward and The Holy Man) isn’t one film, even though these two short films—each just over an hour long—were released together, as a sort of ‘combined pack’. Unlike Satyajit Ray’s other well-known set of short stories-clubbed-together film, Teen Kanya, the two component stories of KapurushOMahapurush have barely anything in common (except possibly a central male character who drives—or does not drive—the story). I watched these two short films one after the other and thought of writing separate reviews for each—then decided that they’re best reviewed the way I saw them. Together, one after the other.
This Satyajit Ray film had been lying in my to-watch pile for a long time. Then, I learnt a few days back that the Indian government had finally decided to award a Dadasaheb Phalke to Soumitra Chatterjee for his contribution to Indian cinema. Better late than never, I guess (even though a number of people have said that it’s too late). The announcement, however, did give me a solid reason to watch Charulata (aka The Lonely Wife). And I ended up wanting to hit myself for not having seen this masterpiece earlier.
Sharmi has been reviewing one brilliant Bengali film after the other over at her blog. I ended up begging her to slow down, because I can’t possibly keep pace when it comes to obtaining—with subtitles, mind you—and watching so many great films. So what do I do? I watch and review a Bengali film of my own.
Chiriakhana (‘The Zoo’) is based on the famous crime novel of the same name by Saradindu Bandopadhyay. It features the detective Byomkesh Bakshi (which those of you who watched Doordarshan during the early 1990’s might remember from the superb TV series starring Rajit Kapur). The film was directed by Satyajit Ray, and though most feel that this is Ray’s worst film, it isn’t as bad as all that. It even won Ray a Golden Lotus at the National Film Awards.