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It’s time we had our next Satyajit Ray

Cannes 2022 screened the restored ‘Pratidwandi’. At home, Satyajit Ray's birth centenary celebrations are symptomatic of our obsession with cultural hero-worship, binaries and hyperboles.

May 28, 2022 / 20:51 IST
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Satyajit Ray during a recording for 'Pather Panchali'. (Image: Wikimedia commons)

Satyajit Ray would have been 101 this May. And India, particularly Bengal, is busy celebrating, commemorating, coveting and yearning. He died 30 years ago, and every milestone related to his birth or death gets similar exaltations. Especially in Kolkata, the city where he thrived, Ray is a cultural edifice that can’t be questioned or ignored.

There are wild rumours about how the camera with which Ray shot Pather Panchali (1955), a bulky Mitchell 35-mm, still enraptures the city’s aspiring filmmaking talents. Just like Tagore, Amartya Sen or Sourav Ganguly can do no wrong, Ray is the cultural monolith that most likely wouldn’t have flattered him—a gifted man who persevered, his isolation from filmmaking cultures of India at the time he thrived, the '50s, '60s and '70s, was a result of his shrewd understanding of the freedom and material that Bengal could give him. Most of the films are adaptations of some sublime Bengali literary texts.

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Just this month, a statue was inaugurated at the Satyajit Ray Film and Television Institute (SRFTI); the National Film Development Corporation (NFDC) organised a two-day festivals of his films in Pune from May 2 to May 4; another similar festival was organised in Mumbai at the same time; SRFTI organised a short-film competition for filmmakers from India as well as the world around the theme of “realism”,  because, well, Ray was a “realist”?; activities for schoolchildren related to Ray’s work took place last month in Kolkata; Anik Dutta’s verbose, stagey and self-reflexive film Aparajito about the who’s and when’s of making Pather Panchali released in theatres in select cities across India.

The centenary is the excuse his fans need—the encomiums and the reverence is more intense than ever before. Perhaps that has a lot to do with how the Bengali cinema landscape has emerged in the past few years. A standout name in Bengali cinema, which has travelled outside of Bengal, is rare these days. Ray worship somehow keeps the salve over cultural mediocrity that exists in the Bengali filmmaking spectrum.