Did he encash Indian poverty?

 

Believe me, the reason for my today's blog is my granddaughter Prajna, aged just 7 years, who has produced the above cartoon to celebrate the birth centenary of Satyajit Ray, arguably the greatest film personality from India!

Bengal and India lost their way in celebrating Ray's birth centenary on 2nd May 2021 early this month, as they were drowned in the deluge of Covid-19 and Bengal election results, on that day. 

While most critics all over the world hailed Bharat Ratna Satyajit Ray as a great film personality of his times, a few criticized him for encashing 'Indian poverty,' for finding an easy road towards glory! Even a great film personality of his times, Nargis Dutt criticized Ray for glorifying Indian poverty instead of focusing on modern India. 

During 1971-72, when I was studying in I year B.Sc., I studied Pather Panchali as a Kannada text.  When Ray made his debut film based on this story, written by Bhibuthibushan Bandopadhyaya, during 1955, the film had created history. The story revolves around the boy Apu, his elder sister Durga and his mother Sarbajoya in impoverished rural Bengal.  The story is very much similar to the famous Kannada novel 'Gruhabhanga,' written by Sri.S.L.Bhyrappa.  The music for the film was scored by Pandit Ravishankar. Critics have praised the film for its realism, humanity and soul-stirring moments. Others have criticized it for its slow pace and romanticizing of poverty!  Many opine that the film received international fame and awards because it had projected India in poor light, highlighting its poverty. The run away success of the film inspired Ray to produce two more films soon based on 'Apu's life by names Aparajito and Apur sansar, completing the 'Apu triology.'

I personally feel that the criticism on Ray is harsh.  Ray was a multi-faceted personality and he produced 36 films mirroring various facets of life, other than poverty. In this context, I would like to mention about two of his hit films 'Mahanagar and Charulata' produced during 1960s.

Film Mahanagar highlighted the struggle of middle class for better life in a big city like Calcutta.  Its heroine (left), comes out on her own to take up a job for supplementing his husband's income.  When her husband loses his job, she becomes the sole breadwinner for the family, leading to 'Abhimaan' type of conflict, between husband and the wife. Film Charulata is also a film highlighting the cause of woman!  Its heroine (right) is encouraged by her husband to take up writing for which, her guide happens to be a third person. Through her literary journey, she falls in love with her guide, leading to triangular conflict.

Ray made a late entry into Mumbai film world too with the film 'Shatranj Ke Kilari,' starring Sanjeev Kumar and Amjad Khan.  Somehow Bollywood was not his forte, whereas his contemporaries like Hrishikesh Mukherjee ('Anand' fame) and Basu Chaterjee ('Rajnigandha' fame) made a great impact there.

Ray was a rare personality, who was a visionary. Somehow he has remained silent towards the key events of his prime time, like the '1962 war, 1971 war and the influx of refugees from East Bengal and the emergency of 1975.' Probably he has not made films on those themes, as it would have dented his image which was built towards the 'left of center!' No doubt, he made a political satire, 'Hirak Rajar Deshe,' little after emergency.  But critics have remarked that he was half hearted in confronting with the real issues. 

But nothing can bring down Ray's glory, as the founder of parallel cinema on the Indian panorama. As the 'father of Indian art movies,' he has shown the way for a generation of film personalities to make their mark in the international arena. Satyajit's 'ray' is bound to keep shining for ever!

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