On his 100th birth anniversary, here’s revisiting the films of Satyajit Ray that stand relevant and, more so special, three decades after his death.
2021 is a momentous year for us cinephiles as it marks the birth centenary of the great SatyajitRay. The son of great Bengali poetSukumarRay,SatyajitRay was one ofthe pioneersof the Indian Parallel Cinema Movement. Along with his contemporaries likeRitwikGhatak,MrinalSen One of the giants of world cinema,Japanese filmmaker Akira Kurosawa once said,“Not to have seen the cinema of Ray means existing in the world without seeing the sun or the moon.” On his 100th birth anniversary, here’s revisiting and celebrating his body of work that stands relevant and, more so special, three decades after his death: Read:Speaking of Films by Satyajit Ray Satyajit Ray’s journey in cinema began in 1955 with the film PatherPanchali. Widely considered as one of the greatest filmsevermade, this is thefirst instalment in TheApuTrilogy. The film deals with the story of two siblings and their life through different phases of joys and sorrows.Here, we find our protagonist Apulook at the world around him —the nature, the tragedies aroundhim, the people, their relationships, in an innocentwaythat reflects the exact gaze of a newborn first seeing the outside world. Today when filmmakers often fall in the trap of poverty porn in showcasing people from the lowest strata of the society, Ray presented his film in such a humanizing way thatitmesmerizes the audience without any provocation of sympathyfor them. In the next two films of this trilogy, Ray showcased how people change with time. Where inPatherPanchali,we seeApu trying to explore the world around him, inAparajito, Ray showcasedbeautifully how a grown-up, matured Apu facesthe outsideworld. The final film in the trilogyApurSansartakes this idea a step ahead with the portrayal ofApu’ssense of responsibility first for his wife and then for his son. All three films presentthe reality of the society that is still relevant today. His humanizing treatment resonates and stays with us even 60 years after.TheApuTrilogy
Portrayal of Women in Ray’s Films
The portrayal of women’s condition and psyche is one of the recurring themes in Ray’s films. His films likeMahanagar, Charulata,KanchenjungaandKapurush, capture beautifullythestory of women empowerment, patriarchy and women’s desires.
In Mahanagar, Ray marvellously showcased his beliefs about woman empowerment. Through the film, he shows theconstant tension and conflict betweentwo opposite genders through the lead charactersArati andSubrata, whenAratitake a job to support her family.This film is a spectacular portrayal of male ego dynamics when a woman takes his place in the family. The story of gender equality and women empowerment ispresented in a manner that is way ahead of its time.
InRay’s first color film Kanchenjunga, he portrayedhow women’s individuality is suppressed in the patriarchal society.Ray showed this condition beautifully juxtaposing it with the elements of nature. Veiling the Kanchenjunga with clouds and the roads of Darjeeling with mist, this conditionof suppression of women desire is represented as a visual poetry.
But,it is in the evergreen Charulata, where he broughtthe desire of women to the celluloid withbrilliance.He invites us to the broken nest ofBhupatiandCharushowcasin
Character Studies inNayak,Jalsaghar, Abhijan
The films of SatyajitRay are often gripping character studies. In 1966 he gave us the iconic Nayak. It portrays agripping character study ofguilt, insecuritiesand dilemma through a famous film star ArindamMukherjee. The dark portrayal of the inside world of the people society admires, is not only a criticism of the hypocrisy of the society but also an introspection of us.
In Jalsaghar, he takes us to the aristocracy ofBiswambharRoy. It is kind of a cautionary tale on how someone’sarrogance over his dignity, pride and honorcauses him his eventual downfall.
He takesthis story of dignity and honorto a new height when he examines a hot-headed taxi driver in Abhijan.Ittells the story ofNarsingha, adescendent of Rajput,who is dismayed by the world around him and harbors disgust towards everyone, none of who seems to follow thepath oflawand morality. Yet, these people are more materialistically successful in their lives. It appalls him, leading him to questioning his own moral choices in life. We see him make compromises to find an escapefrom reality. Eventually though, he comes to terms with his truth, his reality.
Questions of Morals inCalcutta Trilogy
During the turbulent time of the 1970s, Ray took his filmography to new heights with his famousCalcutta Trilogy(Pratidwandi, SeemabaddhaandJanaAranya).Set in the backdrop of theNaxalitemovement, these films are Ray’s most political works.But,these are not about politics of the state, rather the politics ofhuman morals. They mock and examine the collective morality of the people living in the city of Kolkata (then Calcutta).
Where Pratidwanditalks about the moral dilemmas of a society, Seemabaddha talks about how the outside world can affect someone’s own moralityand in JanaAranya, Ray questions us our own morals values. Do we have any or is it just a facade?
On Superstition and Religious Dogmatism
We all know that Ray was a versatile filmmaker whose body of work ranged from period pieces to fantasy films. But,a common thread that ran across his films was that they were all rooted in realism. His films were a mirror to the society.
In Mahapurush, Ray tells the story ofBirinchiBaba, a self-proclaimed god man, who deceives people in exchange for his pseudo-intellectual sermons on life. A satire on human’s blind beliefs, Mahapurushends on a rather thought provoking note. Ray portrays how superstition and religious fanaticism blinds people against their own intelligence.
But the portrayal of religious dogmatism in one of his best filmsDeviis bone chilling.It tells the story ofDoyamoyee, whom his father-in-law believes to be a re-incarnation of goddessDurga. He worshipsDoyamoyee and gives her the status of a goddess. But this whole world of false belief shatters when a tragedy occurs in his family. Devi is a haunting yet poeticrepresentationof how religious dogmatism drives peopleto false beliefs and its sometimes grave consequences.
Self-Reflection
In the last phase ofhisprolonged movie making career, he made statements about the society with hisownpersonal realisations through films like Ganashatruand Agantuk.
InGanashatru,he shows howreligious bigotry ofpeople affects the whole society. The film shines a light on our hypocrisies — how we raise dishonourable, ignorant men on to a pedestal while the rational, innocent men are treated as an enemy of the society. Authentic in its portrayal, Ganashatruresonates with our country’s current political climate.
In my opinion, his last film Agantukis his final statement on the society’s rather dismal evolution.Through the character ofManomohonMitra, Ray actuallyportrayed himself.He comments on the degradation of the society in a so-called civilised world. Showcasing the dupery and double-dealings of a society that robs us of our innocence and makes us toresign to a world where free thought is limited, he reserves his affection for the innocent, uncivilised.
Like all his films, Agantuk too was way ahead of its time and so relevant today.
Conclusion
SatyajtRay is a master of his craft. Fromwomen empowerment and religious dogmatismto society’s collective morality, the themes dealt in his films are still relevant today. The problems, the crisis, the conflicts are still present in the modern world and their presentation is far ahead of their times. A true visionary, Ray created timeless films and their impact will remain forever etched in the eons of history.
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Abirbhab Maitra
A cinema enthusiast who is a student of Geology. Loves to write about cinema and wants to make a film one day. Open to any healthy discussion on cinema.
