When Satyajit Ray passed away in 1992, I was 5 years old. For the entire country- it was a huge loss. As a mark of tribute, Doordarshan, the national television of the country- and the only channel on our TV sets back then- showed the auteur's films every night for an entire month.&nbsp;

Most of his films were, of course, beyond a five-year-old's comprehension but I do faintly recall how my parents would watch Ray's classics on TV late into the night. The only film that I clearly recall watching was Ray's first children's film 'Goopy Gayne Bagha Byne'- a film that completed&nbsp;50 years in 2019. A film that had Ray donning multiple hats- as choreographer, music composer, writer, playback singer and director. A film that I go back every now and then, to soak in the mad genius' most endearing work of all time.&nbsp;

<h1><a href="https://www.wionews.com/opinions-blogs/opinion-100-cheers-for-satyajit-ray-382209">Opinion: 100 cheers for Satyajit Ray</a></h1>

Based on Upendrakishore Ray Chowdhury's short story by the same name, the film was actually made for Satyajit Ray's 13-year-old son, Sandip who had complained that his father made films only for adults. The story, of course, was one that the senior Ray had grown up reading for Ray Chowdhury&nbsp;was his grandfather and he had first published the story in 1915 in family-run fortnightly magazine 'Sandesh'.&nbsp;

As a child watching the film was fascinating to no end. A story of two tone-deaf bumbling idiots - Goopy and Bagha- the film begins when the two are ousted from their respective villages for annoying its people and the local leader and sent to the nearby forest which is apparently haunted. On the first night in the forest, they meet the King of ghosts- who gives them three boons- to travel wherever they want wearing magical shoes, to sing and play the drum in perfect rhythm and to eat and wear whatever they wished to. They only had to clap their hands to get what they want.

<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/MUthqbm_0ww" width="560"></iframe>

With new talents and boons, Goopy and Bagha arrive at the kingdom of Shundi where they are appointed as court singers. But Shundi faces threat from the neighbouring kingdom of Halla and it is up to Goopy and Bagha to strategize and thwart Halla King's plans to capture his brother's kingdom of Shundi.&nbsp;

At the onset, the film may have appeared to be an adventure fantasy meant for kids, but the film to date holds relevance for its message on war and peace. There is really so much to learn from that film.&nbsp;

A poignant scene in the film has a spy reporting back to the evil Halla minister on how Shundi is prepping for the war. When the spy replies that they aren't really preparing much for the work, the irritated minister asks- 'So what did you see there?'&nbsp;The spy goes into a trans as he says, "They have fruits and flowers in the trees, they have crops in their fields, birds singing on the branches, people living happily."&nbsp; Or the scene near the climax where Goopy and Bagha stall a hungry, impoverished Halla army with food and music- essential for a peaceful society.&nbsp;

The film was released in 1969- a time when special effects of that scale were unheard of in India. Ray by then was an acclaimed filmmaker but had faced financial crisis while making the film as his financer had backed out unsure of the fate of the film. It was shot in black and white and Ray made several of his actors play multiple roles- perhaps due to the constraint in budget.&nbsp;

Yet, when you watch the film, it has such rich texture to all its scenes. You feel hungry watching Goopy and Bagha gobble up delicacies, you are left in tears as Goopy sings a lullaby stuck in jail about the futility of war, you gleam in joy when Goopy first learns that he can finally sing and is not tone-deaf anymore. But for me, as a child and even now as an adult, the most fascinating scene in the film remains the one where Goopy and Bagha- stuck in the forest- watch a dozen ghosts do a dance-off as it leads to the&nbsp;King of ghosts (Ray did the&nbsp;voice over for this role) appearing himself to grant them boons.

Watch this scene here.

<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/OWxV_qCf2zE" width="560"></iframe>

Complete with special effects, and superb music by Ray himself, the scene to date transfixes me for its conceptualization. No one has been able to replicate that scene- or hold the audience in awe the way Ray did with that one scene. I remember getting goosebumps when I'd first watched it as a five-year-old and had felt somewhat scared even.&nbsp;

'Goopy Gayne Bagha Byne' may have been thought as a children's film but it remains the most relevant film in India on war and peace- issues that remain in a country that is currently riding high on nationalism. And perhaps no one could explain it the way Ray did in the film- with superlative performances, soulful music and one mad story.&nbsp;

'Goopy Gayne Bagha Byne' had fascinated me as a five-year-old for its unique, fun story. More than three decades later, I find myself going back to it ever so often to learn and unlearn life lessons.&nbsp; 
 
(Disclaimer: The opinions expressed above are the personal views of the author and do not reflect the views of ZMCL.)&nbsp;

When Satyajit Ray passed away in 1992, I was 5 years old. For the entire country- it was a huge loss. As a mark of tribute, Doordarshan, the national television of the country- and the only channel on our TV sets back then- showed the auteur's films every night for an entire month.

When Satyajit Ray passed away in 1992, I was 5 years old. For the entire country- it was a huge loss. As a mark of tribute, Doordarshan, the national television of the country- and the only channel on our TV sets back then- showed the auteur's films every night for an entire month. Most of his films were, of course, beyond a five-year-old's comprehension but I do faintly recall how my parents would watch Ray's classics on TV late into the night. The only film that I clearly recall watching was Ray's first children's film 'Goopy Gayne Bagha Byne'- a film that completed 50 years in 2019. A film that had Ray donning multiple hats- as choreographer, music composer, writer, playback singer and director. A film that I go back every now and then, to soak in the mad genius' most endearing work of all time. Opinion: 100 cheers for Satyajit Ray Based on Upendrakishore Ray Chowdhury's short story by the same name, the film was actually made for Satyajit Ray's 13-year-old son, Sandip who had complained that his father made films only for adults. The story, of course, was one that the senior Ray had grown up reading for Ray Chowdhury was his grandfather and he had first published the story in 1915 in family-run fortnightly magazine 'Sandesh'. As a child watching the film was fascinating to no end. A story of two tone-deaf bumbling idiots - Goopy and Bagha- the film begins when the two are ousted from their respective villages for annoying its people and the local leader and sent to the nearby forest which is apparently haunted. On the first night in the forest, they meet the King of ghosts- who gives them three boons- to travel wherever they want wearing magical shoes, to sing and play the drum in perfect rhythm and to eat and wear whatever they wished to. They only had to clap their hands to get what they want. With new talents and boons, Goopy and Bagha arrive at the kingdom of Shundi where they are appointed as court singers. But Shundi faces threat from the neighbouring kingdom of Halla and it is up to Goopy and Bagha to strategize and thwart Halla King's plans to capture his brother's kingdom of Shundi. At the onset, the film may have appeared to be an adventure fantasy meant for kids, but the film to date holds relevance for its message on war and peace. There is really so much to learn from that film. A poignant scene in the film has a spy reporting back to the evil Halla minister on how Shundi is prepping for the war. When the spy replies that they aren't really preparing much for the work, the irritated minister asks- 'So what did you see there?' The spy goes into a trans as he says, "They have fruits and flowers in the trees, they have crops in their fields, birds singing on the branches, people living happily." Or the scene near the climax where Goopy and Bagha stall a hungry, impoverished Halla army with food and music- essential for a peaceful society. The film was released in 1969- a time when special effects of that scale were unheard of in India. Ray by then was an acclaimed filmmaker but had faced financial crisis while making the film as his financer had backed out unsure of the fate of the film. It was shot in black and white and Ray made several of his actors play multiple roles- perhaps due to the constraint in budget. Yet, when you watch the film, it has such rich texture to all its scenes. You feel hungry watching Goopy and Bagha gobble up delicacies, you are left in tears as Goopy sings a lullaby stuck in jail about the futility of war, you gleam in joy when Goopy first learns that he can finally sing and is not tone-deaf anymore. But for me, as a child and even now as an adult, the most fascinating scene in the film remains the one where Goopy and Bagha- stuck in the forest- watch a dozen ghosts do a dance-off as it leads to the King of ghosts (Ray did the voice over for this role) appearing himself to grant them boons. Watch this scene here. Complete with special effects, and superb music by Ray himself, the scene to date transfixes me for its conceptualization. No one has been able to replicate that scene- or hold the audience in awe the way Ray did with that one scene. I remember getting goosebumps when I'd first watched it as a five-year-old and had felt somewhat scared even. 'Goopy Gayne Bagha Byne' may have been thought as a children's film but it remains the most relevant film in India on war and peace- issues that remain in a country that is currently riding high on nationalism. And perhaps no one could explain it the way Ray did in the film- with superlative performances, soulful music and one mad story. 'Goopy Gayne Bagha Byne' had fascinated me as a five-year-old for its unique, fun story. More than three decades later, I find myself going back to it ever so often to learn and unlearn life lessons. (Disclaimer: The opinions expressed above are the personal views of the author and do not reflect the views of ZMCL.)

Remembering Satyajit Ray: How the filmmaker taught the world about futility of war through a children's film

The year 2021 marks as the centenary year of maestro Satyajit Ray. And Netflix is providing a perfect tribute to the filmmaker. The trailer of 'Ray' an anthology based on stories by the late maestro was released on Tuesday and it narrates four intriguing tales.&nbsp;

The stories are titled 'Hungama Hai Kyon Barpa', 'Forget Me Not', 'Bahrupiya' and 'Spotlight'. Two of the stories are directed by Srijit Mukherji, while Abhishek Chaubey and Vasan Bala helm one each.&nbsp; 
 
The ensemble cast includes Manoj Bajpayee, Gajraj Rao, Shweta Basu Prasad, Ali Fazal, Anindita Bose, Kay Kay Menon, Bidita Bag, Dibyendu Bhattacharya, Chandan Roy Sanyal, Harshvarrdhan Kapoor, Radhika Madan and Akansha Ranjan Kapoor. 
 
Talking about his segment 'Hungama Hai Kyon Barpa' which features Manoh Bajpayee and Gajraj Rao in the lead, Abhishek Chaubey said, "I`m drawn to stories that twist with whimsy and humour. Hardly anyone crafts those better than Satyajit Ray and a chance to tell this story is a great opportunity for me. With Manoj Bajpayee and Gajraj Rao playing off each other on screen, 'Hungama Hai Kyon Barpa', I hope is as much of a joy to watch as it was to make. Super stoked about the show and can`t wait for people to watch it!" 
 
Srijit Mukherji who has in the recent past directed 'Feluda Pherot' based on Ray`s Feluda adventures in Bangla directs two parts in the anthology- 'Forget Me Not' and 'Bahrupiya'.

<div class="ui-state-default" contenteditable="false">
<div class="twitter-block" draggable="false">
<blockquote class="twitter-tweet">
One legendary storyteller, a magical cast and an admin who just cannot keep calm! 
Sorry for screaming but THE TRAILER FOR RAY IS HERE! 😮😮😮 
 
Produced By - <a href="https://twitter.com/AndhareAjit?ref_src=twsrc%5Etfw">@AndhareAjit</a> <a href="https://twitter.com/Viacom18Studios?ref_src=twsrc%5Etfw">@Viacom18Studios</a> <a href="https://twitter.com/TippingPoint_In?ref_src=twsrc%5Etfw">@TippingPoint_In</a> 
Created By - <a href="https://twitter.com/hashtag/SayantanMukherjee?src=hash&amp;ref_src=twsrc%5Etfw">#SayantanMukherjee</a> <a href="https://t.co/LKgc95Idb3">pic.twitter.com/LKgc95Idb3</a>
— Netflix India (@NetflixIndia) <a href="https://twitter.com/NetflixIndia/status/1402135802419761154?ref_src=twsrc%5Etfw">June 8, 2021</a></blockquote>
<script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script></div>
<a class="close-mark close-div" href="#" id="jqclosemark">×</a></div>

"Satyajit Ray has been a big inspiration in my life. After faithfully bringing two stories of Ray to life in 'Feluda Pherot', it is an honour and fulfilling to reinterpret two more stories of Ray in a decidedly darker space," said Mukherji, adding that he got the opportunity to work with a brilliant cast including Kay Kay Menon, Sweta Basu Prasad and Ali Fazal.

Vasan Bala directs 'Spotlight'. "It`s an opportunity that led me to collaborate with wonderful talent. It`s a pulpy, quirky, music-filled tale of very interesting characters. Harshvarrdhan Kapoor, Radhika Madan, Akanksha Ranjan Kapoor and Chandan Roy Sanyal are in crackling form. Can`t wait for the audience to watch and react to it," he said about the Netflix show. 
 
'Ray' will premiere on Netflix on June 25.&nbsp;

The year 2021 marks as the centenary year of maestro Satyajit Ray. And Netflix is providing a perfect tribute to the filmmaker. The trailer of 'Ray' an anthology based on stories by the late maestro was released on Tuesday and it narrates four intriguing tales.

The year 2021 marks as the centenary year of maestro Satyajit Ray. And Netflix is providing a perfect tribute to the filmmaker. The trailer of 'Ray' an anthology based on stories by the late maestro was released on Tuesday and it narrates four intriguing tales. The stories are titled 'Hungama Hai Kyon Barpa', 'Forget Me Not', 'Bahrupiya' and 'Spotlight'. Two of the stories are directed by Srijit Mukherji, while Abhishek Chaubey and Vasan Bala helm one each. The ensemble cast includes Manoj Bajpayee, Gajraj Rao, Shweta Basu Prasad, Ali Fazal, Anindita Bose, Kay Kay Menon, Bidita Bag, Dibyendu Bhattacharya, Chandan Roy Sanyal, Harshvarrdhan Kapoor, Radhika Madan and Akansha Ranjan Kapoor. Talking about his segment 'Hungama Hai Kyon Barpa' which features Manoh Bajpayee and Gajraj Rao in the lead, Abhishek Chaubey said, "I`m drawn to stories that twist with whimsy and humour. Hardly anyone crafts those better than Satyajit Ray and a chance to tell this story is a great opportunity for me. With Manoj Bajpayee and Gajraj Rao playing off each other on screen, 'Hungama Hai Kyon Barpa', I hope is as much of a joy to watch as it was to make. Super stoked about the show and can`t wait for people to watch it!" Srijit Mukherji who has in the recent past directed 'Feluda Pherot' based on Ray`s Feluda adventures in Bangla directs two parts in the anthology- 'Forget Me Not' and 'Bahrupiya'. One legendary storyteller, a magical cast and an admin who just cannot keep calm! Sorry for screaming but THE TRAILER FOR RAY IS HERE! 😮😮😮 Produced By - @AndhareAjit @Viacom18Studios @TippingPoint_In Created By - #SayantanMukherjee pic.twitter.com/LKgc95Idb3 — Netflix India (@NetflixIndia) June 8, 2021 × "Satyajit Ray has been a big inspiration in my life. After faithfully bringing two stories of Ray to life in 'Feluda Pherot', it is an honour and fulfilling to reinterpret two more stories of Ray in a decidedly darker space," said Mukherji, adding that he got the opportunity to work with a brilliant cast including Kay Kay Menon, Sweta Basu Prasad and Ali Fazal. Vasan Bala directs 'Spotlight'. "It`s an opportunity that led me to collaborate with wonderful talent. It`s a pulpy, quirky, music-filled tale of very interesting characters. Harshvarrdhan Kapoor, Radhika Madan, Akanksha Ranjan Kapoor and Chandan Roy Sanyal are in crackling form. Can`t wait for the audience to watch and react to it," he said about the Netflix show. 'Ray' will premiere on Netflix on June 25.

'Ray' trailer: Three filmmakers give a modern take to Satyajit Ray's stories 

To see Pather Panchali again today is still (as the great Lindsay Anderson once famously said) to go down on one’s knees in the dust, into the heart of the Indian reality and human condition. In the grinding poverty of the Indian village, Pather Panchali sees not the dismal ant heaps of Louis Malle but the individual human being, unique as much in his joy in love &amp; nature &amp; childhood as in the wrenching sorrow of death and in the endless struggle to live.

It is the human face of rural poverty and not its statistical horrors that makes us see Apu or Durga, Sarbajaya or Harihar as one of us. They become a part of our collective memory &amp; being and forever change a part of us &amp; our views on humanity.

Critics are of the opinion that unlike any other Indian filmmaker, Satyajit Ray is a classicist, an inheritor of a traditional Indian approach to art in which beauty is inseparable from truth and goodness. Despite his astonishing understanding of a wide range of western culture, it is his innate &amp; rooted Indianness which gives him his very special place in India...and world cinema.&nbsp;

Astute Ray-watchers have always commented on his unstinted affirmation of faith in human beings. There are no villains in Ray’s films. The oppressor and oppressed are both victims. Hence no matter what his role, he is in need of empathy and compassion – not anger or revenge.&nbsp;

At his best, Ray’s work has a sense of detachment, a distance from the event, an element of Indian fatalism. &nbsp;It is imbued with a sense that no man chooses the time or place of his birth or the circumstances that surround it. It is within the circle, pre-determined by these that he struggles to exist to make something of his opportunities. &nbsp;

Also Read | <a href="https://www.wionews.com/opinions-blogs/remembering-satyajit-ray-how-the-filmmaker-taught-the-world-about-futility-of-war-through-a-childrens-film-215306">Remembering Satyajit Ray: How the filmmaker taught the world about futility of war through a children's film</a>

The nobility of man lies in the effort itself. The knowledge gives it a serenity denied to those who believe they are life-changers. This philosophical outlook is both Indian and traditional. It finds joy in the flotsam and jetsam of the human condition. It accepts everything with grace. The distance combined with compassion, makes it possible for Ray the artist to see a wider arc of reality and to combine the largeness of canvas with fineness of detail. &nbsp;

The truth is: while Ray’s material happens to be Indian, his statements are about humanity. It transcends national boundaries and become both chronicler &amp; document of life.

His ground-breaking Pather Panchali – the first of his magical Apu trilogy – has an interesting back story. De Sica’s Bicycle Thieves (which he saw in London) totally mesmerised him with its powerful neo-realism and he decided then &amp; there to translate Bibhuti Bhusan’s classic to the screen. This was 1950.

Upon his return to Kolkata, he worked on his first treatment and took it around to several producers, all of whom summarily vetoed it. His scenario, accompanied by over 500 sketches didn’t help. All of them found it too weird, unconventional (hero, heroine, villain, comedian, music, romance, melodrama, happy ending) and way out, including new theatres who had bank-rolled many quality films in the thirties. &nbsp;

After a point, when Ray realised that no producer would help him, he decided to make the film at any cost by financing it himself.&nbsp;

His books, records, mother’s and wife’s jewellery...all went into the making of the first cut, soundless, of around forty minutes. This would suffice for anyone open to see it objectively and understand that a film could be made without great locales, established actors and on a shoestring budget...but to locate that open-minded 'anyone’ was the biggest task/challenge! When hope – and resources – were running out at break-neck speed, serendipity entered the scene. &nbsp;

Ray’s mother arranged a meeting with the erstwhile CM of West Bengal, Dr BC Roy. He saw the film’s first cut, liked it and arranged a subsidy [through the Road &amp; Public Works department] to complete it. One of Ray’s employers too, after seeing a few sequences, liked Pather Panchali so much that he granted Ray long leave of absence and even put money into the production. &nbsp;

After seven months of struggle when the film was finally complete, the government, who were the producers, saw the film, found it too depressing &amp; pessimistic and suggested Ray insert some sequences showing the development of the countryside outside of Bengal. Ray flatly refused, saying it would go against the spirit of the story and distort the great author’s narrative. They reluctantly agreed to retain the original version and authorised the first showing in 1955.

Contrary to the thinking of many people that Pather Panchali made waves in Kolkata and India only AFTER it received international recognition, Cannes heading the list, let’s hear it from the maestro himself.&nbsp;

“We got a first run showing for 6 weeks in a large cinema theatre in Calcutta. At first the film hardly did any business but after the third week, the box office jumped sharply and people queued up for tickets. The manager of the hall was willing to continue the showings, but he had already signed a contract for a blockbuster spectacle from the South produced by the tycoon SS Vasan, who refused to delay his opening. &nbsp;

Vasan subsequently came to see me in my house to tell me how much he loved Pather Panchali and would have definitely postponed his release if he had any knowledge of my film. Pather Panchali was taken up by another theatre where it ran for 7 weeks. The film was successful in all of Bengal before journeying out to other Indian cities. The government found itself generously re-paid for its investment. &nbsp;

As for me, I understood at once that I could henceforth, devote myself to cinema full-time and so left my advertising agency job. This was in 1955. &nbsp;

Cannes award – Prix du Document Humain – happened in 1956. Incidentally, Pather Panchali was the first of many national &amp; international awards bestowed on the master, revered and celebrated by the best of the best – critics, directors, actors – across the globe. &nbsp;

These include prestigious film critic Pauline Kael, Elia Kazan, Time magazine, Keanu Reeves, Richard Attenborough, Akira Kurasawa, Marlon Brando, Christopher Nolan, Robert de Nero, Alexander Payne, Richard Gere&nbsp;

While much will be written about Satyajit Ray’s spectacular sweep, covering varied genres, themes, plot lines &amp; subjects across the three and a half decades that his work graced the screen including the tone &amp; tenor, scale, scope &amp; canvas, what better way to conclude this homage than explaining the essence of his material. &nbsp;

Fact is, everything considered, the realism of his films is determined by an ethical, liberal and philosophical overview powered by a naturalistic style. &nbsp;

This is marked by complexity &amp; ambiguity through concern for character over action and imagery over symbolism. &nbsp;Our perception is thus enlarged by his amazing insight and this is his unique &amp; magical touchstone, the ultimate measure of the universality &amp; enduring quality of his art; local roots with global embrace that neither age can chill nor rivals steal. &nbsp;

That was Ray. When comes such another?

(Disclaimer: The views of the writer do not represent the views of WION or ZMCL. Nor does WION or ZMCL endorse the views of the writer.)

To see Pather Panchali again today is still (as the great Lindsay Anderson once famously said) to go down on one’s knees in the dust, into the heart of the Indian reality and human condition.

To see Pather Panchali again today is still (as the great Lindsay Anderson once famously said) to go down on one’s knees in the dust, into the heart of the Indian reality and human condition. In the grinding poverty of the Indian village, Pather Panchali sees not the dismal ant heaps of Louis Malle but the individual human being, unique as much in his joy in love & nature & childhood as in the wrenching sorrow of death and in the endless struggle to live. It is the human face of rural poverty and not its statistical horrors that makes us see Apu or Durga, Sarbajaya or Harihar as one of us. They become a part of our collective memory & being and forever change a part of us & our views on humanity. Critics are of the opinion that unlike any other Indian filmmaker, Satyajit Ray is a classicist, an inheritor of a traditional Indian approach to art in which beauty is inseparable from truth and goodness. Despite his astonishing understanding of a wide range of western culture, it is his innate & rooted Indianness which gives him his very special place in India...and world cinema. Astute Ray-watchers have always commented on his unstinted affirmation of faith in human beings. There are no villains in Ray’s films. The oppressor and oppressed are both victims. Hence no matter what his role, he is in need of empathy and compassion – not anger or revenge. At his best, Ray’s work has a sense of detachment, a distance from the event, an element of Indian fatalism. It is imbued with a sense that no man chooses the time or place of his birth or the circumstances that surround it. It is within the circle, pre-determined by these that he struggles to exist to make something of his opportunities. Also Read | Remembering Satyajit Ray: How the filmmaker taught the world about futility of war through a children's film The nobility of man lies in the effort itself. The knowledge gives it a serenity denied to those who believe they are life-changers. This philosophical outlook is both Indian and traditional. It finds joy in the flotsam and jetsam of the human condition. It accepts everything with grace. The distance combined with compassion, makes it possible for Ray the artist to see a wider arc of reality and to combine the largeness of canvas with fineness of detail. The truth is: while Ray’s material happens to be Indian, his statements are about humanity. It transcends national boundaries and become both chronicler & document of life. His ground-breaking Pather Panchali – the first of his magical Apu trilogy – has an interesting back story. De Sica’s Bicycle Thieves (which he saw in London) totally mesmerised him with its powerful neo-realism and he decided then & there to translate Bibhuti Bhusan’s classic to the screen. This was 1950. Upon his return to Kolkata, he worked on his first treatment and took it around to several producers, all of whom summarily vetoed it. His scenario, accompanied by over 500 sketches didn’t help. All of them found it too weird, unconventional (hero, heroine, villain, comedian, music, romance, melodrama, happy ending) and way out, including new theatres who had bank-rolled many quality films in the thirties. After a point, when Ray realised that no producer would help him, he decided to make the film at any cost by financing it himself. His books, records, mother’s and wife’s jewellery...all went into the making of the first cut, soundless, of around forty minutes. This would suffice for anyone open to see it objectively and understand that a film could be made without great locales, established actors and on a shoestring budget...but to locate that open-minded 'anyone’ was the biggest task/challenge! When hope – and resources – were running out at break-neck speed, serendipity entered the scene. Ray’s mother arranged a meeting with the erstwhile CM of West Bengal, Dr BC Roy. He saw the film’s first cut, liked it and arranged a subsidy [through the Road & Public Works department] to complete it. One of Ray’s employers too, after seeing a few sequences, liked Pather Panchali so much that he granted Ray long leave of absence and even put money into the production. After seven months of struggle when the film was finally complete, the government, who were the producers, saw the film, found it too depressing & pessimistic and suggested Ray insert some sequences showing the development of the countryside outside of Bengal. Ray flatly refused, saying it would go against the spirit of the story and distort the great author’s narrative. They reluctantly agreed to retain the original version and authorised the first showing in 1955. Contrary to the thinking of many people that Pather Panchali made waves in Kolkata and India only AFTER it received international recognition, Cannes heading the list, let’s hear it from the maestro himself. “We got a first run showing for 6 weeks in a large cinema theatre in Calcutta. At first the film hardly did any business but after the third week, the box office jumped sharply and people queued up for tickets. The manager of the hall was willing to continue the showings, but he had already signed a contract for a blockbuster spectacle from the South produced by the tycoon SS Vasan, who refused to delay his opening. Vasan subsequently came to see me in my house to tell me how much he loved Pather Panchali and would have definitely postponed his release if he had any knowledge of my film. Pather Panchali was taken up by another theatre where it ran for 7 weeks. The film was successful in all of Bengal before journeying out to other Indian cities. The government found itself generously re-paid for its investment. As for me, I understood at once that I could henceforth, devote myself to cinema full-time and so left my advertising agency job. This was in 1955. Cannes award – Prix du Document Humain – happened in 1956. Incidentally, Pather Panchali was the first of many national & international awards bestowed on the master, revered and celebrated by the best of the best – critics, directors, actors – across the globe. These include prestigious film critic Pauline Kael, Elia Kazan, Time magazine, Keanu Reeves, Richard Attenborough, Akira Kurasawa, Marlon Brando, Christopher Nolan, Robert de Nero, Alexander Payne, Richard Gere While much will be written about Satyajit Ray’s spectacular sweep, covering varied genres, themes, plot lines & subjects across the three and a half decades that his work graced the screen including the tone & tenor, scale, scope & canvas, what better way to conclude this homage than explaining the essence of his material. Fact is, everything considered, the realism of his films is determined by an ethical, liberal and philosophical overview powered by a naturalistic style. This is marked by complexity & ambiguity through concern for character over action and imagery over symbolism. Our perception is thus enlarged by his amazing insight and this is his unique & magical touchstone, the ultimate measure of the universality & enduring quality of his art; local roots with global embrace that neither age can chill nor rivals steal. That was Ray. When comes such another? (Disclaimer: The views of the writer do not represent the views of WION or ZMCL. Nor does WION or ZMCL endorse the views of the writer.)

Opinion: 100 cheers for Satyajit Ray