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The purists, who have grown up reading Ray’s short stories are calling it a waste of time, but the Mukherjee loyalists are ecstatic about what they feel are dark, intriguing masterpieces which comply with idiom of filmmaking on OTT platforms. Sandip Ray, his son and a senior filmmaker himself, has shied away from passing a judgement on the anthology - admitting he is apprehensive as he doesn’t know what to expect from the films. It’s not easy to be in Ray Jr’s shoes. The venture by Netflix India has been to pay a tribute to Ray on his ongoing 100th birth anniversary year and once he has agreed on a professional agreement over filming rights of the stories, there can be no interference on the creative process. Ray Jr has admitted in an interview that he wasn’t consulted on the script, while the jury is still out if the short films have missed out on the soul of Ray’s stories altogether. ....
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- Martin Scorsese ‘‘Not to have seen the cinema of Ray means existing in the world without seeing the sun or the moon.’’ - Akira Kurosawa One is an American master and the maker of timeless Hollywood classics like ‘Taxi Driver’ or ‘Goodfellas,’ the other the Japanese auteur who is regarded as one of the most influential filmmakers of the 20th century. The sense of respect and admiration for Ray, the man who was responsible for taking Indian cinema to the global audience, was one of the few factors they would have had in common. It’s a pity that the Covid-19 pandemic, like so many other things in our lives, have deprived his family and Kolkata - his own city - from celebrating his 100th birth anniversary on Sunday (May 2). The fact that it’s also the day for counting of votes after a volatile, protracted assembly elections in West Bengal over March-April, means the opportunities for his retrospectives, appraisals in TV talk shows and what ha ....
Irrespective of the election results, Bengal, which once prided itself in intellectual heritage and broadmindedness, has got mired in a vortex of narrow identity politics. ....
Amitabha Bhattacharya Former Bureaucrat THE birth centenary of Satyajit Ray (1921-1992) is an occasion to reflect on his creative output, mainly in cinema, as also in literature and related art forms. So far, the response has largely been unalloyed admiration in Bengali-speaking areas, and a respectful indifference in the rest of India, except among filmmakers and cinema enthusiasts. In the West, respect for Ray remained undimmed, but acclaim started waning for his later films. All this can be partially explained through the myths and images associated with the Ray phenomenon. The first myth is that his films deal with poverty, perpetuated by Nargis Dutt’s puerile remark in Parliament in 1980, accusing Ray ‘of distorting India’s image abroad’. Ray’s biographer Andrew Robinson quotes her from an interview, “Ray portrays a region… which is so poor that it does not represent India’s poverty in its true form , that people abroad want to see India in an abj ....