Sandip Ray gave interview on Zee Bangla.

Sandip Ray gave interview on Zee Bangla.

Sandip Ray, the son of renowned director Satyajit Ray gave interview on Zee TV Bangla on the birth anniversary of Satyajit Ray on 2nd May, 2011. Ray had died almost 20 years ago, but his works had remained immortal over the years.

When Sandip Ray was asked about his experience in working with his father he gave an elaborate answer. He said that he got the greatest teacher ever to be born in the field of filmmaking. But he said while independently working he never thought about being the son of Oscar Winning director Satyajit Ray. It would have created huge pressure which could have affected his filmmaking.

He made his directorial debut with the film Fotik Chand in the 70s. Satyajit Ray had helped him with the script, but after that he allowed his son to direct the film independently. The film received very good reviews. Sandip Ray said, some section of the critics said that the film had been made by Satyajit Ray himself. It did not hurt Sandip Ray because he realized if people associated his work with his father’s work he had made a film which could meet the standard already created by his father.

Later on he made other landmark films like Target, Gupi Bagha Phire Elo, Baksho Rahasya, Bombaiyer Bombete, Tintoretor Jishu, Kolilashe Kelenkari, etc. He mainly worked on stories written by Ray on Feluda series, that means the detective stories of Prodosh Chandra Mitra.

Ray’s films like Pather Panchali, Kanchenjungha, Ghare Baire, still are classical creations which help new directors all across the world the art of film making. His films and works should be preserved and restored.

The nation remembered Satyajit Ray on 2nd May 2011.

The nation remembered Satyajit Ray on 2nd May, 2011.

The nation remembered Satyajit Ray on his birthday on 2nd May, 2011. Not only he was the recipient of the prestigious Oscar awards, he was the path-breaker in Indian films who taught the next-generation the art of story-telling.

In 2010, Society had celebrated the 89th birth anniversary of the legendary director by showcasing some of his notable works like ‘Agantuk’, (The Stranger), ‘Jalsaghar’, (The Music Room), ‘Charulata’, (The lonely wife). The films were shown in Cinemax, Metro Big Cinemas and NCPA. After the films were shown, the significance of such films was discussed by Bhawna Somayya, ex-editor of Screen, filmmaker Sujoy Ghosh and film academicians from all across the country. Besides, discussions were held to highlight the contribution of Ray as a writer, an illustrator, an activist of the film society movement and a filmmaker.

Internationally acclaimed directors like Shyam Bengal, Adoor Gopalakrishnan, were greatly influenced by Satyajit Ray’s films like Apu Trilogy, Jalsagar, Nayak, Mahanagar, etc., and they themselves became eminent story-tellers of the following period. The use of nature, the birds, and background, and the use of theme music in translating an unknown event to a group of individuals had enchanted the thoughtful directors all across the world. Even directors of the present period like Goutam Ghosh are influenced by the works of Satyajit Ray. He made Abar Aranye which was a sequel to Satyajit Ray’s film Aranyer Dinratri. A personality like Ray could only make a film like Kanchenjungha, where the greatness of the Himalayas overshadowed the ego of a materialistic industrialist played by Satyajit Ray.

An important part of Satyajit Ray’s creations include his literature on diverse subjects. While his Sandip Ray had taken the challenge of converting the Feluda Series into feelings, his literature relating to horror-based subject matters, his series of 12 stories are yet to be converted into films. Sandip Ray’s films Bombaier Bombete, Kailashe Kelenkari, Baksho Rahasya, based on epic literature of Ray had got good response from the viewers.

But Ray’s brilliant stories in the 12 series like Ebaro Baro, Aro Baro, Ek Dojon Goppo, Aro Ek Dojon, Eker Pite Dui, are yet to see the light of celluloid. Ray’s stories like Khagam, based on the theme of human being converted into a snake, Pterodactyler dim, based on the prehistoric era, Fritze, based on the topic of life in a doll, Asomongobabur Kukur, based on the weird mannerisms of dogs, had bewildered the readers.

If such stories are adapted and made into films, the viewers will enjoy them to the brim. The legacy of Ray whether in the form of neo-realistic films like Pather Panchali, or suspense –thriller stories relating to Feluda Series or Professor Shanku, still continues, even 18 years after his death. The stories should be translated in different languages, and films should be preserved and restored.

Producer RD Bansal passed away.

Producer RD Bansal passed away.

Eminent Producer RD Bansal passed away on 11th December, 2010 at the age of 88 years. During the golden age of Bengali films, that is the 50s and 60s, he produced classic film made by the all the giant directors of Bengal, including Oscar Winning director Satyajit Ray, Dada Saheb Phalke Winner Tapan Sinha, Ajoy Kar, Mrinal Sen, and others. As producer he received the President’s gold medal and silver medal a number of times, the awards for the best feature film made in the respective years.

He produced Ray’s film Charulata and Kapurush Mahapurush. While Charulata dealt with classic literature of Rabindranath Tagore, Kapurush Mahapurush dealt with two different stories. Mahapurush dealt with comedy oriented story of Rajshekhar Basu having pen-name Parashuram, who had social message in the film. Both the films of Ray were classical masterpieces and won several awards both national and international. He also produced Ray’s film Jay Baba Felunath, which was based on the detective stories written by Tagore on the cases solved by Feluda or Prodosh Mitra. He also produced the film Mahanagar.

He also produced Ajoy Kar’ film Saat Pake Bandha. For the brilliant performance in the role of a struggling woman, Suchitra Sen received special jury award from Moscow, Russia.

He produced the film Shashibabur Sangsar, where Chabi Biswas played the brilliant role of the karta of hindu undivided family in the name of Sashibabu. He also produced the film Shesh Porjonto, where Biswajeet Chatterji and Sulata Choudhury played pivotal roles. In the later years he produced the film Nishijapon directed Sandip Ray.

Producers of the present age should learn from RD Bansal, the art of producing meaning realistic films. Although the films were created with intellectual acumen, the common mass had enjoyed them. RD Bansal’s films should be preserved and restored.

Satyajit Ray transformed satire of Parashuram titled Mahapurush into Celluloid.

Satyajit Ray transformed satire of Parashuram titled Mahapurush into Celluloid.

Writer Rajshekhar Basu better known as Parashuram was well known in Kolkata for his writings fully of satires. Oscar winning director Satyajit Ray experimented with one of those witty pieces of literature. Satyajit Ray made the film Mahapurush based on the literature of Raj Shekhar Basu, a renowned writer of Bengal. Previously Raj Shekhar Basu’s literature was used by Satyajit Ray in the film Parash Pathar.

Mahapurush was made along with Kapurush by Ray in the year 1965. While Kapurush did not reach the audience, Mahapurush amazed the viewers. Raj Shekhar Basu’s literature was titled Birinchibaba. Charu Prakash Ghosh played the role Birinchibaba in the film Mahapurush.

According to the story, Charu Prakash Ghosh impressed Prasad Mukherjee, an Advocate of Alipore Court, Kolkata while he was returning in train. Prasad Mukherjee lost his wife at old age, and was depressed. He was returning back with his daughter Mitali Ray.

Charu Prakash Ghosh along with his assistant played by Robi Ghosh convinced Prasad Mukherjee that Charu Prakash Ghosh was God’s messenger. Both resided in Prashad Mukherjee’s house. Satindra Bhattacharya had affair with Mitali Roy. When he saw that Mitali Roy started avoiding her due to the presence of the Sadhu, he communicated about the Sadhu before his friends, Satya Banerjee, and others.

Many God fearing people in Kolkata used to visit Charu Prakash Ghosh and listen to his words. He disclosed a lot of informations about Plato, Gautam Buddha, etc. He mentioned that there is no present. Past and future existed. One of the friends of Satindra Bhattacharya, communicated with Santosh Dutta, a famous scientist in Kolkata, to know the formula for producing smoke in the house.

While Charu Prakash Ghosh was giving his sermons in the room, smoke was produced and all the friends of Satindra Bhattacharya, shouted about smoke. Charu Prakash Ghosh tried to escape and he was threatened to live the place. He left the place with Robi Ghosh. Prasad Mukherjee’s family was saved from the false communications of Charu Prakash Ghosh.

Very significantly the satire and wit of Raj Shekhar Basu, was captured by Satyajit Ray in the film. The film did great business and the message reached the masses. The film should be preserved.

Happy birthday to actor of actors Om Puri.

Happy birthday to actor of actors Om Puri.

The viewers of bollywood films wish happy birthday to actor of actors Om Puri on 18th October, 2010. Om Puri, along with Naseeruddin Shah used to be considered and is still considered the most versatile actor of all times. Born on 18th October, 1950, Om Puri learned acting from Film and Television Institute of India. He was an alumnus of 1973 batch of Delhi School of Drama along with Naseeruddin Shah.

He was the automatic choice of the greatest directors of Indian films like Satyajit Ray who did cast him in Sadgati, Govind Nihalini who had cast him in Aakrosh, Ardha Satya, etc., Ketan Mehta who had cast him in Mirch Masala, Gulzar, who had cast him in Maachis, to name a few.

But when question came in relation to awards, critics feel that Om Puri, did not receive the recognition he deserved. He received national awards for best actor for his performance in the films Arohan and Ardhya Satya. But there is no justification as to the fact why did not receive a national award for his lifetime performance in the film Aakrosh. He did not have a single dialogue, and in a mute role, he expressed his agony, which was at par with some of the best Hollywood actors of all times.

His performance in Satyajit Ray’s film Sadgati requires special mention. He died at the end of the film while cutting wood for cremation purposes for Mohan Agase in the film. He made the classic literature of Munshi Premchand immortal with his performance. He was sublime in Mirch Masala. He was outstanding in Tamas.

Although he won a number of international awards, that does not justify his immense acting skills. He won the Karlovy Vary International Film Festival Award for his performance in the film Ardhya Satya in 1984. He won Brussels International Best Film Actor award in 1998 for his performance in the film My Son the fanatic.

Even his performance in commercial films like Ghayal or Gupt or China Gate requires special mention. In the last 10 years he had featured in every alternate films including Gulzar’s Maachis, Priya Darshaan’s Malamaal Weekly, Raj Kumar Santoshi’s Pukar, Sohail Khan’s Dabaang. His performance in small roles in landmark films like Richard Attenborough’s Gandhi.

The viewers and critics feel that Om Puri should continue his brilliant work irrespective of adequate justice being done through the awards, because his actual admirer are the immense number of viewers who had always considered him a genius of genius.

Happy birthday to Shabana Azmi.

Happy birthday to Shabana Azmi.

The viewers of bollywood films wish happy birthday to Shabana Azmi on 18th September, 2010. She had remained an institution by herself. She had been considered to be the greatest performer in bollywood films along with Smita Patil, Naseeruddin Shah and Om Puri.

She started her journey with Shyam Benegal’s film Ankur in 1974. With her debut, the trend of parallel cinema began in bollywood. There existed a clear difference between glamour girls in bollywood and the serious actresses who graced parallel cinema. Shabana Azmi featured in both forms of films but became unparallel in parallel films. She concentrated on the inner emotions of the characters that were played. She was unparallel in the role of a step mother in Shekhar Kapoor’s film Masoom. Her performance was as brilliant as the performance of Naseer in the film. She was the step mother who initially was attached to her own blood-related daughters but later was moved by the sensitiveness of Naseer’s son Jugal Hunsraj whom she accepted at the end of the film.

In Goutam Ghosh’s film Paar, she showed the life of daily wage earner in Kolkata along with Naseeruddin Shah. The scene where Shabana Azmi swam across the Ganges near Bandha Ghat along with a pack of animals which were supposed to be reached the respective destination, body language, physical effort, expressions all get mixed into one. Goutam Ghosh himself accepted that it was the best film he had made till date.

She was as powerful as Smita Patil in the film Arth. Her husband Kulbhushan Kharbanda led an extra-marital relationship with Smita Patil and Shabana Azmi wanted to leave him for those reasons. She also played an important role in Oscar Winning Director Satyajit Ray’s film Shatranj Ki Khiladi. The other notable films which ended up being masterpieces include Khandahaar, Dharavi, Sparsh, etc.

Shabana Axmi was equally successful in commercial films. She played a prominent part in hit film Parvarish along with Vinod Khanna and Big B. Her performance in the film Amar Akbar Anthony opposite Vinod Khanna was appreciated by the commercial crowds. She gave able lips in the song “o humko tumse ho gaya hai pyar kya Karen” opposite Vinod Khanna. She even did a great job in a negative role in the film Godmother.

Her performance opposite Big B in the film Mai Azaad Hoon, in the role of a journalist requires special mention. She received national award a number of times and won it consecutively for three years from 1983 to 1985 for Arth, Khandahar and Paar. She was even unparallel in the film Godmother and won the national award once more. She had created a benchmark which had been followed by actresses of the present era including Dimple Kapadia and Tabu. The viewers expect her to continue the high standard of work in the years to come.

Happy birthday to Uttam Kumar.

Happy birthday to Uttam Kumar.

The nation remembers Uttam Kumar, one of the greatest superstars of Indian celluloid on his birth anniversary on 3rd September, 2010. This was his 84th birth anniversary. He had died almost 30 years ago, yet the viewers had not forgotten his films and still his presence is felt in the life bengalies in different parts of the world.

Last year the Governer of West Bengal launched the 50 rupees postal stamp having the engraving of Uttam Kumar in it. Previously Raj Kapoor and Dilip Kumar’s faces were engraved in Postal stamps for remembering their contribution to Indian cinema.

Last year, Mamta Banerjee, the Union Railway Minister, renamed the Tollygunge Metro Station as Mahanayak Uttam Kumar station. In fact the people of Tollygunge cannot associate the place without the existence of Uttam Kumar whose works glorified the different studios which carried on the legacy of Bengali Film Industry.

Oscar winning director Satyajit Ray acknowledged the dynamic presence of the legendary superstar in Bengali films and made a film Nayak based on the story of Uttam Kumar. His original name was Arun Kumar Chatterji, who was a clerk in Port Commission before joining Bengali films.

When he joined films with Drishtidaan in 1948, he had to struggle to create his image as against he established heroes like Asit Boron, Bikash Roy and others. In 1952, his film Basu Paribar struck at the box-office and he overtook Bosonto Choudhury, Asit Boron and became the leading superstar of Bengali films. All the qualities of a romantic hero was possessed by him, including a standard height, good complexion, manly voice, romantic hairstyle and unique dialogue delivery. Any dress suited the legendary superstar including Punjabi, dhoti, coat, Bengali dresses, etc.

He had acted in the films of all the legendary directors of the golden age including Satyajit Ray’s Nayak, Chiriakhana, Tapan Sinha’s Jhinder Bandi, Upahaar and Jotugriha, Ajoy Kar’s Harano Sur, Saptapadi, Suno Bara Nari, etc., Agradoot’s Bipasha, Surjo Toron, etc., Agragami’s Sagarika, Shonkhobela, to name a few. Uttam Kumar acted opposite all the leading actresses of Bengali celluloid including Suchitra Sen, Arundhuti Debi, Manju Dey, Sabitri Chatterji, Supriya Choudhury, Mala Sinha, and others. His combination with Suchitra Sen had given everlasting classics and both of them still remains the most romantic pair in Indian silver screen.

Uttam Kumar’s films were based on rich literature including Tagore’s Khokababur Protyaborton, Subodh Ghosh’s Suno Bara Nari, Samaresh Bose’s Kuhak, Sorodindu Bondhopadyay’s Chiriakhana, Shankar’s Chourangi. The films were related to different types of stories including comedy stories, tragic stories, soft romantic stories, etc.

Uttam Kumar had acted in around 205 films (including bollywood films like Amanush, Anand Ashram, Choti Si Mulakat, Dooriyan, Kitaab etc., ) in a span of 35 years, and all his films had remained everlasting treasures. Out of his 205 films, around 37 of them ended up being blockbusters, around 50 were super hit films and around 50 were hit films. Actor Shatrughun Sinha in his interview before Bengali media had disclosed that when he was working in Pune Film and Television Institute, the graduates had unanimous view that Uttam Kumar, Raj Kapoor and Dilip Kumar were the greatest superstars of celluloid and had Uttam Kumar acted in more number of bollywood films, he would have remained as great a legend as Dilip Kumar or Raj Kapoor.

Even the singers who had sung for him including Manna Dey, Shyamal Mitra, Hemanta Mukherjee, etc., agreed that they did not find any actor who was parallel to Uttam Kumar in giving lips in songs. He made the viewers feel that he only sang the songs.

Actor Shatrughun Sinha in his interview had said that during his student life in Pune Film and Television Institute, the upcoming actors used to debate about the charishma of Uttam Kumar, Raj Kapoor and Dilip Kumar. Although there was no unanimity about the finest actor among them, there was consensus about one fact had Uttam Kumar established himself in bollywood films by acting in more number of films, he would have been equally an international figure like Raj Kapoor or Dilip Kumar.

Articles after articles can be devoted to Uttam Kumar who was one –man –industry in Bengali films. His films should be revisited to create motivation for making better quality films in future.

Ghare Baire was a bold project of Satyajit Ray.

Ghare Baire was a bold project of Satyajit Ray.

The film Ghare Baire had been a bold project of the director Satyajit Ray. The literature was classic in nature and the work of Nobel winner Rabindranath Tagore. Ray wanted to make the film in the early 50s, but changed his mind and made it in 1984.

Victor Banerjee played the role of the zamindar Nikhilesh in the film. He married Sathilekha Sengupta, (the wife renowned theatre personality Rudraprasad Sengupta) in the film. Victor Banerjee taught his wife English music and gave all the luxuries of life. She learned music from British singer played by Jennifer Kapoor.

But Soumitra Chatterjee came to their house and disturbed the peace in the family. He was a freedom fighter in the wrong sense. He believed in swadeshi, yet could not live without English cigarettes. He was characterless in the truest sense of the term. His only intention to stay in the house of Victor Banerjee was to come close to his wife during a period when Indian women generally remained indoors.

Victor Banerjee’s villagers were poor muslims, who sold foreign products in the local market called haat, and could not afford to sell Indian products which were costly. Soumitra deliberately bribed few local people to extort the products and burn them. Victor Banerjee on the other hand, made swadeshi factories, where the employees made soap, towel, and other products. He never wanted publicity for his sacrifices.

Manoj Mitra, his teacher and resident in the same village, countered Soumitra for his hypocrisy and failture of his freedom movement. At the end of the film Soumitra was successful to create riot in the village which was previously peaceful. He kissed Sathilekha Sengupta and continued with his extra-marital affair. While Victor Banerjee went on horseback to prevent the riot and got killed in the process, Soumitra escaped from the place and went to Kolkata after taking the money for the journey from Sathilekha Sengupta. Even the career of the scholarly student of the village was also ruined by Soumitra, who joined the movement and left studies.

Rabindranath Tagore was very bold enough to show the lack of commitment of certain section of freedom fighters who made the movement weak. Satyajit Ray was bold enough to show whenever over-independence was given to household women, they abused it. Besides kissing scenes were not very common in Bengali cinema of the early 80s, in that perspective also the depiction of Soumitra’s extra-marital affair was very bold approach of Ray.

Victor Banerjee was brilliant in his individual role. Sathilekha did a fair job. Soumitra Chatterjee showed the adulterous scenes in style. The film should be preserved and restored.

Uttam Kumar's stylish andaz was captured by Ray in Nayak.

Uttam Kumar’ stylish andaz was captured by Ray in Nayak.

Superstar Uttam Kumar’s stylish andaz was captured by Satyajit Ray in the film Nayak. The film was made in 1966 at a time when Uttam Kumar became a cult figure in Bengal.

The charishma of a great director lies in the ability to predict happenings. Satyajit Ray showed in the film that Uttam Kumar, the character Arindam Mukherjee, a superstar in tollygunge film industry was going to New Delhi via Rajdhani Express to collect National Award. Very significantly in 1967, Uttam Kumar received the National Award for the best actor for his epic performance in the films Chiriakhana and Anthony Firingi.

Uttam Kumar related his experiences of acting in stage and also in films before Sharmila Tagore who played the role of a journalist in the film. He related his experience of Shankarda, who was an elderly character who encouraged him to work in stage rather than working in films. He died and that led Uttam Kumar to accept an offer in films. He related the experience of working with a senior actor Mukunda Das, played by eminent actor Bireshwar Sen, who scolded him in his first shot, and subdued his natural acting with his theatrical style of performance. Later on when Uttam Kumar became a superstar and that person jobless, he came to him to get role in films.

Uttam Kumar was shown to drown in quick sand full of money, in his dreams and returned back to the canteen to continue with his interview. He also told the story of Sumita Sanyal, a young woman who came to him to get a role in any of the films. She came at night, and Uttam Kumar asked her to return back with appointment on another day. There were many character artists in the film including Bharati Devi, Jamuna Singha, Subrata Sen Sharma, Satya Banerjee, Kamu Mukherjee and others, who played the roles of co-passengers in the film who had travelled with him and tried to come close to the superstar in the train.

Satyajit Ray captured the huge stylish mannerism of Uttam Kumar in the film. He travelled in the train with style, ate the food in style, drank Whisky in style and communicated with heroic andaz. Ray in his personal interview had also confessed that a style icon like Uttam Kumar could never be re-born in India. He came, he saw and conquered. Ray’s film Nayak received national and international awards. Uttam Kumar acted in only 2 films of Satyajit Ray, but both the films had became landmarks in Indian film history. The film Nayak should be preserved and restored.

Uttam Kumar is remembered in Bangladesh.

Uttam Kumar is remembered in Bangladesh.

Mahanayak Uttam Kumar had been remembered in Bangladesh during his 30th death anniversary on 24th July, 2010. The ceremony had started on 24th July and will end on 26th July, 2010.

The Uttam Kumar festival taken place in the capital city Dhaka in Bangladesh. Uttam Kumar had been few of the celebrities who had been remembered and honoured in foreign country like Bangladesh. Previously Bangladesh had honoured the legendary directors Satyajit Ray and Hritwik Ghatak in their country.

During the Uttam Kumar festival, few of his landmark films had been telecast. As the legendary actor had ruled Bengali silver screen over a period of 35 years, so in one festival all his films cannot be covered. So the films like Nayak, Saptapadi, Pathe Holo Deri, Choddobeshi, Dhanni Meye, Harano Sur, etc. , had been telecast.

The striking part of the Uttam Kumar festival lies in the diversity of directors, whose films had been selected where Uttam Kumar had shown his excellence. Nayak had been directed by Oscar Winning Director Satyajit Ray. The film showed the complexity of the life of a matinee idol, which according to the critics had remained the biography of superstar Uttam Kumar.

Harano Sur and Saptapadi were the two greatest blockbusters of Bengali celluloid directed by stylish director Ajoy Kar. Uttam Kumar was the producer of both the films. The films also bolstered the eternal pair Uttam Kumar and Suchitra Sen, who had remained the greatest romantic pair ever to grace Asian silver screen.

Pathe Holo Deri was a romantic film of Uttam Kumar and Suchitra Sen directed by Agradoot. It was a musical blockbuster, where composer Robin Chatterji and singer Sandhya Mukherjee had created history with the romantic songs which became immortal over a period of time.

Dhanni Meye was a comedy film directed by Aurobindo Mukherjee. The film was related to the eternal craze of bengalies with respect to the sport of football. Uttam Kumar played the role of a business tycoon who was still obsessed with football and made his brother a footballer. The comedy sequences were related to the marriage of his brother Partho Mukherjee with the village girl played by Jaya Bacchan. The film did fantastic business in the early 70s. Similarly Choddobeshi was a comedy film where Uttam Kumar and Madhabi Mukherjee played the lead roles. It had been remade in hindi by Hrishikesh Mukherjee with the title Chupke Chupke, where Dharmender played the role of Uttam Kumar.

It had been a great honour for bengalies all across the world that Uttam Kumar had been remembered by a neighbouring country, who share the same mother tongue, to whom still Uttam Kumar still remain a living God. The viewers pay homage and respect to the departed soul and wish his films to be preserved and restored.

The nation remembers Uttam Kumar on his death anniversary.

The nation remembers Uttam Kumar on his death anniversary.

The nation remembers Uttam Kumar, one of the greatest superstars of Indian celluloid on his death anniversary on 24th July, 2010. He had died almost 30 years ago, yet the viewers had not forgotten his films and still his presence is felt in the life bengalies in different parts of the world.

Last year the Governer of West Bengal launched the 50 rupees postal stamp having the engraving of Uttam Kumar in it. Previously Raj Kapoor and Dilip Kumar’s faces were engraved in Postal stamps for remembering their contribution to Indian cinema.

Last year, Mamta Banerjee, the Union Railway Minister, renamed the Tollygunge Metro Station as Mahanayak Uttam Kumar station. In fact the people of Tollygunge cannot associate the place without the existence of Uttam Kumar whose works glorified the different studios which carried on the legacy of Bengali Film Industry.

Oscar winning director Satyajit Ray acknowledged the dynamic presence of the legendary superstar in Bengali films and made a film Nayak based on the story of Uttam Kumar. His original name was Arun Kumar Chatterji, who was a clerk in Port Commission before joining Bengali films.

When he joined films with Drishtidaan in 1948, he had to struggle to create his image as against he established heroes like Asit Boron, Bikash Roy and others. In 1952, his film Basu Paribar struck at the box-office and he overtook Bosonto Choudhury, Asit Boron and became the leading superstar of Bengali films. All the qualities of a romantic hero was possessed by him, including a standard height, good complexion, manly voice, romantic hairstyle and unique dialogue delivery. Any dress suited the legendary superstar including Punjabi, dhoti, coat, Bengali dresses, etc.

He had acted in the films of all the legendary directors of the golden age including Satyajit Ray’s Nayak, Chiriakhana, Tapan Sinha’s Jhinder Bandi, Upahaar and Jotugriha, Ajoy Kar’s Harano Sur, Saptapadi, Suno Bara Nari, etc., Agradoot’s Bipasha, Surjo Toron, etc., Agragami’s Sagarika, Shonkhobela, to name a few. Uttam Kumar acted opposite all the leading actresses of Bengali celluloid including Suchitra Sen, Arundhuti Debi, Manju Dey, Sabitri Chatterji, Supriya Choudhury, Mala Sinha, and others. His combination with Suchitra Sen had given everlasting classics and both of them still remains the most romantic pair in Indian silver screen.

Uttam Kumar’s films were based on rich literature including Tagore’s Khokababur Protyaborton, Subodh Ghosh’s Suno Bara Nari, Samaresh Bose’s Kuhak, Sorodindu Bondhopadyay’s Chiriakhana, Shankar’s Chourangi. The films were related to different types of stories including comedy stories, tragic stories, soft romantic stories, etc.

Uttam Kumar had acted in around 205 films (including bollywood films like Amanush, Anand Ashram, Choti Si Mulakat, Dooriyan, Kitaab etc., ) in a span of 35 years, and all his films had remained everlasting treasures. Out of his 205 films, around 37 of them ended up being blockbusters, around 50 were super hit films and around 50 were hit films. Actor Shatrughun Sinha in his interview before Bengali media had disclosed that when he was working in Pune Film and Television Institute, the graduates had unanimous view that Uttam Kumar, Raj Kapoor and Dilip Kumar were the greatest superstars of celluloid and had Uttam Kumar acted in more number of bollywood films, he would have remained as great a legend as Dilip Kumar or Raj Kapoor.

Even the singers who had sung for him including Manna Dey, Shyamal Mitra, Hemanta Mukherjee, etc., agreed that they did not find any actor who was parallel to Uttam Kumar in giving lips in songs. He made the viewers feel that he only sang the songs.

Articles after articles can be devoted to Uttam Kumar who was one –man –industry in Bengali films. His films should be revisited to create motivation for making better quality films in future.

Remembering Chabi Biswas on his birthday.

Remembering Chabi Biswas on his birthday.


Chabi Biswas was probably the greatest character artist Indian celluloid had ever produced. He has been remembered on his birthday on 13th July, 2010. His superlative class of performance had been acknowledged by brilliant directors like Satyajit Ray, Hrithik Ghatak, Raj Kapoor, Tapan Sinha, but he had remained unsung, unhonoured, unlamented.

Ray had a very serious personality and hardly required any improvisation as his innovative scripts had almost everything embedded in them. But Chabi Biswas brought out his own dimensions in the role of Feudal Lord in the film Jalsaghar. He combined the aristocracy and the dignity of the feudal lord in the colonial period and at times astonished Ray himself with his dynamic performances.

He even sold his wife’s ornaments to organize a musical program in his banquet room to maintain his dominance as a feudal lord. Singers from renowned classical gharana came and performed in the show and the entire village was invited to witness it. With the loss in revenue and poverty during British regime, he committed suicide by dying on horseback.

He was sublime in the film Debi, where he visualized Goddess Kali in the human form in Sharmila Tagore, his daughter –in –law. The entire concept was related to his belief and his son Soumitra took exception about the thing but was helpless. Sharmila became sick as it was awkward on her part to see his father-in-law touching her feet as she was believed to be Debi, the human form of Goddess.

Chabi Biswas was majestic in his classic role in the film Kanchenjungha. Ray experimented with a remote subject where the greatness of the Himalayas freed the mental blockade of middle-class bengalies. Arun Mukherjee, one of the unemployed youth even did not accept the job offered by big industrialist played by Chabi Biswas. At the end of the film Chabi Biswas realized the greatness of the great mountain range and surrendered before it. The film could not be understood by mass audience as it dealt with the concept of realization although the colourful photography of Ray in Darjeeling was well appreciated. But critics had acclaimed Chabi Biswas and said that he was the last name for the depiction of aristocracy in any form.

His dignified performance in the films of legendary directors like Ajoy Kar, Tapan Sinha, Prabhat Mukherjee, Agragami, Agradoot had not been forgotten by the mass. He had remained sublime in Prabhat Mukherjee’s Bicharak in the role of a charishmatic advocate, Tapan Sinha’s Kabuliwala in the role of an Afghan father, Ajoy Kar’s Suno Baranari in the role of a wealthy Barrister, Agragami’s Headmaster in the role of an old headmaster, to name a few. He died in a tragic accident in 1962 and Indian celluloid lost one of its greatest actors ever. His films should be preserved for projection of dynamism, class, dignity, aristocracy and majestic demeanour.

Aranyer Dinratri was Ray's masterpiece.

Aranyer Dinratri was Ray’s masterpiece.

Satyajit Ray experimented with classic literature of Sunil Ganguly to make the film Aranyer Dinratri in 1969. The film was based on the life of tribals of forest area in the region of Palamou and Daltongunge in Bihar.

It was Ray’s masterpiece. The film was related to the experience of four Bengali friends who went for a travelling experience in Palamou for few days. Soumitra Chatterji, Subhendu Chatterji, Samit Bhanja and Robi Ghosh were the four friends.

They met the family Pahari Sanyal who had a house in the forest region. The life of the tribals and the solitude attracted the friends and they started staying in the forest bunglow without the permission of the forest ranger. Pahari Sanyal’s daughter Sharmila Tagore fell in love with Soumitra Chatterji, while his daughter-in-law Kaberi Bose liked Subhendu Chatterji.

Samit Bhanja, a cricket player in the film was depressed about his girlfriend Aparna Sen in Kolkata and mixed with Simmi Garewal, a tribal girl. In fact it was the only film of Satyajit Ray where Simmi Garewal acted. He was beaten up by a local tribal, who he accused about stealing his purse. In fact his purse fell down in the house of Pahari Sanyal where he was playing badminton with Kaberi Bose, Subhendu Chatterji and Robi Ghosh.

They returned back after staying for few days. It was pity that Satyajit Ray could not make a coloured film in 1969, otherwise, the weird landscape of Daltongunge would have haunted the viewers. The nightlife in the tribal forest was very unique with the native people drinking a kind of desi alcohol and sleeping.

Goutam Ghosh got attracted with the film and made a sequel of it with the title Abar Aranye, few years back. He had to change the team, because although Soumitra Chatterji, Subhendu Chatterji and Samit Bhanja was alive, Robi Ghosh had died. Kaberi Bose also died in the late 70s. The film won a number of awards both nationally and internationally. The film Aranyer Dinratri should be preserved and restored.

Kali Banerjee was one of the most talented actors of golden age.

Kali Banerjee was one of the most talented actors of golden age.

Kali Banerjee was one of the most talented actors to grace the silver screen. Born in 1921, Kali Banerjee made his presence felt in Bengali films of the 50s, with impressive performance in the film Barjatri.

From that time he had acted in more than 200 films and every type of role possible at that time. He had been remembered for his epic performance in Agragami’s film Dakharkara in 1958. He was postman of a village and faced odds to convey letters, parcels telegrams to distant places. The last message he received was the message of death of his son who had joined the Indian armed forces , received a gold medal and died at the battle field. Tarashankar Banerjee’s classic literature was given adequate expression by Kali Banerjee.

He became the automatic choice of all the legendary directors of Bengal during the golden age. Hrithik Ghatak did cast him in his innovative film Ajantrik where he showed the abstract relationship of a man with a car. Mrinal Sen used him in his epic film Neel Akasher Neeche, where he played the role of a Chinese in Kolkata, who had left home to do business in the city. His emotional performances brought tears in the eyes of viewers. He was used by Satyajit Ray in his film Manihara and Parash Pathar, and he did a great job in both the films. He was used by Tapan Sinha in the film Arohi, where he played the role of a compounder who gave all his earnings for the higher education of the doctor’s son. The doctor was played by Bikash Roy and Kali Banerjee’s relationship with him amazed the viewers. The film was remade in hindi where Sanjeev Kumar played the role played by Kali Banerjee. He did a great job in Tarun Majumdar’s Dadar Kirti.

He also played significant roles in the commercial films dominated by superstar Uttam Kumar. He played the role of automobile engineer in Uttam Kumar’s film Sonar Harin. He played the role of a villain in Uttam Kumar’s film Kokhono Megh. He also played character roles in Uttam Kumar’s films Shilpi, Surjo Toron, etc.

The modern generation remembers him for his brilliant performance in Anjan Choudhury’s film Guru Dakhhina in 1986. He played the role of music teacher of hero Tapas Pal who took the Guru Dakkhina under pressure of not allowing him to sing. But he took it back at the end of the film when Tapas Pal sang. He acted in bollywood films as well, including Hrishikesh Mukherjee’s film Bawarchi, which was the hindi remake of Tapan Sinha’s film Golpo Holeo Satti.

He also acted in many plays which were hosted in landmark halls in Kolkata including Arogyo Niketan, Khuda, etc. Most of these plays were made into films, but Kali Banerjee’s performances did outcast of the performances of the actors in the films.

He had the same style of acting gharana which was there in bollywood actor Sanjeev Kumar. He was cast in multifarious roles and still remains one of the most versatile actors of all times. His films and other works should be preserved.

Ray used Anil and Madhabi to perfection in Mahanagar.

Ray used Anil and Madhabi to perfection in Mahanagar.

Oscar winning Director Satyajit Tay experimented with the classic story with which writer Narendra Nath Mitra wrote the transformation of middle class Bengali of Kolkata of the early 60s. Satyajit Ray’s film was released in 1965, when the view of the writer was a reality, considering the socio-economic condition of the metropolitan city.

The film did receive both positive reviews and international awards. In Mahanagar the central character who was the sole bread-earner of the joint Bengali family was played by Anil Chatterji . Anil Chatterji was a middle-class Bengali in Mahanagar, who was an employee in a private bank in Kolkata but struggled to fulfill the needs of his wife Madhabi Mukherjee, his father, mother, small child and younger sister played by Jaya Bacchan.

Anil Chatterji with his multi-dimentional talent succeeded to express the anxiety of the middle-class husband. At some stages he was harsh towards his wife played by Madabi Mukherjee. Anil Chatterji was very adjusting and considerate towards his wife at the beginning confronting the opposition by his father, who believed that a middle-class Bengali housewife should not go to the outer world to earn a living.

Madhabi Mukherjee had to look for employment and joined Haradhon Banerjee’s firm which promoted women’s domestic products. There was strong resistance from the family. Just like other conservative bengalies, Anil Chatterji’s father, a retired academician, never liked the housewife to do marketing and earn a living. He in fact stopped talking to Anil Chatterji after Madhabi Mukherjee joined office.

Additional characters were included in Mahanagar, like the character of an anglo-colleague who played the role of the friend of Madhabi Mukherjee who helped her to be professional. She was unethically sacked by Haradhon Banerjee, and for her cause Madhabi Mukherjee gave her resignation at the end of the film.

Jaya Bacchan did a decent job in her role of the sister of Anil Chatterji. In fact it was her debut, and she was fortunate to get a role in a film directed by Oscar Winning Maestro Satyajit Ray. When Madhabi Mukherjee went to give her resignation letter, Anil Chatterji asked her not to give it, as his company went for a lockout and he became jobless. But when Madhabi Mukherjee gave her resignation at the end of the film Anil Chatterji supported her and cooperated with her.

Both the husband and the wife had to earn to meet the requirements of the present day. That was the message given by the writer Naren Mitra. Satyajit Ray’s Mahanagar won many national and international awards. Satyajit Ray’s was a master of casting and he used the acting skills of Anil Chatterji and Madhabi Mukherjee in such a way that the viewers could identify themselves in their respective roles. The film should be preserved for realistic story, brilliant script, outstanding story-telling and meaningful acting.

Humkadam was not as successful as Mahanagar

Humkadam was not as successful as Mahanagar.

Director Anil Ganguly experimented with the same story which Satyajit Ray made his film Mahanagar in his film Humkadam. Satyajit Ray’s film was released in 1965, while Anil Ganguly’s one was released in 1980.

But the film did not receive either positive reviews or commercial benefits. In Humkadam, Parikshit Sahani played the role played by Anil Chatterji in the Bengali film Mahanagar. Anil Chatterji was a middle-class Bengali in Mahanagar, who was the sole bread-earner but struggled to fulfill the needs of his wife Madhabi Mukherjee, his father, mother, small child and younger sister played by Jaya Bacchan.

Parikshit Sahani in the film Humkadam, could not express the anxiety of the middle-class husband. At some stages he was harsh towards his wife played by Rakhee. Anil Chatterji was very adjusting and considerate towards his wife Madhabi Mukherjee in Mahanagar.

Rakhee had to look for employment and joined Biswajeet Chatterji’s firm which promoted women’s domestic products. There was strong resistance from the family. Just like in Mahanagar, Anil Chatterji’s father, a retired academician, never liked the housewife to do marketing and earn a living, in Humkadam, A. K. Hangal, the father of Parikshit Sahani was never liked Rakhee’s employment at all.

Additional characters were included in Humkadam, like the character of Helen, who played the role of the friend of Rakhee who helped her to be professional. Helen was also earning for her handicapped husband. Parikshit Sahani and his family members never liked it.

Dina Pathak did a decent job in her role of the mother of Parikshit Sahani. Anil Ganguly kept the ending of the film same as Mahanagar. When Madhabi Mukherjee went to give her resignation letter, Anil Chatterji asked her not to give it, as his company went for a lockout and he became jobless. Parikshit Sahani did the same thing in Humkadam.

Both the husband and the wife had to earn to meet the requirements of the present day. That was the message given by the writer Naren Mitra. Satyajit Ray’s Mahanagar won many national and international awards. Anil Ganguly’s Humkadam was a sincere project, but did not get the recognition as an innovative work.

Satyajit Ray's casting was excellent in Post Master and Manihara.

Satyajit Ray’s casting was excellent in Post Master and Monihara.

Satyajit Ray was a master of casting whenever film direction was in question. He experimented with Rabindranath Tagore’s epic literature Teen Kanya in his film Teen Kanya. He chose the stories Post Master, Manihara and Shamapti.

In Post Master, Ray’s choice of Anil Chatterji in the role of Post Master showed his immense class in casting of characters. Anil Chatterji displayed the uneasiness of a Post Master in adjusting in village conditions very well. He listened to the rural music of the old villagers. He got frightened to weird mannerism of Nripati Chatterji who played the role of a village beggar. He faced fever, and even in sleep he dreamt about the weird beggar.

Ray’s casting of Chandana Banerjee in the role of the little girl was equally excellent. The girl lost her parents at a young age and served the Post Masters in the village. She took care of Anil Chatterji when he got fever and treated him like an elder brother. Anil Chatterji taught him to read and write. When he got transferred and a new Post Master came in his place, Chandana Banerjee made the viewers weep through her passionate expression. She got attached with the Post Master and did not even take the money offered to her by Anil Chatterji when he left the village.

In Manihara, the casting of Kali Banerjee and Konika Majumdar in the lead roles also showed Ray’s class. Kali Banerjee was a zamindar and Konika Majumdar was his wife. She had a troubled past. She was possessive towards her jewellery. When Kali Banerjee went to Kolkata for work, she asked one of her friends to reach her to her native town.

Konika Majumdar died. When Kali Banerjee returned back, her ghost came and appeared before Kali Banerjee. Kali Banerjee looked at her hand full of jewellary which later turned into a skeleton. A road passer told the story to a visitor who was also a ghost. Kali Banerjee’s frightened expression amazed the viewers.

Ray was a great artist and his illustration helped him to cast the right actors and actresses at the right roles. The characters came out of classic novels and mesmerized the viewers with conviction and accuracy. The film should be preserved for Tagore’s brilliant literature, Ray’ s powerful direction and the effortless performances of main actors and actresses in the film.

Tapen Chatterji had been remembered on expiry.

Tapen Chatterji had been remembered on expiry.

Satyajit Ray’s grand creation Gupi Gayeen died on 25th May, 2010. Tapen Chatterji suffered a massive heart attack and died in Kolkata on 25th May, 2010.

He was an automobile engineer. He worked in Bikaner in Rajasthan for some time. Poet Subhas Mukherjee took Tapen Chatterji to the office of Sandesh Publication House. Sandesh was edited by Satyajit Ray at that point of time.

Satyajit Ray did cast Tapen Chatterji in the film Gupi Gayeen Bagha Bayeen released in 1963. The story of the film was written by Ray’s grandfather Upendra Kishore Ray Choudhury. The rest was history. Tapen Chatterji gave lips in leading songs in the film sung by Anup Ghoshal, namely “bhuter raja dilo bar”, “maharaja tomare selam”, “tham theme thak”, “ek je chilo raja”, “dekhore nayan mele”, to name a few.

Gupi Gayeen won national and international awards under different categories. Satyajit Ray again did cast him again in the film Hirak Rajar Deshe in 1980. Again he played the role of Gupi Gayeen along with Robi Ghosh playing the role of Bagha Bayeen. In Gupi Gayeen Bagha Bayeen, Tapen Chatterji stopped Jahar Ray from attacking Shundi kingdom and killing Santosh Dutta. In Hirak Rajar Deshe he brought the end of the evil regime of Utpal Dutta who played the role of Hiraker Raja.

But apart from Satyajit Ray’s Gupi Bhagha series, he did get chance only in very few landmark films. One of them included Arobindo Mukherjee’s film Dhanni Meye. Uttam Kumar played the lead role in the blockbuster released in 1971. Tapen Chatterji played the role of the brother in law of Uttam Kumar and gave able lips in Manna Dey’s song “sab khelar sera bangalir tumi football”.

Tapen Chatterji’s other notable films included Sadhu Judhisthirer karcha, Shriman Prithviraj, etc. But viewers remember the tall actor in the immortal role of Gupi Gayeen. Children all across the country mourn the death of their larger than life character gupi gayeen, who had come out of child literature and made the character immortal. Tapen Chatterji’s soul should rest in peace.

Om Puri and awards.

Om Puri and awards.

Om Puri, along with Naseeruddin Shah used to be considered and is still considered the most versatile actor of all times. Born on 18th October, 1950, Om Puri learned acting from Film and Television Institute of India. He was an alumnus of 1973 batch of Delhi School of Drama along with Naseeruddin Shah.

He was the automatic choice of the greatest directors of Indian films like Satyajit Ray who did cast him in Sadgati, Govind Nihalini who had cast him in Aakrosh, Ardha Satya, etc., Ketan Mehta who had cast him in Mirch Masala, Gulzar, who had cast him in Maachis, to name a few.

But when question came in relation to awards, critics feel that Om Puri, did not receive the recognition he deserved. He received national awards for best actor for his performance in the films Arohan and Ardhya Satya. But there is no justification as to the fact why did not receive a national award for his lifetime performance in the film Aakrosh. He did not have a single dialogue, and in a mute role, he expressed his agony, which was at par with some of the best Hollywood actors of all times.

His performance in Satyajit Ray’s film Sadgati requires special mention. He died at the end of the film while cutting wood for cremation purposes for Mohan Agase in the film. He made the classic literature of Munshi Premchand immortal with his performance. He was sublime in Mirch Masala. He was outstanding in Tamas.

Although he won a number of international awards, that does not justify his immense acting skills. He won the Karlovy Vary International Film Festival Award for his performance in the film Ardhya Satya in 1984. He won Brussels International Best Film Actor award in 1998 for his performance in the film My Son the fanatic.

Even his performance in commercial films like Ghayal or Gupt or China Gate requires special mention. His performance in small roles in landmark films like Richard Attenborough’s Gandhi.

The viewers and critics feel that Om Puri should continue his brilliant work irrespective of adequate justice being done through the awards, because his actual admirer are the immense number of viewers who had always considered him a genius of genius.

The nation remembered Satyajit Ray on 2nd May, 2010.

The nation remembered Satyajit Ray on 2nd May, 2010.

The nation remembered Satyajit Ray on his birthday on 2nd May, 2010. Not only he was the recipient of the prestigious Oscar awards, he was the path-breaker in Indian films who taught the next-generation the art of story-telling.

Society had celebrated the 89th birth anniversary of the legendary director by showcasing some of his notable works like ‘Agantuk’, (The Stranger), ‘Jalsaghar’, (The Music Room), ‘Charulata’, (The lonely wife). The films were shown in Cinemax, Metro Big Cinemas and NCPA. The festival will continue till 16th May.

After the films were shown, the significance of such films was discussed by Bhawna Somayya, ex-editor of Screen, filmmaker Sujoy Ghosh and film academicians from all across the country. Besides, discussions were held to highlight the contribution of Ray as a writer, an illustrator, an activist of the film society movement and a filmmaker.

Internationally acclaimed directors like Shyam Bengal, Adoor Gopalakrishnan, were greatly influenced by Satyajit Ray’s films like Apu Trilogy, Jalsagar, Nayak, Mahanagar, etc., and they themselves became eminent story-tellers of the following period. The use of nature, the birds, and background, and the use of theme music in translating an unknown event to a group of individuals had enchanted the thoughtful directors all across the world. A personality like Ray could only make a film like Kanchenjungha, where the greatness of the Himalayas overshadowed the ego of a materialistic industrialist played by Chabi Biswas.

An important part of Satyajit Ray’s creations include his literature on diverse subjects. While his Sandip Ray had taken the challenge of converting the Feluda Series into feelings, his literature relating to horror-based subject matters, his series of 12 stories are yet to be converted into films. Sandip Ray’s films Bombaier Bombete, Kailashe Kelenkari, Baksho Rahasya, based on epic literature of Ray had got good response from the viewers.

But Ray’s brilliant stories in the 12 series like Ebaro Baro, Aro Baro, Ek Dojon Goppo, Aro Ek Dojon, Eker Pite Dui, are yet to see the light of celluloid. Ray’s stories like Khagam, based on the theme of human being converted into a snake, Pterodactyler dim, based on the prehistoric era, Fritze, based on the topic of life in a doll, Asomongobabur Kukur, based on the weird mannerisms of dogs, had bewildered the readers.

If such stories are adapted and made into films, the viewers will enjoy them to the brim. The legacy of Ray whether in the form of neo-realistic films like Pather Panchali, or suspense –thriller stories relating to Feluda Series or Professor Shanku, still continues, even 18 years after his death. The stories should be translated in different languages, and films should be preserved and restored.