KANCHENJUNGHA: RAY’S MASTERPIECE BY PRADIP BISWAS, THE INDIAN EXPRESS NEWSPAPERS, INDIA The doyen of International cinema SATYAJIT RAY in his myriad revelations said that the one film that he would make the same way, if he had to do it again, is Charulata. There are other films, such as Days and Nights in the Forest, which he simultaneously admired openly. Among the childrens films, he rejigged his view in favour of Joi Baba Felunath (The Elephant God). The public perception is that it works very well. Its got wit and tag of intellection. Its got aesthetic film eye. Its got a face, a very satisfying social face, and some wonderful performance. It is engaging to note that he said he also enjoyed making the musical films because they give him a chance to compose music, that has an eternal quality. According to him, theyre commercially successful, which gave you a certain kind of satisfaction. It is needless to mention that based on his short story he liked Kanchenjungha, too, as the film is full of spacio-temporal ellipse. Thats probably because it was his first original screenplay and a very personal film. It was a good ten to fifteen years ahead of its time. This critic is of the view that no director of India even today could capture this epic tag. On our audience the great Ray noted that our audience likes a central character, or a couple of central characters with whom they can identify, and a plot with a straight narrative line. Kanchenjungha told the story of several groups of characters and it went back and forth. His structure is like that of between group one, group two, group three, group four, then back to group one, group two, and so on. Its a very musical form. Truth has it that after its release of the film very few people liked the work though after six decades it is still a masterpiece that none can surpass. He was aggrieved to see reaction which was stupid, and bovine. At the same time the reviews were not interesting; they were very.tupppenny-halfpenny. However, before he left us in 1992 he repeated looking back now, he found that it is a very interesting film. Subject of women is another aspect Ray’s oeuvre that even foxed like an eminent literary Professoor Dr.Ashoke Rudra. On women Ray used to have liberating views. The women in his films tend to be much stronger, more determined, more adaptable and resilient than the men in his films. One may ask: Is that a reflection of Bengali social history? That is often a reflection of what the author has written, a confirmation of the authors point of view expressed in the books on which the films are based. There have been many strong women characters in Tagore and in Bankimchandra. But it also reflected Rar’s own attitudes and personal experience of women. It is rare, very rare with our innumerable directors of Bengal or India. Ray is the supreme artist and remains so even now, even to-day. Indian cinema still draws from Ray’s Cinema that guards the flame of aesthetics of good Indian films.
Posted on: Tue, 24 Jun 2014 14:25:41 +0000
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