On the a centesimal beginning anniversary of his legendary father, director Sandip Ray is reconciled to the truth that his 1/1 Bishop Lefroy Street residence, a spot for pilgrimage for followers of arguably India’s best-known moviemaker Satyajit Ray, will stay abandoned. Sandip, who together with different relations had
earlier deliberate a year-long beginning centenary which is now being postponed, informed PTI he was not in favour of any zoom meet “which does not befit such an event involving an icon like Ray.” The continuing pandemic and the well being emergency which it has created hitting a whole bunch of 1000’s of individuals has pressured the household to rethink plans for the celebrations because it thinks such occasions could be inappropriate right now.
“We had deliberate a number of occasions involving critics, movie personalities, writers and specialists from right here and overseas who would have spoken on his works. We had deliberate exhibitions of his scripts, graphics and illustrations. Every part is now on maintain,” the director stated.
The household feels that since Ray’s beginning centenary celebrations can proceed until Might 1, 2022, it may possibly “maintain these occasions on later dates when the pandemic scenario improves considerably.”
Describing shutting down Ray’s residence to individuals wishing to pay homage on his beginning centenary date, as a “not very joyful scenario for anybody”, Sandip stated, “Nothing lower than a bodily occasion shall be becoming for a celebration of this scale. No digital celebration for us, so far as we’re
The Bishop Lefroy Street home nonetheless has the furnishings and nick-nacks that Ray utilized in his day by day life from the armchair the place he plotted Apu trilogy and ‘Hirak Rajar Deshe’, the writing desk the place he sketched the units of ‘Pratidwandi’, ‘Jana Aranya’, ‘Mahanagar’ ‘Chriakhana’ and ‘Sonar Kella’, together with a whole bunch of memorabilia together with awards and movie posters mendacity round within the examine and adjoining rooms.
“Whoever comes we now have to inform her or him with folded arms, we aren’t permitting anybody inside as suggested by medical doctors within the current scenario,” he stated.
Sandip himself has made a mark by making films on the detective and science fiction tales written by his father — which embody ‘Royal Bengal Rahashya’, ‘Badshahi Angti’ and ‘Professor Shonku O El Dorado’, didn’t specify the unique programmes lined up for the centenary celebration or the
friends invited when requested.
Sandip stated Ray was primarily a storyteller however in movies like Pratidwandi (1970), Mahanagar (1963) and Hirak Rajar Deshe (1980), he had touched on political points which got here naturally by his narrative and weren’t thrust upon in a didactic method. “Sure, he had made movies which could have political parts however these had been no makes an attempt to evangelise or ship a message. He was primarily a storyteller,” he stated.
“That was his craft of filmmaking, his forte, however as a socially acutely aware individual he couldn’t flip his again from socio-political points within the Nineteen Seventies, or the Eighties starting from the unrest to unemployment,” Sandip added.
Ray gave nice significance to the truth that his movie ought to have cinematic aspect whether or not they had political overtones or not, he by no means shied away to critique social evils, the ‘Nishijapon’ director stated concerning the maker of flicks like ‘Devi’ (1960), ‘Sadgati’ (1981) and ‘Ganashatru’ (1990).
Requested if Ray may have made sure movies like ‘Hirak Rajar Deshe’ (1980) which had allegorical parts and was seemingly a commentary in opposition to the emergency rule of the Nineteen Seventies, Sandip stated, “These are all classics made by father, defying age or time. How can I say in what means he would have
responded to a scenario within the current instances.”