Satyajit Ray Film Society Bengaluru

14/05/2025

Remembering the master on his birthday.

Team SRFSB

02/05/2025

উশ্রী ঝর্ণার ধারে বেড়াতে গিয়ে অবিনাশবাবু একটা অদ্ভুত গোলক খুঁজে পেয়েছিলেন। অনেকটা টেনিস বলের আকারের এই গোলকটি আসলে ছিল টেরাটম গ্রহ। পৃথিবীর থেকে অনেক উন্নত এই গ্রহে ছিল যাবতীয় ভাইরাস ও জীবাণুদের বাস... নিজের কক্ষপথ থেকে হটাৎ ছিটকে এর পড়েছিল বিহারের এক ছোট্ট শহর গিরিডিতে।

খেলনা মনে করে অবিনাশবাবু বলটিকে বাড়ি নিয়ে আসেন, সাজিয়ে রাখেন আলমারিতে। পরে প্রফেসর শঙ্কু এলে তাঁকে দেখান গোলকটি। শঙ্কু বলটিকে নিজের বাড়ি নিয়ে গিয়ে তাঁর সদ্য-আবিষ্কৃত মাইক্রোসোনোগ্রাফ যন্ত্রের সাহায্যে ভাইরাসদের সঙ্গে কথা বলে বোঝেন পৃথিবীতে মহামারি ঘটিয়ে মানব সভ্যতাকে ধ্বংস করতে চায় টেরাটম বাসিন্দারা।

সারা বিশ্বজুড়ে Covid নামের যে আণুবীক্ষণিক জীবাণুর কাছে হার স্বীকার করল মানবসভ্যতা, অর্ধ শতক আগে নিজের কল্পনায় তা' দেখতে পেয়েছিলেন সত্যজিৎ।

আজ তাঁর জন্মদিন, আবার শঙ্কু সমগ্র নিয়ে বসলাম।

এই মানুষটির চিন্তা, ভাবনা, দর্শন, বইপত্র, সিনেমা নিয়ে একটা সারা জীবন স্বচ্ছন্দে কাটিয়ে দেয়া যায়...

চিত্রঋণ: সত্যজিৎ রায় - প্রফেসর শঙ্কু ও গোলক রহস্য

23/04/2025

Few weeks before ‘Shatranj Ki Khiladi’ shooting was scheduled, Amjad Khan met with a near-fatal car accident in Goa. And this unfortunate event forced Khan to be completely bed-ridden for a next few months. People around Khan were sceptic, many of them told him that he may miss this opportunity to work with Ray. Khan, with obvious reasons, was depressed.

Ray got this news and went to Goa to meet Khan personally at the hospital just to assure him that he (Ray) will be waiting for Khan’s full recovery rather than replacing him. Khan remained grateful to him for lifetime.

Satyajit Ray was moved by a scene in Shatranj where Amjad Khan recited a couplet, "Jab chhorh chale Lucknow nagri, Kahein haal ke hum par kya guzri…" Ray chose to wait for Khan after the accident, and the emotional impact of Khan's performance, suggest that Ray had a high regard for his talent.

This incident shows the human side of the great filmmaker.

On 23rd April, 1992 Satyajit Ray left us, SRFSB remembers him with reverence.

04/04/2025

না ফেরার দেশে জনপ্রিয় অভিনেতা মনোজকুমার। বলিউডের সফল অভিনেতা-লেখক-প্রযোজক-পরিচালকদের মধ্যে একজন, যিনি সিনেমা সমালোচকদের প্রশংসা এবং বাণিজ্যিক সাফল্য দুটোই পেয়েছেন। বর্তমান প্রজন্ম হয়তো জানে না যে মনোজ কুমার'এর উপকার সেই সময় কি রকম উন্মাদনা সৃষ্ট করেছিল। এছাড়াও পূরব অউর পশ্চিম, শোর, রোটি কাপড়া অউর মকান তাঁকে দেশের অন্যতম জনপ্রিয় নায়ক হিসেবে পরিচিতি দেয়... তাঁর বহু-তারকাযুক্ত মেগা ব্লকবাস্টার ছবি 'ক্রান্তি' আজ পর্যন্ত সর্বোচ্চ টিকিট বিক্রিত হিন্দি সিনেমাগুলির মধ্যে আজও প্রথম দশে রয়েছে।

19/01/2025

সৌমিত্র চট্টোপাধ্যায় কে নিয়ে এতকিছু লেখালেখি হয়েছে যে আর নতুন কিছু লেখার অবকাশ নেই, তাই আজ বরং এই অভিজাত সারস্বত মানুষটির বংশপরিচয় নিয়ে কিছু কথা বলি...

তাঁদের পরিবারের আদি বাসভূমি ছিল অখন্ড নদিয়া জেলার কুষ্টিয়ার কয়া গ্রামে। তবে দেশভাগের অনেক আগে সৌমিত্রের পিতামহ ও তাঁর দাদা চলে আসেন কৃষ্ণনগরে। অগ্রজ বসন্ত চট্টোপাধ্যায় ছিলেন কৃষ্ণনগর পুরসভার চেয়ারম্যান, ভাই ললিতকুমার চট্টোপাধ্যায় সফল উকিল... ধনাঢ্য অভিজাত ব্যক্তিত্ব। ললিতকুমারের দুই পুত্র দুই কন্যা, জ্যেষ্ঠ পুত্র মোহিতকুমার সৌমিত্রর বাবা। ধনসম্পত্তি বা বড়োলোকিপনা নয়, শহরের এই খ্যাতিসম্পন্ন পরিবারের সংযত রুচিশীল আচারব্যবহারে ও কথাবার্তার শালীনতায় সবাই মুগ্ধ হতেন। ললিতকুমারের বড় মেয়ে, সৌমিত্রর পিসি তারা'র বিয়ে হয়েছিল 'বাংলার বাঘ' স্যার আশুতোষের বড় ছেলে রমাপ্রসাদের সঙ্গে। প্রাক্তন বিচারপতি ও মানবাধিকার বোর্ডের চেয়ারম্যান স্বনাম ধন্য চিত্ততোষ মুখোপাধ্যায় ছিলেন আশুতোষের পৌত্র আর সৌমিত্রের পিসতুতো ভাই...

প্রখ্যাত প্রাবন্ধিক সুধীর চক্রবর্তীও ছিলেন কৃষ্ণনগরের মানুষ। আড্ডা, নৌকাভ্রমণ, গ্রাম জীবন দেখতে দেখতে দুজনের সখ্যতা সেই ছোটবেলা থেকে। কৃষ্ণনগর সরকারি কলেজের লাইব্রেরি ছিল বইয়ে ঠাসা, সেখান থেকে নিয়ে আসা হতো লুইস ম্যাকনিস্, এলিয়ট, স্পেন্ডার, অডেন... নদীর প্রশস্ত বালিয়াড়িতে বসে দুপুর থেকে সূর্যাস্ত পর্যন্ত চলত সাহিত্যপাঠ...

সুধীর চক্রবর্তীর কথায়... একদিন পুলু তার ঝোলা থেকে বের করে একটা বাংলা কবিতার বই, বলে " কি সব কৃত্রিম কলোনিয়াল কবিদের বই পড়ছিস? এই বইটা পড় সুভাষ মুখোপাধ্যায়ের অনুবাদে নাজিম হিকমত। এঁরাই প্রকৃত মানুষের কাছাকাছি কবি..."

এই অভিজাত মানুষটি শুধুমাত্র অভিনেতা ছিলেন না, ছিলেন নাট্যকার, কবি, সাহিত্যপ্রেমী, আড্ডাপ্রিয় বাঙালিয়ানার মূর্ত প্রতীক। সম্ভবত বাংলার শেষ intellectual আইকন।

চিত্র ঋণ: স্বাতী চক্রবর্তী, অশোক মজুমদার, আনন্দবাজার আর্কাইভ

15/01/2025

Tapan Sinha: The Unyielding Visionary of Indian Cinema

Tapan Sinha, hailed as the grand old man of Indian cinema, carved a unique legacy with his uncompromising storytelling. Inspired by Dickens' A Tale of Two Cities and its film adaptation, Sinha transitioned from sound recording to direction, sharpening his craft at London’s Pinewood Studios under Charles Crichton. Influenced by cinematic greats like John Ford and Billy Wilder, he blended their techniques with his deep connection to Indian ethos, drawing constant inspiration from Rabindranath Tagore. Renowned for empowering actors to naturally embody their roles, Sinha’s collaborative approach lent an authentic brilliance to his characters. His films, rooted in humanism and spiritual depth, remain timeless reflections of cinematic artistry.

Sagina Mahato stands as one of Tapan Sinha's most provocative and socially conscious films, offering a sharp critique of the socio-political landscape during a volatile period in Bengal's history. With Dilip Kumar delivering a riveting performance in the titular role, the film marked a striking departure from his signature portrayal of tragic romantic heroes, embodying instead the raw determination and resilience of the working class. Against the backdrop of Naxalism and the ideological turmoil of the time, the film delves into the shortcomings and contradictions of trade union movements, raising critical questions about their effectiveness in addressing the struggles of the common man. Positioned between Apanjan and Ekhoni, two iconic works from Sinha's celebrated 'Calcutta Trilogy,' Sagina Mahato signifies a shift in the director's approach, moving away from the lyrical storytelling characteristic of his earlier films toward a grittier, more unflinching narrative style. This evolution paved the way for Sinha's later, darker masterpieces, such as Adalat O Ekti Meye, Atanka, and Antardhan, further cementing his reputation as a filmmaker deeply committed to exploring the human condition and societal challenge.



Reference: The Cinema of Tapan Sinha by Amitav Nag

Image Courtesy: A Film Companion and Ormax Media

Link to the movie ‘Sagina Mahato’ by Tapan Sinha: https://www.youtube.com/watch?v=ZetIRPiNCXM



Tapan SInha explaining a scene to Dilip Kumar and Saira Banu for 'Sagina Mahato'

10/01/2025

Sketching Life: The Wit and Wisdom of Basu Chatterjee, Cartoonist Extraordinaire

Basu Chatterjee’s journey from cartoonist to filmmaker was like a natural brushstroke on a canvas already rich with life’s subtle humour and complexities. Beginning his career with Blitz, his cartoons were more than just sketches—they were witty, insightful reflections of everyday life, capturing emotions with a rare simplicity. Basu Chatterjee’s work often combined humour and social commentary, distilling complex emotions into simple, relatable visuals. It was this sharp eye for nuance that he brought into his films.

In movies like Chhoti Si Baat and Piya Ka Ghar, Chatterjee painted ordinary lives with extraordinary care, blending humour, emotion, and a dash of satire. His storytelling felt almost documentary-like, deeply authentic yet laced with the quiet absurdities of human existence. (June 4th 2020, Basu Chatterjee: Bollywood's 'chronicler of simple romances' dies at 93, BBC). Drawing from his journalistic and cartoonist roots, he selected stories that weren’t just tales—they were windows into the heart of society, effortlessly blending laughter and introspection, making us see the familiar in entirely new ways.

Link to the article "Basu Chatterjee: Bollywood's 'Chronicler of Simple Romances' Dies at 93' by BBC: https://www.bbc.com/news/world-asia-india-52919810

09/01/2025

Rashid Khan: A voice as pure as the rain

(1st July 1968 – 9th January 2024)

Rashid Khan, with his soul-stirring voice, became a beacon for music lovers worldwide. Born in Badayun, Uttar Pradesh, into a lineage steeped in the rich traditions of the Rampur Sahaswan Gharana, his early disinterest in music was a far cry from the destiny that awaited him. It was only in his late teens, after rigorous training under his guru and maternal grand-uncle, Ustad Nissar Hussain Khan, that Rashid Khan began to appreciate the art form. His guru’s demanding style, which involved endlessly repeating single-note patterns, clashed with his youthful, rebellious spirit. But when Rashid Khan entered the revered halls of the ITC Sangeet Research Academy in Kolkata, a spark ignited, and he began to absorb the profound influences of the maestros around him.

It didn’t take long for his voice—a rare blend of strength and grace—to captivate listeners' hearts. After his guru's passing in the 1990s, Rashid Khan emerged as the true heir to the Rampur style, filling a void that many had feared would remain. His talent soon earned him the admiration of musical giants like Pandit Bhimsen Joshi, who famously declared that the future of North Indian classical music was in Rashid Khan’s singing. (Inamdar N and Mateen Z, January 13th, 2024, Rashid Khan: The maestro who took classical music to India’s masses, BBC News).

Rashid Khan’s voice is a gateway for those new to Hindustani classical music, a voice that gently lures you into its depths. Much like the timeless 78 RPM records of Bade Ghulam Ali Khan and Abdul Karim Khan, Rashid’s music enchants, helping listeners find their way into the more intricate, sonorous realms of the classical tradition—whether it’s the soulful tones of Malikarjun Mansur or the transcendental performances of the Dagar brothers.

Rashid Khan’s voice remains a rare treasure, weaving intricate ragas into something that touches the very core of the soul. As a teacher, he passed his vast knowledge, ensuring that the timeless legacy of Hindustani classical music endures for generations. Rashid Khan’s journey is a testament to the power of music to transcend time and culture, a legacy that continues to inspire and mesmerize the world.

Link to Pandit Bhimsen Joshi & Ustad Rashid Khan- Darbari (Part 1): https://www.youtube.com/watch?v=nE7nEB9e2fQ

Link to Pandit Bhimsen Joshi & Ustad Rashid Khan- Darbari (Part 2): https://www.youtube.com/watch?v=kmH8VEj14wE

Link to the article ‘Rashid Khan: The maestro who took classical music to India’s masses’ by BBC News: https://www.bbc.com/news/world-asia-india-67942757

two great masters come togetherRaag: Darbari

08/01/2025

Celebrating Tarun Majumdar: The Master of Bengali Cinema's Heartfelt Stories

Tarun Majumdar was a cinematic craftsman whose "middle-of-the-road" films bridged the gap between art and mass appeal with a finesse that few could replicate. His works, such as Balika Badhu (1967), Shriman Prithviraj (1973), and Dadar Kirti (1980), created a world where the complexities of human emotions and the intricacies of Bengali life unfolded gently, yet powerfully. Majumdar’s films were accessible to the average Bengali viewer, yet rich with literary sensibilities, embodying the quiet strength of his culture’s traditions.

Majumdar’s journey began with the Yatrik collective and the success of Chaowa Pawa (1959), but it was with Alor Pipasa (1965) that he set his own course, moving seamlessly between genres and themes. Whether he was redefining romance in Bhalobasha Bhalobasha (1985) or grappling with societal issues like mob mentality in Ganadevata (1978), his storytelling never felt forced or contrived. He also discovered and mentored a generation of actors, such as Moushumi Chatterjee and Tapas Paul, whose careers flourished under his guidance.

A four-time National Award winner, Tarun Majumdar's cinematic identity was deeply anchored in Bengali life, making his films resistant to easy translation for wider audiences. While he briefly ventured into Hindi cinema with remakes like Balika Badhu (1976), it was his Bengali films that truly left an indelible mark. In the words of filmmaker Goutam Ghose, "Majumdar’s cinema was a mirror to Bengali life, simple yet carrying profound emotional and cultural truths." It was this delicate balance between simplicity and depth that secured Majumdar's place not just in the annals of Bengali cinema, but as a figure whose work transcends the bounds of regional cinema, standing shoulder to shoulder with the likes of Satyajit Ray and Ritwik Ghatak. His legacy endures as a testament to the power of cinema to reflect life in its most authentic, unadorned form.

Satyajit Ray Film Society Bengaluru pays tribute to Tarun Majumdar on his birth anniversary.

07/01/2025

It is at Udayan Kalakendra, where she teaches dance in the tradition of her illustrious parents, Amala and Uday Shankar, the 69-year danseuse finds her world. Mamata Shankar wears her legacy with pride and endearing deference.

Apart from her illustrative career in dancing, Shankar has acted in films of Satyajit Ray, Mrinal Sen, Buddhadeb Dasgupta, Rituparno Ghosh and Gautam Ghose.

“I try to be honest and truthful to my work, and I work hard. At least, I try to work hard, and the rest just happens, really” says Mamata Shankar “My parents were very strict. They said, you have to be grounded, your base has to be very strong. What they gave me and my brother were values…”

Contended with what she has, Shankar is a true advocate of 'happiness' and probably her simple approach towards life gets her going…

On her special day, wishing her peace and cheerfulness… may you have a blessed life for many more years❤️













picture credit: mamatashankardancecompany.org

04/01/2025

R.D. Burman’s Timeless Fusion: Revolutionizing Folk Music in Bollywood

A Tribute to the Maestro on Death Anniversary

R.D. Burman, or Pancham Da as he was lovingly called, wasn’t just a composer—he was a musical alchemist who transformed the soulful beats of folk music into a vibrant symphony of innovation. While he is often celebrated for his groundbreaking work in Bollywood, his love for the earthy melodies of India’s folk traditions was just as profound. His music was a tribute not only to the rhythms and melodies of regional folk but also to the timeless stories they told.

R.D. Burman’s bond with folk music was deeply personal. Growing up in Kolkata, amidst the melodies of Bengali folk, his compositions, like "O Majhi Re Apna Kinara" from Khushboo (1975), captured the essence of Bhatiyali Bengali folk song while weaving in the elegance of classical Bengali music. His genius lay in honoring folk traditions while giving them a fresh, modern twist.

In Bollywood, R.D. Burman made folk music not just relevant but revolutionary. Songs like "Dum Maro Dum" (1971) merged the spirited beats of Rajasthani folk with the free-spirited vibe of psychedelic rock, creating a track that became a timeless anthem. His other timeless creation, “Duniya Mein Logon Ko" (from Apna Desh, 1972) captures a folk storytelling style with its simple yet profound narrative.

R.D. Burman’s tribute to folk wasn’t limited to just one region. From the enchanting rhythms of the hills to the lively beats of Bengal, he celebrated India’s diverse folk heritage, bringing its stories and sounds to the masses. Each track was a journey—whether it was the vibrant folk tunes of Rajasthan or the haunting melodies of rural India, R.D. Burman blended them seamlessly with jazz, rock, and orchestral arrangements, creating a sound that was uniquely his own.

Through his melodies, R.D. Burman bridged the gap between tradition and modernity, ensuring that folk music didn’t fade into obscurity but evolved with the times. His tribute to folk music was more than just a creative endeavour—it celebrated India’s diverse cultural tapestry. With every note, he made folk music eternal, proving that it could speak to the heart of the modern world without losing its soul.