how did roberge come to know about mother teresa
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In his youth, all he knew of Bengal was through Mircea Eliade's La Nuit Bengalie, some of Tagore's poems, and a Reader's Digest article on Mother Teresa. If the harsh image of poverty brought out by the article on the "Saint of the Slums" haunted him, Apu's world came as a reassurance. "No.
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and a Bengali film-maker led to path-breaking work in film studies.BY SPECIAL ARRANGEMENT
SATYAJIT RAY WITH Fr. Gaston Roberge in the early 1970s.IT was a unique friendship that developed between a French-Canadian priest and one of the world's greatest film directors, and had a singular impact on Bengali films both academically and practically. It was en route to India in 1961, at a stopover in New York, that 26-year-old Fr. Gaston Roberge was acquainted with the works of Satyajit Ray through the Apu Trilogy. He found the world of Apu so fascinating that he saw all three films in one sitting; and there began his longstanding love affair with the people of India and Bengali cinema and culture, which led to path-breaking work in those fields. In his latest book, Satyajit Ray, Essays: 1970-2005, a compilation of his essays as the name suggests, being published by Manohar Publishers, New Delhi, Roberge provides a scholarly, original analysis of Ray's works, giving an insight into the greatness of Ray both as a person and as an artist."The Apu Trilogy was, in fact, my first portal to West Bengal and its people," he told Frontline. In his youth, all he knew of Bengal was through Mircea Eliade's La Nuit Bengalie, some of Tagore's poems, and a Reader's Digest article on Mother Teresa. If the harsh image of poverty brought out by the article on the "Saint of the Slums" haunted him, Apu's world came as a reassurance. "No. Apu, Sarbajaya, even Harihar did not need my help - but how not to love them? I thought it was fortunate that I would soon be among them," he wrote.Roberge does not endorse the accusation of Ray's detractors that the master director made his reputation selling India's poverty to the West. "What struck me most was not the material poverty depicted in the films, but the enormous spiritual richness of the characters, whose poverty didn't prevent them from being so deeply human and so full of joy. Besides, the spiritual poverty of some rich people is much more deplorable than material poverty," he said. Roberge does not speak with the arrogance of the West. "I was here on a quest to know the world and in the process know myself. I did not come here to convert. In fact, I am the one who got converted," he said.But it took him nine years after reaching Calcutta (now Kolkata) and joining St. Xavier's College, to muster up the confidence to meet Ray in person. "Although I wanted to meet him right away, I didn't want to just go and see him like he was a living museum piece. I wanted to prepare myself, get to know his works more, so that when we met, there could be a worthwhile dialogue," he said. When they finally met, it was the beginning of a close friendship that lasted 22 years - until Ray's death in 1992."It was a very quiet friendship that developed over the years. Manikda [as Ray was affectionately called by friends] was a shy person and always very discreet about displaying his emotions," said Roberge. Though to outsiders, Ray's massive stature - physical and intellectual - might have made him come across as cold, aloof and even intimidating, he was in reality a very simple and unassuming man with a subtle sense of humour. It was an unspoken arrangement between the two of them to meet on Sundays at 9 a.m. at Ray's residence on Bishop Lefroy Road, Kolkata. Ray would invite Roberge over for private screenings of his latest films and welcomed comments on them. But this happened only after the friendship had cemented, for in the early days of their dialogue Ray's shyness prevented him from talking about his own films.
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