Question

role of memory in satyajit ray's fritz

Answer 1

hii,
In literary circles, Satyajit Ray is considered to be a writer of stories primarily targeted at children and adolescents. But as with all good literature for children anywhere in the world, his books can be enjoyed by children and adults alike. Ray never treated his young readers as either less intelligent or less receptive than adults. In fact, as evident from his many interviews on the subject, he always liked to believe that children have a significantly more fertile imagination than older readers, and hence, contrary to popular perception, they are far more welcoming of chills and thrills than their older counterparts.

Nothing exemplifies this better than the way Ray wrote his horror stories. Not once did he stop short of creating the most brutal shock, the ultimate horror. And yet, without exception, keeping his young readers in mind, there was always a self-imposed restraint that kept him away from explicit gore. He did the job with situational horror alone. Ray never believed in frightening the senses – he always chose to frighten the mind instead.

In his cinema, Ray dealt with horror in just one film – Monihara (The Lost Jewels) from 1961, his adaptation of Rabindranath Tagore’s tragic story about a lonely housewife obsessed with her jewels. His literary contributions to the genre, however, are far richer, at least by numbers. In all, Ray wrote at least 26 short stories which can be inarguably classified as horror. But the fascinating thing is that he tackled such a wide array of subgenres that you have to wonder how he could have even conceived such stories for children. It takes a lot of courage to offer such seemingly complicated subjects to young readers.

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