what was so special about the screenplay written by Ray
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In a prolific career spanning nearly four decades, Satyajit Ray directed 36 films, including feature films, documentaries and shorts. His films have received worldwide critical acclaim and won him several awards, honours and recognition — both in India and elsewhere. In this column starting 25 June 2017, we discuss and dissect the films of Satyajit Ray (whose 96th birth anniversary was this May), in a bid to understand what really makes him one of the greatest filmmakers of the 20th century.
In his long filmmaking career, Satyajit Ray had mostly adapted the literary works of others. In other words, for most part, he had interpreted the works of other writers. It was not until 1962 that Ray plunged headlong into his first act of pure creation, for which he wrote an original screenplay right from scratch and then went ahead to make it into a film. The background to the writing of this screenplay is interesting. Ray was initially toying with the idea of a film in which a family goes on a picnic. He had thought of the beginning of the film, and the ending – both revolving around a family photograph but with different interpretations, as revealed through the events and interactions in the body of the film. When this idea did not materialise for logistical reasons, Ray converted the seed of the idea into another story set in the hill station of Darjeeling, where a large family gathers for a holiday. That film, which went on to become perhaps the most unique film of Ray’s career, was Kanchenjungha.
The events of the film take place in real time, in a late afternoon near the Observatory Hill road of Darjeeling. Rai Bahadur Indranath Roy Chaudhuri’s family has come to the Himalayan hill station for a holiday, and they are supposed to head back to Kolkata the next day. Indranath himself is a highly successful and affluent man – chairman of as many as five companies. But he is not without his faults. He is vain, brash and a British-sympathizer, who has the tendency of looking down upon people and sealing their fates with his own judgements, decisions and proclamations. His wife Labanya is a docile and submissive woman – quite aware of her husband’s nature, and yet unable to vocalise her protests. The elderly couple have three children. The eldest is Anil – a hopeless and incorrigible womaniser who talks too much and thinks too little. There’s the elder daughter Anima, who is married to a reticent man named Shankar. This couple are going through a failed marriage and are barely holding on to it for the sake of their daughter. The youngest of Indranath’s children is the beautiful Monisha – a young woman of independent spirit and thought. Also in the family is Jagadish – Labanya’s widower brother, and an ornithologist by passion. Other than the family, three other people converge at the misty hill station. There’s a young, affluent and eligible bachelor named Banerjee – a suitor for Monisha, armed with the blessings of her autocratic father. Then there’s an old man who used to be Anil’s private tutor several years ago. And finally, there’s this old man’s nephew – a young unemployed man named Ashok. As the film progresses, the paths of all these characters cross, and through their interactions and conversations, the fragmented narrative moves forward.