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Who is there who could have brought worldly Bengalis to such a high position? Without Rabindranath. Ray, the prince of world cinema, has spread the light of humanity throughout the world through the Bengali mirror. The curiosity for the creation and life of this great man of short duration is endless ” (Observation of unexpected wonder: Satyajit Charcha, Chittagong, 1st year, 1st edition, January 2001, page 3)
I started this article with a quote from a local writer, Nazimuddin Shyamal, to make you feel how much Ray was, is, and will be in the heart of Bangladesh. It must be remembered that the territory was under the rule of the state of Pakistan from its inception. Although Pather Panchali was released after years of painful partitioning experience, there was no way to see the film without a movie theater at the time, so very few people could come to Kolkata to see the film after enduring the stress of passport / visa. Even if we don’t see it, the course of history cannot be stopped in any way. That is why the people of Pather Panchali have come to know about Path Panchali’s victory in time.
Ray’s first movie in East Bengal was called ‘Apur Sansar’. Art-savvy people watched a first-class movie in awe. Sadly, the then Pakistani government decided not to import films from India to keep the country’s film industry afloat. As a result, visitors have had to wait a long time to see Ray’s outstanding build after build. Seen on a detour.
It is worth mentioning that an incident occurred in ’74. At that time, Ray’s film ‘Mahanagar’ was sent from India to the first International Film Festival to be held in Dhaka. According to the festival committee’s decision, an image will be shown every day. But given the high demand from viewers, it was necessary to arrange to show images from 10/11 in one day, that is, 24 hours, day and night. There was a long line at the Dhaka stadium to buy tickets. What the general public was attracted to by his image is evident in this incident. The creator himself was very happy to know about the great popularity of his images.
Shortly after the birth of the state of Bangladesh, at the invitation of the government, on February 20, 1972, in Paltan Maidan, Satyajit Ray spoke with great respect about the emotions of the people of Dhaka. He said he would be surprised at this madness. The presence of thousands of people there that day surprised him. In a very emotional voice, he said that day: “In the past twenty years, I have been fortunate to be honored many times in many places in many countries. But while I am here out loud today, on this auspicious Martyrs Day, I can say that today’s honor is equal to all previous honors. I have never received an honor greater than this and I do not think I will receive it again. Joy Bangla. ”With his expression“ Joy Bangla, ”the entire field erupted with joy.
This is the people of Bangladesh, the heart of the blood red people! All of Satyajit Ray’s works are mixed with absolute respect and love. This man himself is proof that the great aesthetic feeling of art of which feeling proud as a Bengali does not mean the fence of the country. Outstanding Bangladeshi filmmaker Tanvir Mokammel wrote of his creation: “The best Bengalis are those who have mastered the best aspects of East and West: Rammohun, Michael, Vidyasagar, Rabindranath and Satyajit. These are the true rebirth. Ray may be the last genius of the Bengal Renaissance. ”(Cinema Art – Page 23). Many people there have made such a respectful assessment.
Recently, the late Bangladeshi cameraman, Anwar Hossain, wrote about his own feelings this way: “… you will realize from your heart that watching Ray’s movies is not real. Any director transmits feelings through his celluloid, which moves the mind through some scientific and technical complexities. This is how art is created, it is the outline of the cinema. But great filmmakers like Roy make a realistic representation of the feeling that it moves the public, inspires them to think and educates them. “(Ray’s Memorial Book, Ritwik Film Parliament, Dhaka, January 1993)
Anwar Hossain Pintu, the editor of ‘Satyajit Charcha’ published from Chittagong, while writing the editorial of the issue published in 2016, frankly said: Amidst such crisis of life and erosion of values, the pen and the camera of Ray’s thoughts have repeatedly become the beacon of the right direction. “
The man for whom the people of Bangladesh have this immense respect, Satyajit Ray himself, was very respectful of independent Bangladesh. That is why he left a lot of work at the first opportunity in ’72 and went there, saying frankly: This time I have left a lot of urgent work, I hope that in the near future I will return to this country. I’ll take a good look at this country. I will meet the people of this country not face to face, but face to face, talking to them face to face. ” (Speech at Paltan Maidan, transcription from Tariqul Islam Babu recorder)
It is true that his desire to return to Bangladesh was not fulfilled, but he surprised everyone by choosing Babita in the movie ‘Ashani Sanket’. This is Satyajit Ray. Babita’s performance in that movie is still on everyone’s mind.
Although he was not himself, his door was open to the people of Bangladesh. How many people have come to him at what time! He gave them time in a very busy time. Once upon a time, Subhash Dutt, a local filmmaker, had difficulty obtaining permission to meet for five minutes by phone. It appeared in the right place at the right time. She spoke fluently with him. He also forgot everything and answered all his questions. Upon returning to the country, he wrote about this experience in an annual issue of a magazine called Chitrali. Entitled “Five minutes to an hour”.
Finally, I would like to share a personal experience of Sayeda Khanam, the sister of Abdul Ahad, the first female photographer in Bangladesh. In 1962 he came to Calcutta to interview Satyajit Ray. Upon reaching the source of this work, he became closely involved with the Roy family. In a recent interview, Ms. Khanam, who has many personal joys and sorrows in addition to taking photos, spoke about her intimacy with the Roy family. There is no time to tell about that long experience here. I will only share the experience of your last meeting with Satyajit Ray.
“… I stood next to Manikdar’s bed with tears in my eyes. Monkudi said, “Look, it has rained.” Surprise! Manikda recognized me. Other times, when you walk into the house like you say with a smile, are you okay? Even today he asked. But that sweet, bright smile is so pale. The voice is very weak. “You will improve again.” As soon as Manikdar touched his icy hand, it seemed that Manikda loved life very much, the sun of that life was slowly setting. Standing on the beach, Manikda loved to watch the sunset. I saw the great sunset with the blessings of all the earth in the eternal stream of time. My tearful respect and love merged with him ” (‘Kathar Gharbari’ edited by Nishat Jahan Rana. Pp. 138-136).
R / 08: 03/14 May
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