Influence of Bengali Classic Literature on Bollywood Films

Influence of Bengali Classic Literature in Bollywood films.

Bengal in the eighteenth and nineteenth century had produced intellectuals of different dimensions in different fields including academics, politics, music, literature, social science, etc. Social reformers like Raja Ram Mohan Roy, Vidhyasagar brought social awakening through the prohibition of evil practices like Sati and bringing modern legislations with the help of the British Government in the colonial era like Widow Remarriage Act. In the field of religion Swami Vivekananda redefined Hinduism in his Chicago Conference in USA and provided the deliberations of Sri Ramakrisha in condemning materialist philosophy. Netaji Subhas Chandra Bose was one of the most dynamic personalities of the freedom struggle movement of India.



Literature is a field where the immortal works of the Bengali Legendary thinkers have influenced the silver screen the most which even has significance after around 50 years of creation of the classic works. Bankim Chandra Chatterji was given the title of Sahitya Samrat (the Monarch of literature) who nurtured Bengali language from its Sanskrit-oriented origin in almost the same manner in which mythologically Lord Mahadeva brought river Ganges from his knotted hair (jata) and created classic novels like Kapalkundala, Anandamath, Devichowdhurani, etc. His song Vandemataram had instilled patriotism and respect for the motherland and was the guiding mantra in India’s freedom movement which became the national song of the country after India got independence. His novel “Anandamath” was picturised as Bollywood film in 1950 with Pradeep Kumar, Bharat Bhushan, Prithviraj Kapoor playing significant roles.

Bimal Mitra’s epic literature Saheb Bibi Gulam, directed by Karthik Chatterji became a historically eminent work depicting the Zamindari existing in Kolkata during Colonial rule. Chabi Biswas was the second brother, showed the aristocracy, grantieur with which the feudal lords ruled the state. Uttamkumar was the observer of the events as Bhutnath.[1] Guru Dutt played the same role in the hindi film Saheb Bibi Aur Ghulam, 1962, where Meena Kumari played the chotibahu in her own style.

Rabindranath Tagore, the winner of Nobel Prize in literature for Gitanjali, in 1913 had galvanised the firmament of creativity with short stories, poetry, prose, plays, songs and had influenced both Bengali and Hindi films with his revolutionary thinking. His story Kabuliwala was directed by Tapan Sinha in 1957, with Chabi Biswas, the greatest actor of Bengali Silver Screen giving immortal performance of an Afghan father who left his country, came to Kolkata to sell his produce of mewa, pesta and loving a small Bengali girl “mini” who brought him memories of his own daughter back in the country.[2] Tapan Sinha’s films Khudito Pashan, Atithi, 1965, Satyajit Ray’s cineclassic, Teen Kanya, 1961, Gharebaire, 1984, are based on the immortal prices of work of Tagore.

Bimal Roy, the winner of a number of Filmfare awards for best direction in bollywood films made Kabuliwala with Balraj Sahani in 1961. Although the film could not create the same impact as the Bengali film Kabuliwala, yet the classic literature was well appreciated by the Indian masses. Previously Salil Chowdhury’s Do Beegha Zameen, in 1953 had kept its mark as a Bollywood film having strong storybase and powerful direction.

Sarat Chandra Chatterji, titled Katha Sahitwik, influenced Bollywood films the most as his language was understandable to the people of the grass root level and his observation on social, economic issues of rural Bengal had tremendous impact on the readers and filmlovers. His story Devdas picturised by Bimal Roy stormed the silver screen in 1955, providing Dilip Kumar the title of Tragedy king and the image which did not fade with changing times. The remake of Devdas by Sanjay Leela Bansali shows the fact the story is immortal and has not lost its significance even today, more than 70 years after its creation. Similarly Sarat Chandra Chatterji’s Parineeta was picturised by Bimal Roy in 1953 with Meena Kumari in the lead role. The same film had been remade by Pradeep Sarkar in recent times and had been well appreciated by the Indian masses showing the strength of the story and the depth of thought of the author.



Bimal Roy picturised Biraj Bahu in 1954, another story of Sarat Chandra Chatterji, showing the experiences of rural Bengal. Sarat Chandra Chatterji’s classic story Niskriti, based on the problems of joint family system was picturised in Bengali film and in the hindi film Apne Paraye, 1980, the pain of poverty was well depicted through strong performance of Shabana Azmi and Amol Palekar with Utpal Dutta’s compassionate andaz as elder brother. Sarat Chandra Chatterji could think ahead of his time, because joint families are getting eroded these days due to lack of adjustment and giving birth to nuclear families. Besides the biographies of Sarat Chandra Chatterji were picturised in Bengali cinema in Rajlakhi Srikanto,1958, Kamallata, 1969, where Uttamkumar represented Sarat Chandra himself and Abhaya Srikanto, 1965 where Basonto Chowdhury represented Sarat Chandra. In all these stories, the social stigmas, religious barriers, poverty existing in the rural countryside and condition of women was depicted with such a pictographic dimension that people find themselves and associate themselves in one character or the other.

Noted author Jorasondho had provided immortal stories based on his experiences as Jailor in a Bengal prison. Tapan Sinha mesmerised the Bengali audience with his powerful adaptation of the novel Louhakapat in 1958. Chabi Biswas’s performance was well acclaimed throughout Bengal and Nirmal Kumar playing the role of the observer was well appreciated. Bimal Roy made his epic film Bandini on the story of Jorasandho in 1963. The tragic background of individual prisoners made people think whether our justice system punishes the crime or the offender. Other landmark stories include hinger kachuri, written by Bibhutibhushan Mukherjee, which was picturised as Nishipadda, 1970, where Uttamkumar gave a lifetime performance and also translated into hindi version in Shakti Shamant’s Amar prem, 1972. The list can go on. As Bengalis are characterised with their depth of thinking, analysing and feeling human emotions, Bengali literature still is an invaluable asset, even today. Still realistic films can be made from the classic literature of different ages by thoughtful directors. Efforts should be made to translate the Bengali classic literature into different regional languages, so that more section of the society can cherish them for generations.


[1] My father Chitta Ranjan Chatterji, Ex-chief Public Prosecutor, Bankshall Court, had interviewed Dilip Roy, eminent actor of Bengali films who was his witness, in a case instituted in Bankshall Court, who said there was no second actor in India who could depict the role of Zamindar in the way Chabi Biswas had done in Saheb bibi Golam, Jalsaghar, Dui Purush, Antarikha, etc. He also said when Raj Kapoor tested Chabi Biswas in the role of a drunkard in the film Ekdin Ratre, 1955, his performance in the song “Ei duniyay bhai sabi hoy” sung by Manna Dey, he came down the trolley and saluted Chabi Biswas saying he had not seen an actor in Indian screen like Chabi Biswas. In the hindi version Jagte Raho, 1956, the same character was played by Motilal, but he could not match the level of excellence of Chabi Biswas.

[2] Kabuliwala received President’s Gold Medal for best film in 1957. Renowned Director Satyajit Ray in his TV interview on DD Bangla had said Chabi Biswas was the greatest actor ever to grace the silver screen and giving him direction was his greatest challenge in the award winning films Jalsaghar, 1958, Devi, 1960, Kanchenjungha, 1962. Chabi Biswas’s performance in the film Manik, 1956, the adaptation of Oliver Twist written by Charles Dickens, in a role of a handicapped grandfather could have brought him Oscar had the film being placed for the nomination.

Tapan Sinha

Tapan Sinha – the Creative Genius of Bengali Classical Cinema.

Tapan Sinha can be considered as the most dynamic creator of Bengali films after Satyajit Ray, who had glorified the Bengali golden age of Classical cinema with his outstanding vision. Being a legendary figure of the 50s, 60s and 70s, much have been written about the maestro whose significant films can be considered as masterpieces. What has not been written is that the standard of excellence he had created in those films cannot be replicated in hindi or any other regional films.

Firstly Tapan Sinha was fond of Classical literature and as such in his films the characters from the popular novels and short stories became lively in blood and flesh in celluloid. He made Kabuliwala based on Tagore’s epic short story, in 1957, which was astonishing for the viewers. Chabi Biswas, the greatest actor ever, to grace Bengali screen, mesmerised the audience with his dynamic performance of an Afghan character Rahmat. Chabi Biswas met few Afghans who sell mewa, peshta in the streets in Kolkata, personally to personify their characteristics in the role. Tinku Thakur, who played the role of the little girl Mini, was the best child artist ever to appear in Bengali films and the entire credit goes to Tapan Sinha for choosing her. Radha Mohan Bhattacharya was a grand scholar and his literary skills were synchronised with the role of Mini’s father who was a novelist in Tagore’s story. Manju Dey, the mother of Mini, was probably the most powerful character artist in the 50s, and she never looked like acting, every gesture of her seemed natural. Tapan Sinha’s script was outstanding by every standard. The film got national and international awards.



Tapan Sinha continued with his picturisation of classical literature in the following years. His brilliant film Louha Kapat was based on Jorasondho’s epic novel, which dealt with his experiences of different prisoners which he witnessed as a Jailor. The central character was played brilliantly by Nirmal Kumar whose poetic eyes showed the expression of observer. Chabi Biswas was again majestic in his notable role. Kali Banerjee’s performance as was one of the prisoners who was convicted for murder charge requires special mention. There were so many characters, out of which, Tapan Sinha picked up few and did not change the flow of literature in the novel. The other film Khoniker Atithi speaking about a handicapped boy who was cured by Nirmal Kumar, a doctor, who was compassionate about the mother of the child who was widow (played by Ruma Guha Thakurada), in the entire film, merged the pathos of the story with the elegance of camerawork.

In 1961, Tapan Sinha, came up with Bengali version of Hollywood film Prisoner of Zenda, titled Jhinder Bandi, it was related to a story of two twin brothers, with one of them, Shankar Narayan Singh, the king of Jhind, being kidnapped by his other brother and later freed by the twin brother. Uttamkumar, the dynamic personality of Bengali films, played a double role in the film, exhibiting the royal andaz of the historical character in the film, including sword fighting with anti-hero Soumitra Chatterji. The shooting of the film in the mountains and the lake palace required extraordinary skill. Radhamohan Bhattacharya showed the dignified personality of a Diwan who was the protector of the state and Tapan’s Sinha’s faith in his casting was bolstered by his brilliant display of royal character. Tapan Sinha’s wife Arundhuti Debi, was aristocrat in real life with her Rabindrik education of Shantiniketan and it helped her to display the role of the queen in the film who previously gave a life time performance in Tapan Sinha’s Khudito Pashan based on Tagore’s classic literature.

In 1963, Tapan Sinha, created Nirjan Saikate, a film showing the tragic story of 5 widows who came on a pilgrimage to the holy place at Puri. Anil Chatterjee, one of the other dynamic actors of Bengali cinema, played the role of the observer who went to Puri, and by acknowledging the rich sculptures of Sun Temple in Konark, convinced Sharmila Tagore, that the work of art of the unknown artists depict the fact, life is precious and human beings are expected to utilise their life for some immortal work by rising above their personal sorrow, sniffles, etc. The film received President’s gold medal, and significantly all the widows, five of them, Chaya Devi, Renuka Devi, Bharati Devi, Sharmila Tagore and Ruma Guha Thakurta received national award in that year, which has happened only once in the history of Indian cinema.

In 1964, Uttamkumar produced Jatugriha, based on the story of Subodh Ghose which was directed by Tapan Sinha. The film displayed the complexity of a rich couple living in Kolkata who did not have children with Arundhuti Debi playing the role of the wife who could not bear a child in her life. Significantly both Uttamkumar and Arundhuti Debi loved children a lot and the incapability led to domestic unhappiness which ultimately led to separation. The ending of the film was significant as both Uttamkumar and Arundhuti Debi rode on two trains which crossed each other in opposite directions. In their separation also both the husband and wife had mutual respect for each other. It can be classified as one of the most thoughtful cinema made by Tapan Sinha. In the following year Tapan Sinha made Atithi, based on Tagore’s story talking about the life of a bohemian character who travelled from one village to another whose mind never settled in one place.

Tapan Sinha also made Hate Bajare, where Ashok Kumar (Dadamoni) played the role of a village doctor who witnessed the tragic conditions of villagers who were subject to backwardness and oppression by the middlemen. Dilip Kumar gave a life time performance in Tapan Sinha’s Sagina Mahato, where a trade union leader was utilised for own benefit by the political forces of the region and exploited to the fullest extent. Anil Chatterji, the political activist countered Dilip Kumar in the tassel of muscle power in the film.

Tapan Sinha was a source of inspiration for film directors in Bombay to make realistic films. His film Kabuliwala was remade in hindi by Bimal Roy, with Balraj Sahani playing the role of Kabuliwala. His film Golpo holey Satti, 1966, was made in hindi by Rishikesh Mukherjee tilled Bawarchi in 1972. Tapan Sinha made a hindi version of Sagina in 1974, with Dilip Kumar playing the same role. Tapan Sinha’s Arohi, was picturised in hindi with the title Arjun Pandit, where Sanjeev Kumar played the central character which was played by Kali Banerjee in the Bengali film.

Tapan Sinha even depicted the naxalite movement in the films Ekhoni, Aponjon, in the 1970s and local unrest in the late 80s in films like Atonko, Antardhan, etc. The distinctive feature of Tapan Sinha’s films include, strong script, powerful story telling and superlative use of theme music. He chose locations which were romantic, picturesque and were colourful even during the black and white era which justified the depiction of the story. It is difficult to describe the immortal work of Tapan Sinha in a small article as he made around 35 films in a span of 40 years and each of the works can be scanned for cinematic, poetic and musical value. An archive should be created to preserve the works of Tapan Sinha for the film makers of present generation to learn to use classic literature to reach the message of the literary giants to the people at large.

Ajoy Kar

Ajoy Kar – The genius of camera, lighting and path-breaker in Bengali Cine-classics.

Ajoy Kar emerged in the Bengali film arena at a period when celluloid was at the stage of transformation from talkies era to studio based feature films. Studios were not developed to that extent and there was hardly any evidence of outdoor shootings taking place in the mid-40s. Ajoy Kar initially relied on popular stories like Bhraman Kanya, Bamuner Meye, etc., in the 40s with Shahar Theke Durey, with Jahar Ganguly making a mark in the minds film lovers of Bengal. His adapatation of Sarat Chandra Chatterjee’s tragic story Mejdidi, in 1950, showed the skills of powerful script and elegant story-telling with Kanon Devi showing her depth of acting and understanding the leading character termed mejdidi with her compassionate andaz.



But the critics in Bengal were shaken up with Ajoy Kar’s dynamic crime thriller Jighansa, in 1951. The story was based on Arthur Conan Doyle’s Suspense thriller, The Hound of Baskervilles where Sherlock Holmes and Watson were involved in solving a murder mystery. The role of the detective was played by Sishir Battobyal with Manju Dey playing a ghostly character with her eloquent skills and natural splendour. Bikash Roy, was given a different dimension as one of the relatives of the princely estate, who was deprived of real property of the royal family and took revenge by killing each of the new predecessors of the royal family. He stayed in the neighbourhood in the disguise of a Botanist and was ultimately killed by the detective in the story before he could commit another murder. Ajoy Kar’s casting of the leading characters was as outstanding as the supporting casts, example being Metro Cinema’s gatekeeper (tall, lanky and fearsome) who was employed to kill the prince ( Biren Chatterjee) in the film. The hindi version of the film Bees Saal Bad, made in 1961 could not create the same fearsome impact as that of Jighansa.

After creating Darpachurna, Grihaprabesh with Uttamkumar and Suchitra Sen, Ajoy Kar took up the challenge of picturising Shyamali in 1956. Shyamali was the story of a deaf and dumb girl who was married to Uttamkumar, and was not accepted by his mother Malina Devi. At the end of the film Uttamkumar becomes successful to convince her mother that as he was lawfully married to the deaf and dumb girl and the marriage was solemnised according toHindu religious rites and ceremonies, she has to accept her as his wife and fill up her disability with love and compassion. As Shyamali was played in Star Theatre in Kolkata for five years with Sabitri Chatterjee, providing an outstanding performance in the role of Shyamali in stage, it was a big risk in picturising the story in a film. Ajoy Kar’s story-telling and a different casting (Kaberi Bose played the role of Shyamali in the film), had been successful to receive critic’s acclamation. Sarat Chandra Chatterji’s Bardidi was also picturised by Ajoy Kar with Uttam Kumar and Sandharani adjusting themselves to the rural characters and showing the softness of mind of villagers of Bengal in that era.

Ajoy Kar’ grand blockbuster came in 1957 with Harano Sur. If any director had made the best use of Uttam Kumar and Suchitra Sen, the legendary pair who had ruled the golden age of Bengali Cinema, then it was Ajoy Kar himself. Uttam Kumar launched himself as producer with story depicting the lost memory of an industrialist in Kolkata who suffered a railway accident, who was treated by a Doctor in Palaspur, and was married to the Doctor, but another accident brought back his old memory leaving aside the events that happened in between. Suchitra Sen had to work in the house of Uttamkumar as a governess of his nephew and through the missing note sung a number of times brought back his memory. Firstly, such an innovative type of idea was not presented in Bengali films before Ajoy Kar. Secondly just like Franz Beckenbauer was called the Kaiser, emperor in German football, Ajoy Kar could be termed as Kaiser of camera, as his naming of the film starts with words floating on the ripples and waves of water. Besides his presentation of Suchitra Sen, was classic in the film, because nobody in Uttamkumar’s family knew about Suchitra Sen’s (his character was Rama in the film) relation with Uttamkumar and as such rebuked her at different times, and she inspite of being a doctor was submissive at every moment of the film, digesting the insulting words hurled at her with calmness and composure. Besides, her glamour was utilised by Ajoy Kar to his fullest capability in the film.

After being successful with Khelaghar in 1959, Ajoy Kar, made his next masterpiece Suno Boro Nari, in 1960. The film depicting Subodh Ghosh’s literature was based on the tragic tale of a Professor of Bengali University (played by Uttam Kumar) who loved a rich student who defied him and led him to leave the place where he started his new life as a homeopathy doctor who used to reach women from one part of the country to the other in trains for security and other reasons. The daughter of Charu Ray (majestic barrister played by Chabi Biswas) fell in love with this person while he reached her to Patna from Giridih. At the end of the film this girl rejects the relation with a rich materialist person and embraced the middleclass professor against the wishes of her parents. Most of the film was depicted through train journey and at the end of the film when Chabi Biswas asked Uttamkumar to leave Giridih, he was in the train when Supriya Debi, the daughter of Chabi Biswas meets him in the train after leaving her house, property, pomp, grandier, etc. The literary value of Subodh Ghosh was matched by Ajoy Kar’s strong script and Uttam Kumar’s superlative performance.

Ajoy Kar was in the march for excelling himself and made the greatest blockbuster in Bengali film history with Saptapadi, in 1961. It was Uttam Kumar production again. The story written by Tarashankar Bandhopadhay depicted a medical student played by Uttam Kumar falling in love with an Anglo girl Rina Brown (played by Suchitra Sen). Uttam Kumar’s father Chabi Biswas, being an orthodox Hindu Brahmin could not accept a Hindu marrying a Christian and begged his son before Rina Brown. Rina Brown sacrificed her love and Uttam Kumar after converting himself into a Christian dedicated his life as a doctor who helped the victims of second world war which took place at that time. At the end of the film, Chabi Biswas realised that human attachment cannot be obstructed with the barriers of religion and glorified the sacrifice of Rina Brown. Uttam Kumar treated Rina Brown after she was severely injured by bomb blast. Romance was given a different dimension by Ajoy Kar in Saptabadi which can be categorised as one of the most refined cine-classic created during the golden age. The Shakespearean play Othello picturised in the film acted out by Uttam Kumar and Suchitra Sen and the playback provided by Utpal Dutta and Jennifer Kapoor was another grand creation in the same film. Uttam Kumar’s make up with beard in the role of the Christian doctor who had renounced desires, is probably the best make up ever given to Uttam Kumar in his life. Suchitra Sen’s performance and Chabi Biswas’s acting was as majestic as the dynamic camera work in the film.

After making Atol Jaler Aohan, Ajoy Kar created Sat Pake Bandha, in 1963, showing the adjustments of Suchitra Sen as a daughter of a rich family, whose marital life was ruined by the undue interference of her mother in the affairs of his middle class husband who was an academician. The personality of the husband (played by Soumitra Chatterjee) was shaken up with the insulting demeanour of his mother-in-law played by Chaya Debi and Suchitra Sen’s struggle for persuading her mother and convincing her husband failed as her husband never tried to show any adjustment. Suchitra Sen received best actress award in Moscow film festival and created an everlasting impact in the minds of film lovers across the country. The hindi version of the same film Kora Kagaz could not create the same impact where Jaya Bacchan played Suchitra Sen’s role.

The other notable films of Ajoy Kar include Kach Kata Hire, Dutta, Kayahiner Kahini, Parineeta, etc. Ajoy Kar trained a number of film –makers in the Film Institute of Pune in early 70s. As the neo-realistic film movement initiated by Satyajit Ray, Ritwik Ghatak diverted the focus of critics towards parallel cinema during the golden age, Ajoy Kar did not receive the recognition he deserved. He is the most unsung, unlamented, unrecognised director ever to grace Bengali cinema inspite of providing a new expression to plutonic affairs and nurturing the talents of Uttam Kumar and Suchitra Sen who had brought colour in the black and white classics which have become immortal with passage of time. Ajoy Kar’s works should be preserved in an archive where new generation of film makers can learn how to develop a story base with powerful screenplay, excellent camera work, accurate casting and stylish effects.

Wide dimension of Stories of Satyajit Ray

Wide dimension of Stories of Satyajit Ray.

According to intellectual critics of modern literature, Satyajit Ray had made memorable explorations into the twilight territories of the peculiar and the supernatural. Some of his extraordinary tales can send shivers up the spine, ensure everyone to keep the lights on when anyone goes to bed at night, and occasionally allow someone the luxury of nervous laughter.[1]
In the story titled ‘Bhuto’, a ventriloquist’s dummy slowly but surely turns malign and more human than its master;[2] in ‘The Pterodactyl’s Egg’[3] we meet a man who claims to have devised a way to travel, economy-class, into the fourth dimension; in ‘Anath Babu’s terror’ a ghost-hunter finds himself stalked by his terrifying quarry; and in ‘Shibu and the Monster’, a schoolboy has to figure out whether his mathematics teacher is really a demon or not.[4]



In the Story “Ghurghutiar Ghatana” there was a person residing at Ghurghutia, a moffusil town in West Bengal who had a wide collection of Novels and Books which were expensive and not easily available in the market. He maintained a locker which had a German Lock which could be opened only by combination. These types of locks were used during the time of Second World War where only the owner can know the exact combination of numbers and open the lock. The Central Character of the story made his parrot memorise the combination of the lock through a small poetic verse which in Bengali is termed “ Heyali”. The Parrot used to say “Trinayan O Trinayan Ektu Jiro”, which in Bengali meant , the person with three eyes, please rest for sometime. His son kidnapped the father but could not understand the implication of the heyali. Feluda , the Private Investigator was invited from Kolkata to find out what the parrot meant through those lines. The deal was that if Feluda succeeds in doing so the expensive novels will be given to him as reward. Feluda, recollected the period when India was under the colonial rule and The British Government ruled the country from the Capital Calcutta. At that time the British Generals maintained a number of Hindustani sepoys who used to speak in Hindi. When the British people failed to order them to close the door, they used to say “there is a brown crow” meaning “ darwaza bandh karo”. Feluda picked up that message and solved the puzzle about the verse of the parrot. Feluda said “ Trinayan O Trinayan Ektu jiro” means “three nine zero three nine eight two zero”. That was exactly the number with which the lock could be opened .There are other aspects of the story which was solved by Prodosh Mitra, but the thrill of suspense and inquisitiveness of the readers was kept intact while presentation of the story.



For several decades now, Satyajit Ray’s tales about unusual happenings and bizarre characters rooted in familiar surroundings have both regaled and terrified his readers, young and old alike. They include ‘The Hungry Septopus’,[5] a carnivorous plant with a monstrous appetite, ‘Barin Bhowmick’, a kleptomaniac who is taken back several years by a chance encounter on a train, ‘Patol Babu’, an amateur actor for whom a walk-on part in a movie turns into the ultimate challenge, ‘Bipin Chowdhury’, who seems to be suffering from a most disagreeable form of amnesia, ‘Bonku Babu’, a mofussil schoolteacher who is visited one night by a friendly and somewhat awkward alien,‘Ashamanja Babu’s Dog’, who bursts out laughing one morning‘Anath Babu’, a ghost hunter who finds himself being stalked by his terrifying quarryand many, many more unforgettable characters.[6]

Following the huge success of his telefilms, Satyajit Ray Presents 1 and 2, Feluda-30 and Dr. Munshir Diary based on a bunch of Satyajit Ray’s widely-read short stories, Sandip Ray has made a tele-film Satyajiter Gappo-2 which was telecast on DD-1 and 7 (National channel) as a tribute to the maestro’s 80th birth anniversary. The interesting feature of that experiment lied in its freshness and novelty as it mostly concentrated on bizarre contours of everyday life, human values found in its natural splendour and conflicts and complex situations.[7]

In the Film “ Joy-Baba Felunath”, 1978, Satyajit Ray created a case where an expensive Idol of Ganesha ( The Elephant god of the Hindus) is stolen from the House of Mr. Ghoshal in Benaras.[8]The grandson of Mr. Ghoshal was told to tell everyone that the Idol is with the king of Africa. Actually there was a Durga Murti being made in the same house and Devi Durga’s Bahon which was a Lion , ( The King of Africa) , where the idol was kept hidden with gum. Bikash , an orphan in that house who was brought up in the Ghoshal Family stole it and gave it to Maganlal MeghRaj , ( a rich marwari businessman) having house in Gyanbapi in Benaras. He was supposed to smuggle the idol through a Sadhubaba ( Machlibaba) at the shores of the Ganges in Benaras. Feluda intervened and arrested Maganlal Meghraj and solved the mystery. The performance of Utpal Dutta, a brilliant figure of Bengali stage and Indian films was extra ordinary. The location of Benaras, the bhajans that were picturised in the film and the synchronization of the sequences was brilliant.[9] It is a pity, that Ray did not have the time to make films on most of his literature in the form of short stories, Detective stories, Suspense Thrillers and Stories of Diverse categories. The literature of Ray should be revisited to understand the diversity of the range of topics, science base, technicality, educative subject matters, human values that Ray used to handle in the span of 35 years.





[1] https://www.vedamsbooks.com/no22911.htm

[2] Ventriloquism means the art of making one’s dummy talk when his master is the actual talker. There are certain letters the pronounciation of which does not require lip movement. For example if a Ventriquist says “ Mohunbagan” he will pronounce it ( nononbagan) because the letter n does not require lip movement.

[3] Ptrodactyle is a prehistoric bord appearing duing the time when Human Beings did not appear in the earth. I moving specimen is evident in the Science City at Kolkata.

[4] Satyajit Ray was born on 2 May 1921 in Calcutta. After graduating from Presidency College, Calcutta, he studied art at Rabindranath Tagore's University “Biswabharati” in Santiniketan. He won numerous awards for his films. He was honored with the Oscar for Lifetime Achievement by the Academy of Motion Picture Art and Sciences and bestowed with India's highest civilian award Bharat Ratna.

[5] Septopus is an organism similar to Octopus. Octopus has eight tentacles, Septopus has seven. In the relevant story the author’s dog was eaten up by the Septopus and that had made the owner ( A Scientist fascinated with plants and orchids) kill the Septopus with his rifle because it had become carnivorous.

[6] http://www.indiaclub.com/Shop/SearchResults.asp?ProdStock=8655

[7] http://www.screenindia.com/20010518/rbengali.html

[8] Joybaba Felunath released in 1977 won the Best Feature Film Award, Hongkong Film Festival, 1979.

[9] My Father, the then Chdief Public Prosecutor, Bankshall Court ( Chief Metropolitan Magistrate’s Court, Kolkata) when made a submission in the Sandip Ray case on Manuscripts of Ray, mentioned that Ray’s property is National Property and should be only kept in Archive maintained in Nandan for future generations to develop their knowledge base on the fields Ray had worked on. The ACMM Mridul Ray said Sandip Ray should maintain the rich legacy of his father by creating the same standard of excellence in the creative arts which he is handling now. It is reported in The Statesman, The Telergraph and other notable newspapers in 1994.