Director Shoojit Sircar, who considers the movies of Satyajit Ray as his bible, mentioned the maestro would design posters and rating music for his films “out of compulsion” as he thought that nobody else would be capable to do full justice to the spirit of his work.
Delivering the Satyajit Ray Memorial Lecture on the twenty seventh Kolkata International Film Festival right here, Sircar mentioned he can not work with somebody who has not watched the works of the legend.
“Ray is called a multi-talented director…. But this may be out of compulsion. He did his own posters because probably he thought others won’t realise it in the same way. He did music in his films as he was not sure if he could explain the context of the music in its entirety to another person. He did not have any casting director either,” Sircar mentioned.
The director mentioned that in a number of of his movies together with October (2018), there are silent moments impressed by Ray’s works.
Shoojit Sircar, who shot to fame with Vicky Donor (2012), mentioned Satyajit Ray’s movies are quite simple to know.
“There are so many jargons about cinema – art, commercial etc. For me, Ray is more commercial. Someone who would give me lots of positivity and optimism, even if it is a tragedy. Remember the scene of the death of Apu’s mother (in Aparajito),” he mentioned whereas delivering the lecture on Tuesday.
Aparajito (1956) is the second movie of the Apu Trilogy. The sequence that reveals the loss of life of protagonist Apu’s mom is by no means elaborate. She was very unwell and eager for her son to return to the village from Kolkata the place he was learning. Hearing a sound, she thought Apu was again. But she solely discovered fireflies dancing at nighttime. Then, Apu returns to a house which is empty.
Sircar talked about one other scene in Pather Panchali (1955), Ray’s maiden movie and the primary of the Apu Trilogy. Young Apu and his elder sister Durga have been following a candy vendor on a village path.
“They are not running behind him to buy something. It is just the hope that they will finally be given sweets. It is just that hope, the everyday reality that is what I discovered in Ray’s works,” the Piku director mentioned.
“Many people abroad say there is an element of mysticism in his films. I try to find where is this mysticism,” Sircar, who introduced references to Ray in Piku (2015), mentioned.
Shoojit Sircar mentioned he had by no means studied artwork and literature. “This man brought me into my senses…. In many of my films, I try to adapt his expressions,” he added.
