ashokbhatia

Allow me to share with you how his creative genius has exercised his soft power on a lesser mortal like me.

My earliest interactions with the master of Indian Cinema

I shall not delve into an analysis of his writing or filmmaking style here. Instead, allow me to recount my enduring fascination with this individual, a fascination that has only grown over the years despite conceding to certain critics who possess a profound understanding of the art of cinema and literature. My initial encounter with this luminary was through his debut film, ‘Panther Panchali (Verses of the Road).’

Back then, in the third grade, I was enthralled by action-packed movies and witty dialogues, the kind that resonated with my young mind. To me, Spiderman, Superman, and He-Man held more allure than any film of that era. I would eagerly watch the screen, whether on television or at the cinema, during fight scenes, shootouts, or comedic moments. It was during this time that I first encountered ‘Verses of the Road.’ Watching it alongside my younger cousin, who was two years my junior, I experienced a newfound appreciation for storytelling. Unlike the captivating action sequences, my interest in this film stemmed not from its technical aspects, which was perhaps too much to expect from me at that time, but rather from its narrative, which evoked the storytelling style of my elders.

Then, a film called ‘Shakha Proshakha’ (‘The Branches of a Tree’) was aired on television. Despite being by the same director, it failed to captivate me, save for a few clever lines delivered by a young child actor who amusingly mimicked phrases like ‘Batman’ and ‘Superman’. His familiar gestures, like darting into a thicket with a toy gun, alone resonated with me deeply.

As I followed his journey, other films like ‘Apur Sansar’ (The World of Apu) and ‘Mohapurush’ (The God Man) caught my attention, yet failed to resonate, perhaps because I was too young to grasp their significance back then.

Back in my fifth-grade days, I harboured a fervent desire to emulate him – a film director, you see. It stemmed from my own struggles with academic achievements of any kind, a trait that he shares with me.  I recall stumbling upon his stories in books or magazines and catching a glimpse of him on TV. Looking back, I cannot help but chuckle at my youthful naivety. As I’ve matured, both physically and mentally, I’ve come to understand that he occupies a pedestal beyond my reach. Critics may nitpick, and there may have been filmmakers of greater acclaim before and after him, but none hold a candle to the place he holds in my heart. He serves as a guiding light, steering me towards a deep appreciation for the world of film and literature.

Immersed in the legend’s Literary Palette: An Anthology of Wonder

In the 5th grade, amidst one of my summer breaks, I stumbled upon a book from my mother’s collection titled ‘Ek Dojon Goppo’ (‘An Anthology of a Dozen Stories’). The initial tale, ‘Septopus-er Khide’ (‘The Hungry Septopus’), depicted a carnivorous plant resembling an octopus, bringing peril to its owner. At the time, while I found some scenes thrilling, overall, the story failed to captivate me.

Following this was ‘Bankubabu-r Bandhu’ (‘Banku’s Friend’), narrating the story of an innocent village schoolmaster teased by peers and students until encountering an alien named ‘Ang,’ subsequently altering his life. Interestingly, I had already watched a televised adaptation of this story, featuring Sadhu Meher as Banku. Having also seen ‘E.T.’ by then, the narrative felt somewhat familiar. Controversy arose when the author, also a filmmaker, envisioned earlier adapting the tale into a Hollywood collaboration film named ‘Alien,’ encountering similarities with ‘E.T.’ Yet, irrespective of the debate, the story failed to resonate with me at the time, likely due to my prior exposure to its audio-visual renditions.

First Realization: Indigo Terror

As I delved into the pages of the book ‘Ek Dojon Goppo,’ initially sceptical of its worth, one particular short story, ‘Neel Atanka’ (The Indigo Terror), captured my attention entirely. Aniruddha Bose, a 29-year-old employee of a prestigious multinational corporation, embarks on a journey to Dumka, near Bolpur, Shantiniketan, in his own car. Along the way, he encounters a series of mishaps—his car’s tires bursting at regular intervals, forcing him to rely on only one replacement. With no other recourse, he seeks refuge in a nearby house overseen by a caretaker, a narrative device that may have subsequently inspired the Ramsay Brothers, albeit uncredited (wink!). Exhausted, Aniruddha resigns himself to rest for the night. However, in the dead of night, he awakens to find himself transformed into the former owner of the house, a European indigo planter from long ago. The story unfolds with Aniruddha grappling with his new identity and the events that follow.

Long before the film ‘Bhool Bhulaiyaa,’ this narrative evoked the eerie atmosphere of a psychological horror tale. Moreover, being a short story, it left unresolved whether Aniruddha was possessed or was merely grappling with a psychological affliction that fateful night. Much like Tagore’s ‘The Hungry Stones,’ this tale masterfully navigated a complex plot with deceptive simplicity.

How The Indigo Terror Brought Out The Creator In Me

Let me share more reflections on this story, particularly the profound impact it had on me. Aniruddha, in my perception, embodied the essence of a western cowboy, albeit without the guns and horses. He exuded a down-to-earth demeanour, living life on his own terms. Even when faced with the peculiar experience in the former European indigo planter’s house, he approached it with remarkable nonchalance, almost as if it were just another day. This aspect deeply resonated with me. By no stretch of imagination can I be held to be an expert in the craft of dishing out screenplays. However, such was the grip of the narrative that I found myself compelled to draft my own screenplay.  Let me recount a few memorable elements from my envisioned screenplay:

FADE IN:

EXT. HIGHWAY – DAY

Aniruddha drives his Ambassador car at full speed on a highway, flanked by trucks and lorries. Tense and escalating background music sets the mood.

CUT TO:

INT. AMBASSADOR CAR – DAY

Close up on Aniruddha, his face filled with determination as he drives with full concentration. The camera shifts focus to three tyres – one on the driver’s side and two at the back.

CUT TO:

EXT. HIGHWAY – DAY

The right tyre at the back bursts suddenly, startling Aniruddha. He grips the steering wheel tightly, his irritation evident. The camera quickly moves outside to show the car stopped in a peculiar position on the side of the road.

CUT TO:

EXT. HIGHWAY – DAY

Aniruddha steps out of the car, frustration evident in his movements. He begins working on replacing the burst tyre, his hands moving swiftly. The camera blacks out from a top view, only the sharp sound of metal is heard.

CUT TO:

EXT. HIGHWAY – DAY

The camera lights up, revealing Aniruddha having completed his mission. His shirt clings to his body due to sweat, but his expression is one of determination and accomplishment.

—

End of Scene.

In the narrative, I recollect the scene vividly, perhaps the most haunting sequence I experienced at that time. Aniruddha gradually comes to the realization that he has transformed into someone else. His slumber is abruptly interrupted by the howling of a hound. Aniruddha casually attempts to check his watch, an automatic timepiece that was quite in vogue when the tale was penned, only to discover it missing. With a sense of dread creeping over him, he turns around to reach for his torch, only to find it absent as well! Gripped by fear, he wonders if he has been pilfered during the night in this unfamiliar locale. Springing out of bed, he rushes to inspect his luggage, only to find it gone too!

I recall envisioning myself directing this scene with a not-so-well-defined screenplay in my mind.

**FADE OUT.**

**INT. ANIRUDDHA’S BEDROOM – NIGHT**

Aniruddha’s POV: Darkness envelops the room. Moonlight spills in through the window, casting eerie shadows.

SOUND: Howling of the hound continues, distant yet haunting.

Camera captures Aniruddha’s left hand, indicating he was trying to look at his watch, finding it bare. Panic flickers in the darkness.

SOUND: A muffled gasp, barely audible.

Camera captures Aniruddha’s other hand that darts to the other side of the bed, finding emptiness where the torch should be.

SOUND: Howling of the hound intensifies, heightening the tension.

Aniruddha’s body lurches forward, the camera capturing the movement as he dives under the bed.

SOUND: Silence, broken only by the faint howling of the hound.

The camera captures the floor under the bed  which looks clean and empty.

SOUND: The rustle of fabric, as Aniruddha’s hand brushes against the floor.

**FADE OUT.**

**THE END.**

Discovering More of his Literature

The narrative left such an indelible mark upon me that I eagerly delved into the next tale, ‘Anathbabur Bhoy’ (The Fear of Anathbabu), with heightened anticipation. Even on a sweltering, sun-drenched afternoon, I recall vividly the lingering sense of unease that enveloped me after reading it. The enchantment, it seems, lies in the seamless integration of the supernatural, depicted with such casual and natural flair that its presence lingers long after the story concludes.

The next story I delved into was ‘Badur Bibhishika’ (The Terror of the Bat) – a tale infused with a werewolf or vampire undertone. The protagonist, also serving as the narrator, harbours a degree of chiroptophobia. Encountering a stranger named Jagdish Parcival Mukherjee in a local graveyard in Siuri, the situation takes a peculiar turn for the protagonist. He begins to suspect that Jagdish possesses the ability to transform into a bat! Undoubtedly, I found the story intriguing and maintained my curiosity into the following one – ‘Bipin Choudhury-r Smritibhram’ (Bipin Choudhury’s Amnesia). Here, Bipin Choudhury, the central character, encounters a stranger named Parimal Ghosh in a bookstore, who asserts a past connection with Bipin in Ranchi. Bipin is taken aback as he has never set foot in Ranchi before. As the narrative unfolds, Bipin confides in his close friends and realizes that indeed he visited Ranchi, yet cannot recollect the memories. The climax of the story hinges on what transpires with him. While this story adopts a thriller format, it inherently delves into the matter of values. It offers a unique fusion of values with the thriller genre. However, I must note that this narrative was adapted into a Netflix web series titled ‘Forget Me Not,’ which failed to captivate me. After revisiting ‘Bipin Choudhury-r Smritibhram,’ I revisited the stories that initially left me unimpressed, only to now find them intriguing. Thus, I found myself developing what one might dub ‘an acquired taste’ for the author’s oeuvre.

Exploring the World of a Master Storyteller: A Journey of Passion and Persistence

Following a series of articles in various newspapers and magazines, I found myself gradually developing a profound interest in the author behind these captivating stories. With each piece I read, my curiosity deepened.  I started grasping the remarkable genius underlying his diverse range of writings, films, and unique filmmaking approach, including his interactions with actors. Intrigued by his distinctive style, I embarked on a quest for more knowledge.

In those days, devoid of internet access, my pursuit led me to rely solely on the insights garnered from magazines and newspapers to uncover the next book to delve into. I vividly recall spending countless hours in local bookshops, yearning to simply touch and feel the pages of his works, knowing my limited financial resources barred me from purchasing them outright. Determined to acquire his books, I meticulously saved every penny, whether gifted to me on birthdays or in recognition of other achievements. My maternal aunt played a pivotal role in assisting me in obtaining these literary treasures.

Titles like ‘Aro Ek Dojon’ (One More Dozen), ‘Aro Baro’(Twelve More), ‘Ebaro Baro’ (Twelve Again This Time), and ‘Eker pithe dui’ (One Tenths and Two) proudly adorned my book rack, marking the beginning of a cherished collection. Moreover, delving into crime thrillers penned by this author became a thrilling adventure that I eagerly looked forward to with a keen sense of anticipation.

Simultaneously, my cinematic journey continued as I immersed myself in his films, gradually developing an acquired taste for his distinct storytelling prowess.

Tales of Crime and Detection

In the same book, ‘Ek Dojon Goppo,’ nestled at its conclusion were a couple of short stories: ‘Feludar Goendagiri’ (The Investigation by My Elder Brother Felu) and ‘Kailash Chowdhurir Pathor’ (The Gems of Kailash Choudhury), which whisked me away into a captivating universe of detective tales.

Enter ‘Felu,’ a detective extraordinaire, accompanied by his trusty cousin and sidekick, delving into a myriad of mysteries, each more intriguing than the last. These tales, so uniquely crafted, were bound to astonish any reader of my tender age. Thus began my enchantment with this universe, fuelling a relentless quest for Feluda books across bookshops, libraries, and even within the confines of relatives’ homes. And never once was I left disappointed, for ‘Feluda’ was a name omnipresent on the Bengali bookshelves, an iconic figure etched into the collective consciousness of every Bengali. Fortunately, a school friend, already steeped in the delights of this literature, graciously aided me in my quest, generously sharing volumes penned by this esteemed author. It’s worth noting that this friend of mine possessed a remarkable talent for storytelling, effortlessly weaving narratives that held us spellbound during our free periods. As the monitor of our class, I now realize, it served him twofold – honing his storytelling prowess while simultaneously diverting attention away from classroom duties. Soon, our circle of friends caught the fever, engaging in book swaps and animated discussions fuelled by the gripping adventures of Feluda.

Continuing with the same method outlined in the previous section, I embarked on my quest for the treasures of Feluda, the iconic fictional detective. Pouring over magazines and newspapers, I eagerly purchased and devoured books dedicated to him in rapid succession. Titles like ‘Feluda one, Feluda two’, ‘Feluda and Co.’, ‘Badshahi Angti’ (The Ring of the Emperor), ‘Baksho Rohossyo’ (The Mystery of the Suitcase), and many more swiftly found their place on my bookshelf, filling it with an ever-growing collection.

The dynamic chemistry between the trio who belong to different age groups – Feluda, his cousin Topse, and his humorous friend Lalmohanbabu – proved to be exceptional. It is this chemistry that makes revisiting these books a delight. Sometimes, I daresay, the camaraderie between them surpasses even that of Sherlock Holmes and Watson.

Much like the majority of the author’s other tales, Feluda narratives, frequently lacking in female presence, deftly entwine moral themes amidst their exhilarating plots. Isn’t it rather curious? The absence of women in Feluda tales – is simplicity the key to less complication? Though one might raise an eyebrow at the notion of a crime thriller sans complexity, I dare say this author was a virtuoso in such matters! His narratives, akin to a well-orchestrated symphony, subtly unveil moral motifs amidst the pulse-pounding intrigue. However, though told simply, some stories feature female characters and are given a noirish treatment, such as ‘Chinnamastar Abhishap’ (The Curse of Goddess Chinnamasta) and ‘Doctor Munshi-r Diary’ (The Diary of Doctor Munshi), reminiscent of Raymond Chandler, showcasing moral dilemmas and values subtly. In ‘Baksho Rahassya’ (The Mystery of the Suitcase), Feluda opts to let the antagonist go due to a lack of evidence for a courtroom conviction. However, when the same story is adapted into a screenplay by the author, Feluda harshly punishes the antagonist, labelling him a ‘thief’ in front of others. Perhaps the author aimed to underscore the importance of ‘values’ when presenting the story in a visual format.

One of my favourite Feluda tales, ‘Joto Kando Kathmandu Te’, was later remade as ‘Kissa Kathmandu Mein’ (The Trouble at Kathmandu) for television, targeting a national audience. Though I’m uncertain if any version of it exists online today, the adaptation featured Shashi Kapoor as Feluda, Alankar as Topshe, and Mohan Agashe as Lalmohan Babu.

Cinematic Revival: Rediscovering Masterpieces

A few days after enchanting me with his literary prowess, the author was bestowed with Oscars for his monumental contributions to world cinema before departing for his heavenly abode.

During that period, ‘Doordarshan’, the Indian Television Network, aired movies directed by him. I revisited ‘Panther Panchali’ with renewed reverence for the director, followed by the delightful ‘Goopy Gayen Bagha Bayen’ (Adventures of Goopy and Bagha), which I savoured thoroughly. Finally, a Feluda tale, ‘Sonar Kella’ (The Golden Fortress), captured my attention. I recall the television host summarizing the story before its airing, describing it as the tale of Mukul, who could recall his past life and claimed to have resided in a fort in Rajasthan. Pressured by the revelation of valuable stones in his past home, Mukul becomes the target of nefarious individuals. His father seeks the aid of a private investigator. As a kid, I distinctly recall a twinge of disappointment towards the television host as she casually mentioned Feluda (who, in my eyes as well as those of many Bengalis, had already attained an iconic status) as a ‘private detective.’

Deep Focus on the author as a filmmaker

After his Oscar-winning triumph and subsequent passing away, the media was flooded with articles delving into his life and work. Immersed in these pieces, I uncovered a deeper understanding of the man and his keen eye for detail, his cinematic philosophy, and his fusion of art and science. Concurrently, I delved into his literary repertoire. His eclectic interests permeated his writings, from the adventures of detective Feluda to his captivating science fantasy tales. Yes, I purposefully employ the term ‘fantasy’ because these narratives transcend the bounds of scientific certainty, inviting readers to imagine what science might one day substantiate.

The Professor Shonku stories, in particular, transported me to a realm where viruses inhabit spherical worlds, trees thrive on human cognition, and an enigmatic pistol has the power to make beings and objects vanish from existence.  In the past, depictions of robots, that are mentioned in such stories, mimicking human behaviour, seemed utterly fantastical. These days,  with the rise of artificial intelligence, one is left in awe of the prescient nature of the author’s works and wonders if such portrayals may eventually blur the lines of reality.

I embarked on my journey of maturation alongside this multi-talented artist, who excelled as a director, author, and illustrator, revelling in his imaginative works. Subsequently, post-college, I had the opportunity to revisit some of his cinematic masterpieces when they were reissued in theatres. Films like ‘Arannyer Din Ratri’ (Days and Nights of the Forest) and ‘Pratidwandi’ (The Adversary) captivated me anew, allowing me to rekindle my admiration for his boundless creativity.

The Author and Wodehouse: A Meeting of Literary Minds

My fascination with P.G. Wodehouse was initially nurtured within my family circle, but his novels and stories significantly bolstered my admiration for the beloved author. I stumbled upon an article mentioning his affinity for Wodehouse, and as I matured, I discerned a striking resemblance between his works and those of the maestro himself. Whether through the sharp repartee in his films or the witty banter within his stories, his writing exudes a similar charm. Just as Feluda and Shonku have their own series, he crafted a distinct collection centered around ‘Tarini Khuro’ (Uncle Tarini), reminiscent of Wodehouse’s ‘Mulliner’ tales. While Tarini’s narratives occasionally veer into the supernatural or delve into emotional depths, the essence remains consistent. Moreover, the ‘Tarini Khuro’ stories serve as a masterclass in the art of storytelling, showcasing the creator’s versatility and prowess. One can truly grasp the breadth of his talent by delving into his literary oeuvre alone.

Feluda, the ingenious detective crafted by the author, to me, bears a striking resemblance to Psmith in his poised demeanour amid crises. Much like Feluda, who confronts his nemesis Maganlal Meghraj with remarkable calmness, Psmith maintains his cool in challenging circumstances. In ‘Joy Baba Felunath’ (The Elephant God), Feluda faces off against the formidable Maganlal Meghraj, yet his serene and collected demeanour never falters. Similarly,  in P.G. Wodehouse’s tales, Psmith confronts adversaries with a suave approach and an unflappable attitude.

In the story ‘Bombaiyer Bombete’ (The Bandits of Mumbai), the author weaves a narrative where the Bengali iconic sleuth Feluda steps forward to assist his friend and companion, Lalmohanbabu. This action surely evokes memories of Wodehouse’s character Bertie Wooster, who, to aid his friends, frequently finds himself in perilous situations.  The only divergence here is that Feluda must don both the Berite and Jeeves hats simultaneously to unravel the mystery.

Another story that I can remember at the moment is ‘Ghurghutiar Ghotona’ (The Trouble at Ghurghutiya) wherein, like Wodehouse’s stories, problem-solving involved misunderstandings and witty dialogues.

In ‘Shonku-r Shonir Dosha’ (Prof. Shonku in Dread Problem) we find, much like Wodehouse, characters resorting to mistaken identities and getting entangled in difficult situations.

P. G. Wodehouse is best known as a humourist. However, he had also dabbled in crime fiction, perhaps a rub-off of his having been an admirer of Sir Arthur Conan Doyle and Agatha Christie. Crime had found its way into some of his own writing, including into some of his Jeeves and Wooster and Blandings Castle stories. The range of misdemeanours depicted therein comprises thefts, bank heists, and airgun shootings, and even blackmail. In Wodehouse’s venture, ‘Death at the Excelsior’, he endeavours to concoct a crime thriller with a meticulously arranged sequence of events. Yet, at the close of the day, it leaves one with the impression of a light-hearted tale, with ‘murder’ serving as the solitary sombre element, a departure from his usual literary escapades.

While I’m fully aware that my stance might provoke the ire of passionate readers and discerning critics, let’s just say the comparison here is akin to trying to fit a square peg into a round hole. Allow me to elaborate. In the whimsical world of Wodehouse, these predicaments are served up with a generous dollop of humour and charm, akin to a delightful soufflé rising in the oven. On the other hand, our novel protagonists find themselves grappling with these challenges in the midst of murky criminal investigations, where the stakes are higher than a giraffe’s necktie. So, you see, it’s a bit like comparing apples to oranges – both fruit, but with vastly different flavours and textures!

Unveiling Wisdom: Exploring the Depths of Knowledge Through Timeless Tales

These stories are not only  exciting and mysterious but also teach us new things. For example, I learned what galoshes are from reading the story ‘Neel Atanka’, even though the internet didn’t exist then! The description was so clear and vivid that I could picture them in my mind, even though I had never seen them before.

Since many of the stories about Feluda, Shonku, and Tarini Khuro are also about travel, they not only make us want to visit new placesbut also to learn more about them.

Also, I learned the meaning of the word incredible in a really easy way from the story ‘Feludar Goendagiri.’ In the story, Topse, Feluda’s cousin, helper  narrator of the story, is sitting in a  Darjeeling mall and overhears two old people talking about something, and the word incredible comes up. Topse knew the meaning of the word and since he’s telling the story, he explains it to the readers. Later, Feluda uses his amazing skills like Sherlock Holmes to figure out which side of the mall Topse was sitting on just by looking at his face! Topse is surprised and thinks of the word incredible in his mind. This is the easiest way to learn new words in school: first know the word, then know the meaning, and finally use it. But this story teaches us the same thing without making it feel like we’re being taught something! 

From ‘Bankubabur Bondhu,’ I got a glimpse into the fascinating world of piranhas, those creatures of the depths with their sharp teeth. I also learned about the curious penguins that live in faraway lands.

There are many other such tales that I could share, but I do not  wish to overwhelm you with my discoveries. Instead, I encourage you to read these wonderful writings for yourselves and embark on your own journey of knowledge. 

Although the author is renowned as a director, his writings first stirred my soul. This inspired me to seek out his films, which I found equally endearing.

I may not have delved deeply into his cinematic endeavours here, for I believe the same have already been meticulously analysed by countless critics with a keen understanding of the art far surpassing my own.

Homage to the Maestro: Celebrating the Legacy of Satyajit Ray

On the auspicious occasion of his 103rd birth anniversary, I humbly acknowledge his creative genius.  I offer my reverence to the individual who, alongside my parents, has steered me on my path of this lifetime, and undoubtedly will continue to do so in the days ahead.

Incidentally, throughout the entire article, I realize that I have not once mentioned his name. Yet, for the sake of thoroughness, it’s worth noting – his name, in case you are still twiddling your thumbs, is Satyajit Ray.

(All illustrations courtesy the world wide web)

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