Tribute To Satyajit Roy By Kunal Roy

Highly Symbolic!

Kenneth Burke in his “Philosophy of Literary Form” used the term “symbolic action” to designate the unconscious or conscious ‘ritual’ that the writer undergoes in the creation of a literary work and that he embodies within it. Burke states that the work of art is a ” strategy” for controlling his own problems. By disguising his identity, the writer forms a role and than transforms it.

There is perhaps no end to symbolism in his movies that created an upsurge in the 60s and 70s. Roy’s each and every contribution to the enrichment of the realm of Bengali movies is not only undeniable but simply unparallel ,
evoking a profound sense of art, literature, ethics, morality and culture. All are stirred in a cauldron with his magical spoon!

Ray’s immortal creations are generally looked through a glass comprising elements of sound, vision, picture, rhythm, landscape and above all the stunning simplicity that needs no catchy interpretation. But a little and comprehensive analysis will surely place his creation on a plane, altogether different from that of the conventional frames. Creation is the mother of symbolism. Every hue of creation is definitely blessed with either subtle or explicit nuances of symbolic overtones. You may like or dislike them but you cannot ignore them!

In “Pather Panchali”- a milestone in Bengali movies is studded with the gems of symbolism. The ripened corn field symbolises the molten gold dripping upon the gravel like the viscous honey. Apu and Durga’s intense urge to catch the glimpse of the rushing train, emitting thick black smoke makes us comprehend civilization is a puff of smoke pluming out of the chimney faraway. Infact Apu, Durga and their truthful acolyte Sarbojaya are symbolic characters. The rustic life and its little joys, gasping anguish, frowning souls, wizened figures, ragged clothes are brought under the same attic. Moreover, a more intellectual and complex output “Devi” appeals to the viewers through the sacred strength of ‘divinity’. The father-in- law’s psyche( of the protagonist) is caught in the web that is simply surreal! His unshakeable aplomb lies in the fact that every woman is the ‘purna avatar’ of Adi Shakti. And this has solely indulged him in representing his daughter-in- law as the perfect embodiment of Shakti. The traditional India has been perfectly captured and executed.

Movies like “Teen Kanya”, ” Jai Baba Felunath” or “Hirak Rajar Deshe” are more matured in their approach and appeal. “Teen Kanya” has an element of uncanny atmosphere. The “ghostly” ambience symbolises the people who quit the world with an insatiable thirst always return to this mortal globe amid an eerie reticence. On the other hand, “Feluda” and “Hirak Raja” dole out the dismal tidings of depravity and the ways sought to expunge it in totality. Feluda, although a pure product of fantasy yet its invincible nature is always welcomed with graceful heartiness. There is no room for personal prejudices or dogmatism in his films. Whatever symbolised is more or less the daily happenings of our life. Lives are enmeshed and entwined.

Today popularity and Ray are synonymous to each other. Despite lacking the wonted glamour and glitz , the spirit of sustaining the true image of this land of ‘religion’, ‘mystery’ and ‘spiritualism’ is simply unquestionable!!