At 78, he may be devoid of the physical endurance of his younger days but his enduring passion for his art form is still intact. Despite having been advised rest and notwithstanding his restricted movements, he's full of zest for a life full of theatre, camera and of course Ray.
He clearly lacked Ray's holisitic vision, and a few of his stray comments on Ray and the Satyajit Ray Film Society seemed devoid of poise and purpose. Having said that, some of his thoughts stood out, as captured during my visit to his Bhowanipur residence, en route my eternal search for anyone and everyone who knew Ray and worked with him.
On theatre
I was in the Little Theatre Group for five years, working with Utpalda. Later we parted ways, formed Chalachal and staged Thag adapted from Sartre's Nekrasov. Later I came in contact with Ray and subsequently moved from collective art to individual art. I have written at length about this in Dramatic Moments.
On Cartier Bresson
I have always been interested in Cartier Bresson's photography. I was particularly impressed by his way of using the deflected light. I tried to follow this in my work as well, keeping myself away from using expensive gadgets. I was keen to meet him, so when I actually had that opportunity, I was very happy. I showed him my work and asked whether I should continue shooting. I was blessed with his approval.
On Ray as an actor
I always found Ray a natural actor. With his poise and dignity, each of his movements was worth noticing. But apart from that, whenever he tried to demonstrate what he wanted an actor to do, it was always a treat.
On Actor Nemai Ghosh
Acting in films never came to my mind. Moreover, had I taken to acting on a regular basis, the photographer Nemai Ghosh would have been lost to the world.
On Mahanayak Uttam Kumar
I occasionally captured Uttam Kumar in various moods. The photographs were lying in my albums and I thought they should be accessible to the admirers of the great actor.
On theatre
I was in the Little Theatre Group for five years, working with Utpalda. Later we parted ways, formed Chalachal and staged Thag adapted from Sartre's Nekrasov. Later I came in contact with Ray and subsequently moved from collective art to individual art. I have written at length about this in Dramatic Moments.
On Cartier Bresson
I have always been interested in Cartier Bresson's photography. I was particularly impressed by his way of using the deflected light. I tried to follow this in my work as well, keeping myself away from using expensive gadgets. I was keen to meet him, so when I actually had that opportunity, I was very happy. I showed him my work and asked whether I should continue shooting. I was blessed with his approval.
On Ray as an actor
I always found Ray a natural actor. With his poise and dignity, each of his movements was worth noticing. But apart from that, whenever he tried to demonstrate what he wanted an actor to do, it was always a treat.
On Actor Nemai Ghosh
Acting in films never came to my mind. Moreover, had I taken to acting on a regular basis, the photographer Nemai Ghosh would have been lost to the world.
On Mahanayak Uttam Kumar
I occasionally captured Uttam Kumar in various moods. The photographs were lying in my albums and I thought they should be accessible to the admirers of the great actor.