Actor Dhritiman Chaterji, recognized for his highly effective performances in a number of of Satyajit Ray’s seminal movies, on Friday (May 2, 2025) noticed that probably the most significant tribute to the enduring filmmaker could be a important re-engagement with his physique of work – emphasis, he mentioned, on the phrase “critically”.
Speaking to The Hindu on the event of Ray’s start anniversary, Mr. Chaterji, who starred in Pratidwandi, Ganashatru, and Agantuk, mirrored on the advanced legacy of a filmmaker broadly considered some of the influential voices in world cinema.
Asked how he would assess Ray’s stature amongst Indian filmmakers, Mr. Chaterji mentioned he was cautious of evaluative rankings, notably within the realm of artwork. “I have always been wary of ‘who-is-the-best’ type of comparisons in the arts. It depends so much on the vision of the creator as well as the sensibility, ideology, and context of the viewer. That said, Ray’s multidisciplinary capabilities – in literature, music, the visual arts, criticism – probably contributed to his extraordinary achievements in cinema,” he mentioned.
“I would stop short of calling him the greatest filmmaker in India,” he added. “To do so would be intellectually lazy and unfair to other brilliant directors. In any case, for me, such a term is somewhat meaningless. What I most enjoyed about my time with him were the long conversations – many of which extended far beyond cinema.”
At a time when social media platforms had been inundated with glowing tributes to the Oscar-honoured auteur, Mr. Chaterji struck a extra reflective notice. “I don’t know if turning his birthday into an annual ritual, almost a puja, marked by unquestioning adulation, truly helps in keeping his legacy alive. His relevance, to me, lies in two things: a consistent effort to place his work – directly or indirectly – within a broader social and political context; and a deep-seated respect for the intelligence of his audience.”
Recalling a memorable second from Ganashatru, through which he performed a personality with ambiguous ethical shades – a departure from his earlier roles – Mr. Chaterji shared a quiet anecdote that supplied perception into Ray’s working model. “Ray was not one to offer exuberant praise. A simple ‘Fine, let’s move on’ was generally the highest compliment. During Ganashatru, I was unsure, and finally asked him, ‘Manikda, is it going alright?’ Without looking up from what he was reading, he replied, ‘If it’s not alright, I’ll let you know’. That was praise enough, as far as I was concerned.”
On a lighter notice, Mr. Chaterji additionally recounted a second of non-public embarrassment from the set of their final movie collectively. “There was a mix-up with the call time, and I arrived late to find Ray, Utpal Dutt, and the crew waiting. Ray simply said, ‘Late on the very first day?’ That quiet reprimand was enough for me to want to disappear into the background,” he mentioned, including that he couldn’t recall Ray ever shedding his mood on set. “He was, among other things, an excellent human resource manager. His sets functioned with calm and efficiency.”
As Ray’s legacy continues to encourage generations of filmmakers and cinephiles, Mr. Chaterji’s reflections function a reminder of the significance of important appreciation over rote reverence – of partaking with the filmmaker not simply as a cultural icon, however as a thinker deeply rooted in his time and society.
Published – May 02, 2025 06:45 pm IST
