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Soumitra Chattopadhyay: Bangla cinema’s evergreen superstar

He was the alt superstar of Bangla cinema in its glory years, the affable Bhadralok icon who crafted a towering stature ironically banking on down-to-earth, believable characters that represented middle-class Bengal.

The brand of stardom was in stark contrast to the other shining luminary of contemporary cinema in the state — Uttam Kumar — whose position as Mahanayak in the Bengali psyche was primarily cemented in idol worship and mass hysteria.

Soumitra Chattopadhyay — Chatterjee to anglicized India — answers to the term ‘phenomenon’ as absolutely as few actors do, for the sheer ease with which he defied the clichés of image.

His stardom was sensational, and yet born out of realism. He was the mascot of the peerless Satyajit Ray’s oeuvre, having worked with the maestro in 14 films, and yet he scored with the same assuredness in works of contemporary commercial powerhouses as Ajoy Kar and Tarun Mazumdar. He is the Dadasaheb Phalke Award (2012) and Padma Bhushan (2004) recipient who was also honored with the Legion d’Honneur (2018) in France for his contribution to world cinema.

Importantly, Soumitra Chattopadhyay’s greatness as a screen icon will survive the test of time in Bengali pop lore because he had something for everyone. For, he was not just Satyajit Ray’s Apu. Beyond such a nuanced portrayal, he could also simply become Ray’s Feluda and reach out to every audience, eight to 80.

It took a Ray to bring to life Soumitra’s greatness, and yet the account of their first meeting is a well-known story in Bengal. Ray was looking for his adult Apu in “Apur Sansar”, the final part of the Apu trilogy that started with “Pather Panchali”. A friend introduced Soumitra to the master filmmaker who promptly declared the budding actor looked too old to be Apu, a college student according to his script. Soumitra would eventually bag the role opposite Sharmila Tagore, of course, and the rest is history.

Soumitra’s cinematic fate is overwhelmingly dictated by the great cinema of Satyajit Ray, so much so the maestro’s filmography through his most important phase outlines the actor’s career graph. Soumitra made his debut with “Apur Sansar” (1959) and, over the next three decades, would work in Ray projects as “Devi” (1960), “Teen Kanya” (1961), “Abhijan” (1962), “Charulata” (1964), “Kapurush O Mahapurush” (1965), “Aranyer Din Ratri” (1969), “Ashani Sanket” (1973), “Sonar Kella” (1974), “Joy Baba Felunath” (1978), “Hirak Rajar Deshe” (1980), “Ghare Baire” (1984), “Ganashatru” (1989) and “Shakha Proshakha” (1990).

Mrinal Sen, another global icon of Bangla cinema of the era, directed Soumitra for the first time in “Punascha” (1961), and then again returned to collaborate with the actor in “Pratinidhi” (1964), “Akash Kusum” (1965), and “Mahaprithibi” (1991). The iconic Tapan Sinha directed him in projects as “Kshudhita Pashan” (1960), “Jhinder Bandi” (1961), “Atanka” (1984) and “Antardhan” (1992).

Asit Sen directed him in “Swayambara” (1961) and Swaralipi (1961), while Ajoy Kar made “Otol Joler Ahoban” (1962), “Saat Pake Baandha” (1963), “Barnali” (1963), “Kaanch Kata Heere” (1965) and “Parineeta” (1969). Tarun Mazumdar directed the actor over the years in “Ektuku Baasha” (1965), “Sansar Simante” (1975), “Ganadevata” (1978), “Agomon” (1988) and “Path O Prasad” (1991).

His 300-plus film career probably can be explained by his highly adaptable quality as an actor. He was at home working with new-age Bengali filmmakers as Atanu Ghosh (“Mayurakshi”), Suman Ghosh (“Podokkhep”, “Peace Haven”, “Dwando”, “Basu Paribar”), Partha Chakraborty (“Samantaral”) and Nandita Roy and Shiboprosad Mukherjee (“Posto”).

Although his greatness lies in his body of work before the camera, Soumitra did try his hand at filmmaking, too. His directorial effort “Stree Ki Patra”, a telefilm based on Rabindranath Tagore’s “Streer Patra” released in 1986. The film starred Roopa Ganguly and Usha Ganguly.

These are actors who have carved a niche in what is today known as the multiplex cinema circuit, catering content-driven entertainment of refinement, removed from the cliches of kitsch. It is something Soumitra relished doing all those decades ago.

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The many lives of Ruskin Bond

By Sukant Deepak

He starts with a pause. There is a window that lives on the wall of his writing room. He looks out often to take in the mist enveloped mountains of Garhwal embracing Landour.

For decades, this setting has remained unchanged for writer Ruskin Bond, who recently celebrated his 86th birthday. Of course, he does miss the time when the many buildings did not eclipse his view. The yellow-painted room, where he spends most of his time is about his desk — filled with sheets of white paper and a bed which also doubles up as his writing chair.

The pause breaks with him talking about how the first floor of his house is occupied by ghosts from the era in between the two World Wars. “But they are quite harmless,” he smiles, almost reassuringly. For someone who has been a writer for more than half a century now, working across genres — fiction, short stories, non-fiction, romance and books for children, the fact that he is still writing is something he looks at with “gratitude”. “I am extremely happy that I found the time and made the opportunity to write so much. I can say without hesitation that it has given me absolute happiness,” he tells IANS.

Not really fanatical about penning down a set number of words each day, this Padma Shri and Padma Bhushan recipient, on whose works several films like ”Junoon”, ”The Blue Umbrella” and ”7 Khoon Maaf” have been made, says that there is always something to write everyday — “In short, I really don’t run out of ideas or subjects.”

Talk to him about what is keeping him busy nowadays, and he asserts, “Currently, I am working on a novella, a memoir and a short school story.”

Will several novels, non-fiction and anthologies to his credit including ”Koki’s Song” and ”These are a Few of My Favourite Things” (Harper Collins), Bond, who can be seen signing autographs and posing with fans at the Cambridge Book Shop in Mussoorie once a week stresses that he shares a unique connection with children. “During younger days, I wrote a lot of stories from my own childhood. Now, I find other lives just as interesting.”

Pleased that over the years, major Indian publishers have started giving importance to children’s literature, he adds, “Of course, it would be wonderful if we witnessed even more books for children,” says the writer who wrote his first short-story at the age of sixteen.

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