Satyajit Ray got the best out of actors

The master paved the way for a new cinema, and his admirers included top Hollywood stars. Celebrations have begun to mark his birth centenary

Cinema for Satyajit Ray, much like John Ford or Francois Truffaut, was the greatest medium. He also never imposed his views on his actors: he handled them with subtlety and sensitivity.

Madhabi Mukherjee recalls: “In 'Kapurush', he asked me to deliver a look of pathos with no eyebrow twitches. In 'Mahanagar', I acted without an overdose of sentiments. In 'Charulata', I delivered looks that called for restraint. They conveyed volumes, according to critics and film lovers.”

During the shooting of 'Nayak', Uttam Kumar was to deliver a drunken look. The character washes his face and turns back with a wet face as the Rajdhani Express sped on. His facial muscles, backed by his expressive eyes and lips, conveyed a masterly expression, which was appreciated even by Peter O’ Toole.

Ray’s teaming up with Subrata Mitra (cinematographer), Banshi Chandra Gupta (art director), Dulal Dutta (editor) won wide acclaim: legends like Marlon Brando, Elia Kazan and Sophia Loren noticed the excellence. Marlon Brando personally visited Ray during his Kolkata tour in 1963.

Sandip Ray, filmmaker and Satyajit's son, says, “My father always said Hollywood taught him what to do and what not to do. He was impressed by the works of John Ford, David Lean and John Huston. He cherished his interaction with Elia Kazan.”

Meryl Streep, who knew nothing about Ray, had heard a lot about him from Richard Attenborough and Martin Scorsese. She managed to get hold of a DVD of 'Devi' and watched it, and later said she was spellbound by Ray's artistry. Streep had expressed a desire to interact with him but sadly that was not to be.

Before 'Teen Kanya', Ray had worked with classical maestros Ravi Shankar, Vilayat Khan and Ali Akbar Khan, who had scored music for his films. His collaboration with Ravi Shankar was the most successful internationally. However, Vilayat Khan was not very happy with his collaboration with the filmmaker on 'Jalsaghar'.

Ali Akbar Khan openly criticised Ray's understanding of Indian classical music after he worked with him on 'Devi'. Ray did not make any hue and cry about this. He understood the limitations of classical musicians well, and began composing scores for his own films. His work as a composer is well regarded today.

Very few know that Satyajit Ray and Chetan Anand shared deep regard for each other. Having watched 'Neechanagar' and 'Akhri Khat', Ray said Chetan Anand had made some truly important films. He particularly admired Chetan Anand's master handling of Bunty Behl, a toddler, in 'Akhri Khat'. Similarly, Chetan Anand marvelled at Satyajit Ray's handling of the cast of 'Pather Panchali' which he felt was a visionary creation.

After watching 'Pather Panchali', Italian producer Carlo Ponti told his actress-wife Sophia Loren, “I marvel at the way the old actress Chuni Bala Devi (Indir Thakuran) delivered her lines ‘Hari din to gelo’ with a trembling voice. It was the hallmark of the true genius of Satyajit Ray.” Ponti told me this story in 2009.

In his centenary year, Satyajit Ray will be remembered as a master who taught an entire generation of Indian directors the art of handling actors.