Nemai Ghosh switched from a well-established career in theatre to professional photography after Satyajit Ray decreed that he would be the official stills photographer for Aranyer Dinratri in 1970. What followed was a lifelong association between photographer and director, with Ghosh capturing Manik-Da, as Ray was also called
Nemai Ghosh switched from a well-established career in theatre to professional photography after Satyajit Ray decreed that he would be the official stills photographer for Aranyer Dinratri in 1970. What followed was a lifelong association between photographer and director, with Ghosh capturing Manik-Da, as Ray was also called
In the first few pages of Manik-Da: Memories of Satyajit Ray, Nemai Ghosh recalls the first time Ray saw Ghosh's photographs. "It was probably 1967 or 1968," says Ghosh, who had recently acquired a Canon camera from a friend who owed him money. Ghosh was visiting Bardhaman, where his host told him that Satyajit Ray was shooting Goopy Gyne Bagha Byne nearby. Excited, Ghosh decided to visit. "The unit was busy rehearsing a shot, one that later fascinated film lovers the world overu00a0-- the shot in which drops of water drip from leaves and fall on Bagha's drum. I don't know what possessed me then. As if in a trance, I felt both my fingers pressing the shutter on the camera. I finished both rolls of film."
Later, Ghosh is urged by friends to visit Ray and show him the photographs. Ghosh visited Ray's studio in Tollygunge with trepidation. After a few moments' silence, Ray looked at Ghosh and said, "You have done it exactly the way I would have man, you have got the same angles!"
Ray fans around the world would understand the importance of those wordsu00a0-- Ghosh certainly hasn't forgotten it, 40 years later. In his new book on Satyajit Ray, translated by S.K Ray Chaudhuri, he recalls several such incidents with the master director vividly. These memories are also accompanied by 50 black and white photographs that haven't been published before. Read the excerpts.
Manik-Da: Memories of Satyajit Ray, published by HarperCollins, Rs 199. Available at all leading bookstores
Once, I saw him standing alone and playing a dundubhi (a kettledrum). On another occasion, I saw him lying on the floor and looking at the ceiling; at times I would see him raising his hands above his head in deep contemplation. I noticed that a sign of his deep anxiety or serious contemplation was biting a handkerchief or the pipe. Sometimes, he would whistle a tune, oblivious to the surroundings. For my photographs of Manik-da which show him laughing heartily, I am deeply indebted to my actor friend Kamu Mukhopadhyay. While I would take different positions -- sometimes sitting, sometimes lying, or even standing at precarious angles -- Kamu would stand behind me and imitate my pose, making Manik-da break into a loud guffaw.
Rabindranath Tagore's Ghare Baire is one of my favourite novels. Manik-da had been planning to adapt it for long, but for many reasons it was not materializing. In fact, he had already sketched all the characters. He was looking for a new face for the role of Bimala. Once, around that time, I remember boarding a tramcar from Park Circus, thinking about the story, contemplating the sketches that Manik-da had made. In the pensive mood, the first thing I saw was 'Bimala' sitting in the ladies' seat. I could not gather the courage to approach her and put forward the proposal for acting in a film in front of so many passengers. So I just kept an eye on her.
The tram ride went on. Finally, she alighted at Dharmatala. I also got down, followed and caught up with her at Jyoti Cinema, and apprised her of my proposal. I gave her my card and Manik-da's phone number, went straight to Manik-da and told him everything. A week passed and still no call. Manik-da was worried and said, 'The lady is still not contacting us. Why did you not take her address?' A few days later, when I was showing Manik-da photographs of some stage performances shot by me, a face caught his attention. He asked for an enlarged print of the same. He then saw the play live and asked me to get in touch with the actress -- Swatilekha. She did not respond immediately but later consented. This is how Manik-da did everything, every choice was spot on, flawless, well thought out and well merited.
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