By Stuart Mitchner
I loved them for what they entertain, and then later loved them for what they taught.
—Satyajit Ray (1921-1992), on American films
Sunday, May 2, marked the 100th birthday of the Indian film director Satyajit Ray, who was presented with an honorary Oscar at the 1992 Academy Awards “in recognition of his rare mastery of the art of motion pictures, and of his profound humanitarian outlook, which has had an indelible influence on filmmakers and audiences throughout the world.”
Videotaped as he lay in a Calcutta hospital three weeks before his death, the golden statuette clutched in one hand, Ray’s acceptance speech was direct, open, and down to earth, in contrast to the lofty rhetoric of the citation: “When I was a small, small school boy, I was terribly interested in the cinema. Became a film fan, wrote to Deanna Durbin. Got a reply, was delighted. Wrote to Ginger Rogers, didn’t get a reply. Then of course, I got interested in the cinema as an art form, and I wrote a twelve-page letter to Billy Wilder after seeing Double Indemnity. He didn’t reply either. Well, there you are. I have learned everything I’ve learned about the craft of cinema from the making of American films. I’ve been watching American films very carefully over the years and I loved them for what they entertain, and then later loved them for what they taught.”
The Only Truth
Last week the New York Times brought images from India’s pandemic nightmare to the breakfast table, vistas of funeral pyres burning in New Delhi and headlines like “Death Is the Only Truth” over Aman Sethi’s April 30 account of the mass cremations in Ghazipur. At the same time, my wife and I were watching the life and death truths at the heart of Ray’s Apu Trilogy: Pather Panchali (1955), Aparajito (1957), and The World of Apu/Apur Sansa (1959), films of which Ray’s fellow director Akira Kurosawa has said, “Not to have seen the cinema of Satyajit Ray means existing in the world without seeing the sun or the moon.” more