Kamal Ghorui
Yuka Okuda, a Rabindrasangeet performer, delivers a talk on Ray’s ‘Charulata’.
All seats look taken in a mediumsized Tokyo theatre on an Aug evening in the Japanese summer. The audience listens rapt to a woman sitting on stage, framed by the movie screen behind her. Clearly, it’s not just another screening, but then, neither can the topic be called usual for this part of the world. For the woman on stage is discussing Rabindrasangeet, and the context is ‘Charulata’, maestro and auteur Satyajit Ray’s 1964 masterpiece, one of the seven films that were shown last year in Japan as part of a retrospective of his works.The lineup — featuring ‘Jalsaghar’ (1958), ‘Mahanagar’ (1963), ‘Charulata’ (1964), ‘Kapurush’, ‘Mahapurush’ (both 1965), ‘Nayak’ (1966), and ‘Jai Baba Felunath (1979) — earning their first theatrical release in Japan, spans a two-decade arc of some of Ray’s most memorable films. The films were also made available on VOD and home video with Japanese subtitles. The demand has grown to the point that these films are set for a Blu-ray release in March.To Sandip Ray, filmmaker and Ray’s son, however, none of this is surprising. After all, it was the Japanese film great Akira Kurosawa who’d said, “Not to have seen the cinema of Satyajit Ray means existing in the world without seeing the sun or the moon.” Sitting in his Lake Temple Road residence in Kolkata, he recalled the role of a Japanese distributor, Toho-Towa Co. Ltd, founded in 1928 by film pioneer Nagamasa Kawakita, and said Kawakita’s wife, Kashiko Kawakita, was a Ray admirer.
“She was very close to our family and a die-hard Satyajit follower right from the start,” he said. When Ray first visited Japan, it was Kashiko who arranged a meeting between Ray and Kurosawa in 1966. “I think till the 80s, they distributed all of Baba’s films in Japan. The films must have done good business. Otherwise, why would she ask about new films every year?” said Sandip Ray.The seven restored titles began their theatrical run on July 25 at Le Cinema Bunkamura in Tokyo. The retrospective was to run for three weeks, but a further week was added due to the demand. “The films were not only screened in Tokyo, but in cities like Hiroshima, Osaka, Kyoto, etc, covering 15-20 cinemas nationwide,” said Varsha Bansal, who helmed the restorations of the Ray classics produced by her grandfather, RD Bansal.The screenings were paired with discussions and talks. If film researcher and producer Eri Morinaga spoke after ‘Mahanagar’, Asian cinema researcher Tamaki Matsuoka delivered a talk following a screening of ‘Jalsaghar’. Yuka Okuda, a Rabindrasangeet performer and Bengali language instructor, led a session after a ‘Charulata’ screening. “I offered some reflections on the impact of the Rabindrasangeet in the film... Some in the audience said they wanted to watch the film again. It made us realise all the more that Ray’s cinema is a deeply layered and magnificent creation,” Okuda told TOI .
