At the Nandan screening of the restored 'Pratidwandi', organized by the Society for the Preservation of Satyajit Ray Archives to commemorate the legendary filmmaker's 105th birth anniversary, a fascinating conversation unfolded between Sandip Ray, Tinnu Anand, and Dhritiman Chaterji. The discussion centered on Ray's remarkable ability to work with non-actors, drawing out performances that were both natural and compelling.
Guiding Non-Actors with Precision
Tinnu Anand, who assisted Ray on five films including 'Pratidwandi', recalled how the director meticulously guided a non-actor in scenes opposite Chaterji. The result was so effective that few would guess the same performer once needed Rabi Ghosh clowning behind the camera just to produce a natural laugh. After the screening, similar anecdotes emerged, reinforcing the impression that Ray had an extraordinary talent for eliciting convincing performances from anyone he cast.
Krishna Bose's Struggles and Ray's Solution
Anand elaborated on how Krishna Bose, who played Chaterji's sister in 'Pratidwandi', struggled badly on the first day of shooting. On the drive back, cinematographer Soumendu Roy asked Ray how he planned to salvage the performance. Ray replied calmly that he would handle it. The next day, when Bose froze before the camera again, Ray simplified the task: he asked her to repeat the lines exactly as he spoke them. In another scene, Sandip Ray remembered that when Bose could not laugh naturally, Rabi Ghosh, who was shooting in the same studio, was enlisted to fool around off-camera until she laughed.
Ray's Insight into Personality
On Saturday, Anand told TOI that he hesitated to mention Bose by name but felt the point would be meaningless otherwise. He said Ray could see through a person's personality. 'She had the right personality for the role; he did not give up after the first day. He knew this girl would work and also knew how to guide her,' Anand said. He compared Ray to a conductor who understood every instrument available and knew exactly how to use each one. 'Each department of film-making belonged to him. That is how he could make non-actors act,' Anand added. As an example, he pointed to Chunibala Devi in 'Pather Panchali', who had never faced a camera before yet delivered a magical performance as Indir Thakuran.
Even Seasoned Actors Were Guided
Ujjal Chakraborty, who observed the shooting of five Ray films including 'Hirak Rajar Deshe', said the issue was never simply actors versus non-actors. 'Even seasoned actors with strong mannerisms were closely directed. If a performance did not work, he said, 'Let me try and see if I can get it right,' Chakraborty recalled. He noted that Ray even demonstrated how every line had to be spoken by Utpal Dutt in both 'Hirak Rajar Deshe' and 'Agantuk'. 'This he did to remove Utpal-da's trademark mannerisms visible in films like 'Chupke Chupke' and 'Golmaal'. In 'Hirak Rajar Deshe', during the first monologue in the cabinet meeting scene, Utpal-da eventually gave up. Manik-da then performed the monologue himself four times while Utpal-da watched closely. When the camera rolled, it was difficult to reach the standard set by Manik-da during rehearsal,' Chakraborty said.
These anecdotes from the screening underscore Satyajit Ray's unparalleled ability to draw out authentic performances, whether from seasoned actors or complete novices, cementing his legacy as a master filmmaker.
