Critical reengagement with his work will keep Ray relevant: Dhritiman Chaterji

The Hindu

02-05-2025

Actor Dhritiman Chaterji, known for his powerful performances in several of Satyajit Ray's seminal films, on Friday (May 2, 2025) observed that the most meaningful tribute to the iconic filmmaker would be a critical re-engagement with his body of work - emphasis, he said, on the word 'critically'.
Speaking to The Hindu on the occasion of Ray's birth anniversary, Mr. Chaterji, who starred in Pratidwandi, Ganashatru, and Agantuk, reflected on the complex legacy of a filmmaker widely regarded as one of the most influential voices in world cinema.
Asked how he would assess Ray's stature among Indian filmmakers, Mr. Chaterji said he was cautious of evaluative rankings, particularly in the realm of art. 'I have always been wary of 'who-is-the-best' type of comparisons in the arts. It depends so much on the vision of the creator as well as the sensibility, ideology, and context of the viewer. That said, Ray's multidisciplinary capabilities - in literature, music, the visual arts, criticism - probably contributed to his extraordinary achievements in cinema,' he said.
'I would stop short of calling him the greatest filmmaker in India,' he added. 'To do so would be intellectually lazy and unfair to other brilliant directors. In any case, for me, such a term is somewhat meaningless. What I most enjoyed about my time with him were the long conversations - many of which extended far beyond cinema.'
At a time when social media platforms were inundated with glowing tributes to the Oscar-honoured auteur, Mr. Chaterji struck a more reflective note. 'I don't know if turning his birthday into an annual ritual, almost a puja, marked by unquestioning adulation, truly helps in keeping his legacy alive. His relevance, to me, lies in two things: a consistent effort to place his work - directly or indirectly - within a broader social and political context; and a deep-seated respect for the intelligence of his audience.'
Recalling a memorable moment from Ganashatru, in which he played a character with ambiguous moral shades - a departure from his earlier roles - Mr. Chaterji shared a quiet anecdote that offered insight into Ray's working style. 'Ray was not one to offer exuberant praise. A simple 'Fine, let's move on' was generally the highest compliment. During Ganashatru, I was unsure, and finally asked him, 'Manikda, is it going alright?' Without looking up from what he was reading, he replied, 'If it's not alright, I'll let you know'. That was praise enough, as far as I was concerned.'
On a lighter note, Mr. Chaterji also recounted a moment of personal embarrassment from the set of their last film together. 'There was a mix-up with the call time, and I arrived late to find Ray, Utpal Dutt, and the crew waiting. Ray simply said, 'Late on the very first day?' That quiet reprimand was enough for me to want to disappear into the background,' he said, adding that he could not recall Ray ever losing his temper on set. 'He was, among other things, an excellent human resource manager. His sets functioned with calm and efficiency.'
As Ray's legacy continues to inspire generations of filmmakers and cinephiles, Mr. Chaterji's reflections serve as a reminder of the importance of critical appreciation over rote reverence - of engaging with the filmmaker not just as a cultural icon, but as a thinker deeply rooted in his time and society.