Ranajit Ray remains untouched of pride even after the second consecutive National Award he has received for his documentary Aoleang . This time it is in the Best Anthropological/Ethnographic category while last year his Documentation Of Clay Image Makers of Kumartuli fetched him the National Award for Best Promotional Film. He comes across as a simple and down to earth person devoid of any pretensions.
Ranajit’s warm smile and firm handshake settles us down in the cool environs of Niche Lounge & Bistro for an insightful conversation over lunch. Set to receive the award in the evening from the President Pranab Mukherjee, the director contrary to expectations is not in cloud nine. “I definitely feel good but view it as an encouragement to better my creativity and excel myself.”
Surprised, I ask “is that all?” “No the awards do get you attention, bigger budget allocation for filmmaking, confidence of people and a chance to choose subjects of your choice.” As an afterthought he quietly includes: “More importantly the people you are working with/for think you are worthy of doing things for them.”
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We thank the hotel staff for promptly bringing the mixed juice made of watermelon, red apples, orange and strawberry relieving the thirst giving us enough to continue our chat.
It must be disheartening for Ranajit to see that documentaries are hardly viewed by people? Agreeing, he feels that if the Government can help by providing a dedicated channel for showing this genre it will definitely popularise them. “Unlike France and other European countries, we do not have the culture of watching documentaries.” Having said that he lays the blame on his fraternity for making films which he refers to as “God’s voice”. “These just bombard the viewer with information readily available in books or on the Net. Instead of this there should be story telling, creating a journey with audience participation thereby allowing them to form their own opinion. We should approach a subject with humility.”
Contrary to many, who view selection of the National Award winners tinged with bias, Ranajit feels as compared to the private awards these are to some extent neutral. “It makes you believe in your hard work and its recognition.” After a pause he goes on to add a pragmatic comment: “Awards result from a chance meeting of some people who according to their sensibilities and sensitivities judge a film good. Replace them with another set of people who may not choose the same film.”
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The physics graduate from Jadavpur University, Ranajit developed a liking for filmmaking thanks to his passion for photography and watching European cinema. He joined the Film and Television Institute of India to learn cinematography. “As cinema was not viewed as a viable employment option in those days my father insisted on joining cinematography which being technical in nature promised some employment,” he reveals.
The tomato and dhaniya shorba soup for Ranajit and the ravioli are placed on the table. Enjoying the soup, Ranajit informs on finishing his course he shot documentaries for friends and films including Mrinal Sen’s Parasuram and Buddadeb Dasgupta directed Dooratwa . Unable to align with commercial films and dearth of projects close to his head and heart forced him to explore television and he made some series. These became popular but the preference for mega series growing –– a format I was uncomfortable with and which I thought would rob me off my creativity, I moved to documentaries.” Initially, he made them for educational institutions and Films Division. There was no looking back as he went on to make The Prayer Flags of Sikkim and Rod Puppets Of West Bengal among others.
Ranajit has fond memories of his association with Mrinal Sen and Buddhadeb Dasgupta. “I was to shoot Sen’s ‘Mrigaya’. His cameraman K.K. Mahajan who initially could not make it took over after I had finished the title shooting. Thereafter I assisted Mahajan. Again, when he was not available for ‘Parashuram’ I shot the film.” Ranajit got interested in direction due to working with Sen. “I learnt that in filmmaking you cannot take anything for granted and as a director you need to be patient, calm and collected in all circumstances. You cannot afford to get angry and agitated as you are at the helm of affairs. One must be careful while choosing the actors and the location for the film as it is vital.” He describes his experience with Buddhadeb as a collaborative effort.
Though partial to fish delicacies, Ranajit has chosen his other favourite – prawns. Tasting the Vietnamese prawns, he nods his approval. “Being a Bengali I cannot resist fish. At home my favourite is ilish, tangra and magur not that I am averse to others. Away from home I always ask for the local catch and try the local fish preparations,” he reveals with a smile. Having eaten fish dishes all over the country and abroad, he still prefers his mother’s preparation. “Her cooking is excellent. The shukto she makes with morala fish is fantastic as is the ilish.”
The director feels twice-blessed as his wife Chaiti Ghoshal, the well known Bangla television and theatre actor, too is a great cook. Despite her hectic schedule, she takes time out to make for mutton, vindaloo, vegetarian poshto for Ranajit and paneer dishes for their son.
Besides wielding the camera, Ranajit learnt cooking at FTII. “I was forced to because when we ran out of money we had to cook in house. I followed the recipes provided by my mother and picked from magazines.” Does he whip up something special? “Yes, I put everything in rice and cook it, ending up with an excellent khichri,” he quips.
Making his films in remote corners of India has afforded a chance to Ranajit to try different items. While shooting Aoleang a film on the Nagaland’s Konyak people’s attempt to preserve their age-old traditions and culture, he ate pork while for another film he shot in the Andamans he had a delicious crab dish. “During the Aoleang festivities, the Konyak sacrifice mithun. I had never tasted such a soft meat before.” Never to miss a chance to try the local cuisine, he feels that it helps in knowing a lot about the region and its people.
Just as he is not averse to try new cuisines, Ranajit is game to make feature films too. He takes it is as a natural progression for him as a filmmaker and feels that the line between making documentaries and feature films is blurring. He has some scripts ready but is hampered by lack of finance. Undeterred, he is looking forward to make a feature based on a story around fear psychosis. “I have decided to cut down on the budget by using limited cast and crew and shoot in a small place. I am banking on this interesting story –– about fear at different physical, mental, psychological and social levels –– to engage the audience.” It does not mean goodbye to documentaries as he is ready with a film on Bengal’s famous art form jatra and another on the life of an artist who does rod puppeteering, a unique art practice.