Join Shampa Mukherji in Conversation with SV Raman. Popularly known as Raj Raman, SV Raman is a civil engineer by qualification who has had a distinguished career in the cultural sector. He spent 35 years with the Goethe-Institut / Max Mueller Bhavan Kolkata, where he headed the Cultural Department until 2010.
For the past 13 years, Mr. Raman has served as a Programme Consultant at Victoria Memorial Hall. His expertise extends to teaching, having been a guest faculty member in Public Speaking, Communication, Journalism, Film, and German at various institutions. Additionally, he is a freelance journalist, translator, and interpreter.
Mr. Raman is actively engaged with numerous social and cultural organizations, where he frequently moderates debates, judges competitions, and anchors panel discussions.
He was the All India General Secretary of the Federation of Film Societies of India from 1988 to 1992, serving under Satyajit Ray as President. Currently, Mr. Raman holds several prominent positions, including President of Cine Academy, Indo-German Association, and SAHAY; Chairperson of The Creative Arts Academy; Executive Member of the Calcutta Debating Circle; Governing Committee Member of Manovikas Kendra; and Managing Trustee of both Kolkata Trust for Human Development and Kalpanirjhar Foundation.
Akira Kurosawa once said, “Not to have seen the cinema of Ray means existing in the world without seeing the sun or the moon.” In this very special episode of Moksha Talks, we explore the universal themes and humanistic elements in Satyajit Ray’s films.
1) The Human and the Universal: We begin by examining Ray’s choice of subjects and how he blends the human and the universal in these narratives?
The dignity amid tragedy in The Apu Trilogy.
The resilience of the human spirit in Mahanagar.
The strong anti-war message in Goopy Gyne Bagha Byne.
The triumph of justice in his detective films Sonar Kella and Joi Baba Felunath.
2) Women Protagonists: Does this blend extend to Ray’s female characters?
Arati Majumder (Madhabi Mukhopadhyay) in Mahanagar.
Charu (Madhabi Mukhopadhyay) in Charulata.
Bimala (Swatilekha Sen Gupta) in Ghore Baire.
Ray explores the emergence of the modern woman in colonial India, drawing parallels to Ibsen’s A Doll’s House in both Charulata and Ghore Baire.
Duli (Simi) in Aranyer Din Ratri.
Ananga (Babita) in Ashani Sanket.
Aditi Sen Gupta (Sharmila Tagore) in Nayak.
3) Non-Bengali Films: How Ray managed a seamless transitio into non-Bengali films with Shatranj Ki Khilari and Sadgati retained his universal appeal.
4) Political Films: Ray’s biographer Andrew Robinson quoted him saying, “Your surroundings, politics, and social milieu become relevant if you are a filmmaker.” This awareness is evident in Ray’s Calcutta Trilogy:
Pratidwandi (The Adversary, 1970).
Seemabaddha (The Company Limited, 1971).
Jana Aranya (The Middle Man, 1975). These films are considered Ray’s most definitive political cinema.
5) Safe Text Films: Did Ray make “safe” films or i was there more complexity beneath the surface in each of his films
6) Music in Ray’s Films: It’s important to note how Ray understood, adapted, and used music to enhance his storytelling.
7) Shorts and Documentaries: Finally, we touch upon Ray’s contributions to short films and documentaries, a genre often overlooked.
Moksha Talks Episode 8: Ray’s cinema: The Human and the Universal
Join Shampa Mukherji in Conversation with SV Raman. Popularly known as Raj Raman, SV Raman is a civil engineer by qualification who has had a distinguished career in the cultural sector. He spent 35 years with the Goethe-Institut / Max Mueller Bhavan Kolkata, where he headed the Cultural Department until 2010.
For the past 13 years, Mr. Raman has served as a Programme Consultant at Victoria Memorial Hall. His expertise extends to teaching, having been a guest faculty member in Public Speaking, Communication, Journalism, Film, and German at various institutions. Additionally, he is a freelance journalist, translator, and interpreter.
Mr. Raman is actively engaged with numerous social and cultural organizations, where he frequently moderates debates, judges competitions, and anchors panel discussions.
He was the All India General Secretary of the Federation of Film Societies of India from 1988 to 1992, serving under Satyajit Ray as President. Currently, Mr. Raman holds several prominent positions, including President of Cine Academy, Indo-German Association, and SAHAY; Chairperson of The Creative Arts Academy; Executive Member of the Calcutta Debating Circle; Governing Committee Member of Manovikas Kendra; and Managing Trustee of both Kolkata Trust for Human Development and Kalpanirjhar Foundation.
Akira Kurosawa once said, “Not to have seen the cinema of Ray means existing in the world without seeing the sun or the moon.” In this very special episode of Moksha Talks, we explore the universal themes and humanistic elements in Satyajit Ray’s films.
1) The Human and the Universal: We begin by examining Ray’s choice of subjects and how he blends the human and the universal in these narratives?
The dignity amid tragedy in The Apu Trilogy.
The resilience of the human spirit in Mahanagar.
The strong anti-war message in Goopy Gyne Bagha Byne.
The triumph of justice in his detective films Sonar Kella and Joi Baba Felunath.
2) Women Protagonists: Does this blend extend to Ray’s female characters?
Arati Majumder (Madhabi Mukhopadhyay) in Mahanagar.
Charu (Madhabi Mukhopadhyay) in Charulata.
Bimala (Swatilekha Sen Gupta) in Ghore Baire.
Ray explores the emergence of the modern woman in colonial India, drawing parallels to Ibsen’s A Doll’s House in both Charulata and Ghore Baire.
Duli (Simi) in Aranyer Din Ratri.
Ananga (Babita) in Ashani Sanket.
Aditi Sen Gupta (Sharmila Tagore) in Nayak.
3) Non-Bengali Films: How Ray managed a seamless transitio into non-Bengali films with Shatranj Ki Khilari and Sadgati retained his universal appeal.
4) Political Films: Ray’s biographer Andrew Robinson quoted him saying, “Your surroundings, politics, and social milieu become relevant if you are a filmmaker.” This awareness is evident in Ray’s Calcutta Trilogy:
Pratidwandi (The Adversary, 1970).
Seemabaddha (The Company Limited, 1971).
Jana Aranya (The Middle Man, 1975). These films are considered Ray’s most definitive political cinema.
5) Safe Text Films: Did Ray make “safe” films or i was there more complexity beneath the surface in each of his films
6) Music in Ray’s Films: It’s important to note how Ray understood, adapted, and used music to enhance his storytelling.
7) Shorts and Documentaries: Finally, we touch upon Ray’s contributions to short films and documentaries, a genre often overlooked.