Page 15 - The Apu Trilogy_ Satyajit Ray and the Making of an Epic
P. 15

2                      The Apu Trilogy

                   They regarded themselves as Brahmos, that is, Christian-
                influenced Hindus who rejected caste (Brahminism), idolatry
                and the Hindu festivals, though not the teachings of the origi-
                nal Hindu scriptures, the Vedas and the Upanishads. Although
                Satyajit would regard the social reforming side of Brahmoism
                as generally admirable, he was not attracted to its theology (or
                to any theology, for that matter). He said: ‘As material for a
                film’ – for example, his film about nineteenth-century Hindu
                orthodoxy, The Goddess/Devi – ‘I feel Hinduism is much more
                interesting than Brahmoism. As a child I found Hinduism much
                more exciting than Brahmoism, and Christianity too. When I
                think of Brahmoism I think of solemn sermons mainly. I don’t
                think of being free from the shackles of orthodoxy.’ (Parts of
                the Ray family remained relatively orthodox Hindus, which did
                not prevent the maintenance of very friendly relations with their
                Brahmo relatives.)
                  Of his grandfather Upendrakisore, one of whose stories Ray
                adapted to make the musical The Adventures of Goopy and Bagha/
                Goopy Gyne Bagha Byne (by far his most popular film in Bengal),
                he wrote:


                  My grandfather was a rare combination of East and West. He
                  played the pakhwaj [drum] as well as the violin, wrote devo-
                  tional songs while carrying out research on printing methods,
                  viewed the stars through a telescope from his own roof, wrote
                  old legends and folk-tales anew for children in his inimitably
                  lucid and graceful style and illustrated them in oils, water-
                  colours and pen-and-ink, using truly European techniques.
                  His skill and versatility as an illustrator remain unmatched by
                  any Indian.


                  Of his father, who was the subject of a documentary film,
                Sukumar Ray, made by Satyajit for his father’s birth centenary
                in 1987, he remarked: ‘As far as my father’s writing and drawing
                goes, nearly all his best work belongs to his last two and a half








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