Rabindranath Tagore and Satyajit Ray's Cinematic Vision

Tagore Through the Lens Rabindranath Tagore & Satyajit Ray’s Cinematic Vision

J I R AY U D H S I N T H U P H A N

Copyright

Author Jirayudh Sinthuphan

Title Tagore Through The Lens: Rabindranath Tagore and Satyajit Ray’s Cinematic Vision

Copyright © 2015 Jirayudh Sinthuphan

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Cover DesignColored ink on paper by Rabindranath Tagore, 1929-30

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ISBN 978-616-551-944-1

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Table of Content

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Page

Preface iii

Tagore Through The Lens 5

Bibliography 20

Preface

Rabindranath Tagore’s life and works have been the subject of many film ren-ditions. The films that brought the poet’s ideal to a wider international attention, however, are probably those produced by Satyajit Ray who was a renowned Ben-gali film director and a former student of Santiniketan. Taking Walter Benjamin’s theory of translation in mind, this paper examines Tagore’s vision of India and the world as being interpreted, expanded and re-presented through Ray’s cine-matic vision.

Rabindranath Tagore (1961) is a bio-documentary commissioned for Tagore’s birth centennial. The film can be described as a demystification and contextualiza-tion of Tagore. Ray chose to place Tagore in a socio-cultural context and to por-tray him as an emotive entity rather than a Gurudeva or a revered cultural figure. In addition to key events, small and yet vital incidents in Tagore’s life were also brought to the fore, namely his encounter with the spiritual universe and his rela-tionship with Kadambari Devi, his sister-in-law. The issues concerning these events presupposed Ray’s choices of stories and themes for his future films, particu-larly his adaptations of Tagore’s texts.

Three fictional films – Teen Kanya (1961), Charulata (1964) and Ghare-Baire (1984) – explore Tagore’s vision of rural-urban division, colonialism, women’s emancipation and nationalism. In order to transpose Tagore’s works across time and media, Ray took a poetic liberty in his method of adaptation. Just as Tagore exercised his discussion in written mode, Ray audio-visually expanded the poet’s vision in filmic mode and pushed the poet’s argument further than the original.

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This document is an updated version of the paper I presented at the Interna-tional Conference to Commemorate 150th Birth Anniversary of Rabindranath Ta-gore, which was organized by Indian Studies Centre of Chulalongkorn University and the Indian Cultural Centre, Bangkok between 16-17 June 2011 at Chula-longkorn University.

Jirayudh SinthuphanJuly 2015

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Tagore Through The Lens

1961 was the year that marked centenary of Rabindranath Tagore’s birth. Satyajit Ray, an internationally renowned film director, was asked by the Indian Films Division to produce a documentary on the life of the Bengali poet to commemorate this occasion. It was by no means the film director’s first encounter with Tagore, for Ray himself was also a Bengali and a former student of Santiniketan. Tagore’s profound influence on his work was openly expressed by Ray (Ray n.d.: online) as well as by other scholars (Robinson: 46-55). It was this revisit to the world of Tagore that eventually led Ray to make another three films from the poets’ visions. Teen Kanya (1961) is a collection of three short films adapted from Tagore’s short stories concerning lives in rural Bengal. Charulata (1964) is a rendition of Nashtoneer (1901), a short novel with the theme of women's emancipation. Ghare-Baire (1984) from a novel of the same name tells a story of the human condition and relationships in the time of the nationalist movement. With such a background and body of work, Satyajit Ray should have been an ideal Tagore ambassador to the world; yet he was charged with infidelity, and his films were heavily criticized for their deviation from Tagore’s texts. This prompted him to write articles to engage in an open debate with his critics and to justify his approach to inter-media translation (Ray 1998: 13).

The Problem of Inter-media Translation Dominating the debate on the practice of translation are the two conflicting ideals of fidelity and liberty. Fidelity is the extent to which a translation attempts accurately to capture every detail of the source text, without any distortion. It is a faithful rendition that may overlook the importance of the reproduction of

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meaning, and may subsequently lead to a point of incomprehensibility. Liberty is the extent to which a translation purposely revises the source text to conform to the grammar and the idiom of the target medium. It is an eloquent and communicative rendition that may deviate from the original. This dualistic view of translation suggests that all translations are incomplete, and that they cannot have any significance for original text. Criticism becomes even harsher for inter-media translation since media such as film, radio and television are often regarded as inferior to literature. Tagore himself once commented in 1929 that “cinema is still playing second fiddle to literature”, and that there is a need to “emancipate cinema from this bondage” (Tagore & Das 2006: 949 - 954).

Walter Benjamin’s theory of translation can help us solve the problem. In his 1923 essay ‘The Task of the Translator’, Benjamin urges us to view translation as a different mode of existence for a literary work. He proposes that translation is not simply a means to convey the original message of the source text to those who can-not decipher it. Rather, it is a process by which a literary work becomes something more than itself – something that he called an afterlife or a continuing life. For Benjamin, it is the original work that is incomplete and calls for the translation of its poetic core into a different language (Benjamin 1997: 153). Accordingly, the task of a translator is to liberate this poetic force by finding “the intention toward the language into which the work is to be translated, on the basis of which an echo of the original can be awakened in it” (ibid: 159). As a result,

The task of a translator is to liberate this poetic force by finding “the intention toward the language into which the work is to be translated, on the basis of which an echo of the original can be awakened in it.” - Walter Benjamin (1923)

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the original work and the target medium are both trans-formed. In the light of this argument, simply to see Satyajit Ray’s film translations as a re-telling of Tagore’s life-story and literary works would be misleading. They should be considered as a separate continuing life of their poetic force. This article gives these films a close reading, in order to examine how the poetic core of Tagore’s works is transposed across media, aesthetic and time.

Ray’s Demystification and Contextualization of Tagore

Satyajit Ray begins his bio-documentary on Rabindranath Tagore with a depiction of a mass funeral procession, a voiceover narrating the poet’s death, and an image of a burning flame that slowly turns into a rising sun. He strategically constructs an image of a mortal human being whose existence in and after life has a lasting effect on humanity. In doing so, Ray translates a mystified image of Tagore as a remote spiritualist into a deeply relevant one.

To translate someone’s life into another medium is not an easy task. It involves the process of taking that life apart, selecting and researching into its most telling elements, in order to put them back together in a manner that will do its owner justice. In translating Tagore’s life into a cinematic mode, Satyajit Ray chooses to emphasize the poet’s humanity and put him against his physical as well as socio-cultural context. Ray spends a lengthy period at the beginning of the film establishing the sphere of British Bengal and of the Tagores’ house-

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hold into which the young Rabindranath was born. Ray constructs an image of Tagore as a product of a confluence of cultures that is east and west, traditional and liberal, spiritual and scientific. One by one, distinguished members of this learned and artistic family are introduced to the audience to reveal the intellectual and spiritual roots of the poet’s vision. We also learn about Jnanadanandini Devi and Kadambari Devi, Tagore’ sisters in law who lived unconventional lives of emancipated women amidst the conservative social climate of the time. These two women are thought to have influenced Tagore’s vision of women’s emancipa-tion and provided archetypes for his fictional female char-acters, such as Charu in Nashtoneer and Bimala in Ghare-Baire.

With limited film footage of Tagore available, Ray has little choice but to recreate the missing elements in his storytelling by means of dramatization. As a result, Rabindranath Tagore is portrayed as an emotive entity, with whom the audience can easily empathize. We feel for the young Rabindranath, or ‘Rabi’ in the first section of the film, as he sat in the classroom looking bored. We smile at the sight of him struggling in a practice with his wrestling teacher. We also experience a similar “inner radiance of joy” (Rabindranath Tagore) as we see the image of Rabindranath in his twenties bathing in the morning sunlight, and hear a voiceover reciting a passage from his later reminiscence of the poem ‘The Awakening of the Waterfall’. As Ray’s camera slowly moves towards the actor embodying Tagore, it also brings us closer to the poet’s mind; and before one can realize it, one’s percep-tion is alternated with that of Tagore.

The Tagore brothers and their

wives (from left) Jnanadanandini

Devi, Satyendranath Tagore,

Kadambari Devi and

Jyotirindranath Tagore (sitting)

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Through Ray’s lens, the audience also experiences Tagore’s relationship to space in personal, public and spiritual spheres. The home and the world are two recurring spatial motifs in Ray’s documentary and translations of Tagore’s fiction. On one level, the home refers to a physical confinement of a household or of a territory; and the world is what lies beyond that boundary. On another level, they are metaphors for the state of one’s mind and one’s humanity. In the personal sphere, the home is the learned and cultured household of the Tagores. We first meet the young Rabi as he is cautiously walking along the corridor of this mansion. We then see the boy nervously gazing towards the inner courtyard of the mansion, before trying to peer into the world beyond its fortress-like wall. From this point onwards, Ray rarely shows Tagore in any form of confinement. The poet is seen out in the world by the riverbank, in the street or under a tree. The nurturing home may have given the life to Rabi, but it is in the world that he grows to be Rabindranarth Tagore.

In the public sphere, Tagore’s home is India or more precisely Bengal – the place that is the very foundation of his life and works. The audience has the first glimpse of this place as the film enters its twentieth minute, and the image that Ray presents to us is that of its rural heart where Tagore came into “an intimate contact with the fundamental aspect of life and nature” (Rabindranath Ta-gore). Ray first shows us an image of a little boat floating along a mighty river, and later alternates it with images of the landscape and lives along the riverbank. A whole new world of sights and sounds then opens up before

Rabindranath Tagore and his

wife Mrinalini Devi.

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one’s eyes in the same manner that Tagore may have had experienced. It is the world in which, to quote Ray’s films, “the mood of people and the mood of nature are inextricably interwoven. The people found room in a succession of short stories, and nature in an outpouring of exquisite songs and poems” (Rabindranath Tagore). It is from this encounter with rural Bengal that Tagore created his much loved characters and short stories known as Galpoguchchho (1891-1895), out of which Ray’s Teen Kanya (1961) were born.

In connection with this sphere, Tagore’s view on socio-political issues such as colonialism, nationalism and sectarianism are brought to the fore. Ray particularly highlights the event of the partition of Bengal in 1905, during which the province of Bengal was divided along a sectarian line into a Muslim-dominated east and a Hindu-dominated west. Although the two parts of Bengal were eventually reunited in 1911, the sectarian di-vision of the event had already foreshadowed the greater partition and violence that was to come. Nationalism based on sectarianism and violence is probably the idea that Tagore detested most, and it became the very subject of discussion in his masterpiece Ghare Baire (1916). Ghare Baire brings us to face the hypocrisy of the nationalist movement, and the gruesome effect that its ensuing sectarian division has on ordinary lives. In his documentary on Tagore, Ray confirms the artificiality of such a division simply by bringing us to the Padma River – a trans-boundary river that runs from the Himalayas through the area that is now India and Bangladesh before flowing out into the open sea. This is the area where the Tagores’ family estate located, and where

A poster of Teen Kanya (1961)

designed by Satyajit Ray

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Rabindranarth Tagore produced his memorable works. It is also the same river that we saw him sail and discover the world early on the documentary. Here, one encounters the difficulty in defining Tagore within a rigid confinement of a modern nation-state. Like this mighty river, his ideal of humanity is fluid and travels way beyond any boundary.

Ray also explicitly makes a connection between open natural spaces and Tagore’ spirituality. He usually depicts Tagore as a part of the natural surrounding, and not as a dominating figure. At the beginning of the documentary, we see the young Rabi roaming the vast expanse of the Punjab during a long tour to North India with his father. We see the two of them rising and praying to sunrise. The image of this tour ends with that of Rabi sitting at the feet of his father and singing to him a devotional song. In nature, as Ray shows, Tagore is in touch with his spirituality and is at home with the universe.

Ray’s Expansion of Tagore’s Poetic Vision

In translating Tagore’s fiction, Ray skillfully makes use of interplay between elements in Tagore’s life and work across the personal, public and spiritual spheres. This means that an element from Tagore’s personal life may become a reference for a character or an event in the film, or an element relating to his public engagements can enter the private life of the character and become an expansion of the poet’s vision. In Charulata (1964), for example, Ray makes a discursive connection between the event in Tagore’s life and that in the film. He sets an

A poster of Charulata (1964)

also designed by Satyajit Ray

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exact period of the film in 1879 when the Bengali renaissance was at its height, and when Tagore was still living with his elder brother and his young wife. The relationship between an idealistic British educated Bhupati, his young wife Charu, and his artistic brother Amal suggestively echoes the one in real life between Jyotirindranath Tagore, Kadambari Devi and Rabin-dranath Tagore (Seton 1971: 180).

On an even more discursive level, Ray’s translation also experiments in weaving Tagore’s texts into a larger historical and literary tapestry. In a scene from Charulata, Ray shows us Charu idly browsing through the bookshelf and humming the name of her favorite author, Bankim. Bankim Chandra Chatterjee was a prominent figure in Bengali literary renaissance and patriotism who in 1879 – the same period that Ray sets his film in – published an essay ‘Women, Old and New’ where he discusses the place of Bengali women in the nineteenth century (Biswas n.d.: online). In the light of this, Ray’s mode of translation can be seen as creating a dialogue between Tagore, Bankim and himself; and through this dialogue, the political and ideological subtly of Tagore’s text can be revealed.

Another important matter that Ray’s translation has also taken into consideration is that concerning time. It is clear that Ray’s films were conceived in a different period and disposition from that of Tagore’s works. Tagore’s disposition is that of an undivided India on the eve of its independence, while Ray’s disposition is that of a clearly defined nation-state fourteen years into its independence and modernity. It is then crucial for Ray to find a way to

Charu of Charulata in the

confinement of her colonial stye

of. The discussion on colonialism

and female emancipation is

embodied in everyday objects,

in the language used by the

main characters, and in the

pattern of their relationship.

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make Tagore’s vision as relevant and as acceptable to the audience of the twentieth century as possible. In Teen Kanya (1961), for example, Ray purposely alters the ending of one of its tripartite The Postmaster. The Postmaster tells a story of a relationship between a new village postmaster from Kolkata and his little servant girl called Ratan. Being a former city dweller, the postmaster cannot adjust to his new life and seeks to be transferred back to the city. Out of his boredom, he teaches Ratan to read and write, which provides Ratan, who is an orphan, a sense of being cared for. She puts all her efforts into learning and taking care of him, in the hope that she will be considered as a part of his family. At the end, however, her hope is shattered by the postmaster’s decision to move back to the city. In Tagore’s version of the story, the little servant girl falls at the postmaster’s feet as he is leaving, and asks him to take her to the city. For Ray, such an ending is difficult to swallow.

In his interview to Andrew Robinson, Ray clearly stated that he could not bring himself to film Tagore’s original ending. He finds it too sentimental and outdated. It is something he “could not express because it was an emotion I don’t feel, being a man of twentieth century, being brought up in certain surroundings, being exposed to certain influences” (Cardullo 2007: 143). In Ray’s translation, the little servant girl tries to hide her grief, and as the postmaster calls her, she simply walks past him and ignores the tip he was to offer. Although both Tagore’s and Ray’s versions of the story explore the issue of child poverty, they project different views. Tagore’s Ratan is a victim of a merciless world crying to be rescued. Ray’s Ratan, on the other hand, is a child of

Charu and Amal - her brother-in-

law and her object of desire -

sharing their mutual interests in

the garden of delight

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suffering and endurance whose only need is for her existence to be acknowledged.

Bengal between the Home and the World

The question of existence is as much a focal point of Ray’s cinematic translations as it is in Tagore’s works. If Tagore’s text raises the question of Bengali existence during the colonial period, Ray’s films attempt to find out what it means in the time of an independent nation. The subjects and genres of these films are wide-ranging, and yet their characters share one thing in common. They are caught between the idea of the home and the world, which in this case, illustrate the dichotomy of home culture (Bengali) and world culture (non-Bengali), as well as that of tradition and modernity.

Written between 1891-1895 during the period of Tagore’s rediscovery of rural Bengal, the stories that eventually become Ray’s tripartite Teen Kanya (1961) project a sense of pastoral yearning. The village and its natural surrounding are presented in Ray’s films equally as idyllic and delightful, while westernized manmade spaces like the city of Kolkata or a Victorian mansion are portrayed as a source of evil and inhumanity. The main characters of Monihara, the second installment of the tripartite are buried under a heavily ornate Victorian décor of their own mansion, and at the end are driven into insanity under its roof. A rural space, on the other hand, is where Amulya in Samapati found love, or in the case of Nandalal the postmaster in The Postmaster realized his own heartlessness. It is the place where one gets in touch with one’s heart and one’s humanity.

Bimala of Ghare-Baire observing

the world from the inner quarter

of her home.

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The relationship between educated city dwellers like Nandalal and Amulya and uneducated country girls like Ratan and Mrinmoyee illustrates a clash between the world and the home cultures. This, in effect, also brings us to the discussion on colonialism. In the two stories, we see the process by which the two men try to mould these girls into something other than themselves. Nandalal teaches Ratan to read and write in order to turn her into a more civilized creature, while Amulya tries to make the free-spirited Mrinmoyee his wife. In this discussion, colo-nialism is not so much of a political entity or a territory. Rather, it is more about the colonization of the mind. Both Tagore and Ray acknowledge Bengal and India’s difficult position at the crossroad between tradition and modernity, and between embracing foreign attributes and maintaining her identity. Being the works of the colonial period and belonging to the pastoral genre, however, Tagore’ stories that appear Ray’s Teen Kanya are leaning more towards the home than the world culture.

In Charulata (1964) and Ghare-Baire (1984), the discussion on colonialism is embodied in everyday objects, in the language used by the main characters, and in the pattern of their relationship. The two stories make clever use of a love triangle narrative structure to illustrate a larger conflict between an individual, the home and the world. Charu in Charulata is a lonely house-wife who is torn between her westernized husband Bhupati and his younger cousin Amal. Bhupati is an editor an English language newspaper whose primary concern is about the outcome of an election in Britain. Amal, on the other hand, is a student of Bengali literature who comes to help Charu to express herself in

Three daughters of Bengal in Teen Kanya (1961)

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writing. As we can see, English language and culture are here associated with something so impersonal and distant, while Bengali is the language of one’s heart and soul. These are two opposite positions that Charu, as an allegory of her country, has found herself caught in between. Being similar in age and interest, Charu is drawn closer and closer to Amal. As the story unfolds, she eventually takes a stance by writing a story about her childhood to have it published in a newspaper. This is a newly found freedom that comes with a price.

After Bhupati loses his newspaper and Amal leaves the house with guilt, Charu and her husband go on a holi-day together. On the beach, Charu comes up with the idea of a new publication in which Bhupati will write politics in English and she will be in charge of its Bengali literary section. This is a poetic attempt to reconcile the dichotomy of the home and the world that also marks Ray’s departure from Tagore’s vision. In Tagore’s version of the story, Bhupati decides to leave Charu soon after her affair with Amal is revealed to him. Charu then pleas with him to take her along, but as he invites her to come, she simply changes her mind. It is quite definite that such a plan is rather illusory, and Charu will find some way to stand on her own. In Ray’s version of the story, the ending is however less conclusive. The final sequence of the film runs in silence with a series of still shots showing Bhupati returning home and Charu reaching out for him. As their hands are about to meet, the film abruptly ends. The audience is left cold and speechless in wondering of what would be thereafter.

A love triangle between the

main characters in Charulata

connotes India’s struggle

between passion and reason.

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Bimala in Ghare Baire (1984) also finds herself caught between the home and the world in the time of the partition of Bengal. She is the wife of Nikhilesh, a gentle well-educated man of Bengali aristocracy who wants to introduce his wife to the life outside the confinement of a traditional Bengali household. Nikhilesh or Nikhil is an anglophile who provides his wife with English education and European clothes. Through her husband, Bimala comes to know Sandip, a charismatic supporter of the patriotic Sawadeshi movement who always appears in traditional attires. He speaks so eloquently of patriotism and Hindu devotion, and seduces her with Bengali tunes. With such passion and enthusiasm, Sandip is everything that her peace-loving philosophical husband is not. As the story develops, we see Bimala being drawn closer and closer to Sandip, both in terms of his political cause and sexuality. Nikhil warns Bimala of a danger of the Sawadeshi movement, but this only results in a further drift between the two. Ready as he is, Sandip becomes agitated with unsupportive stance of some fractions in the society and calls for an ultimate measure to act against Muslim traders and their foreign goods. The story unfolds in a riot, with Sandip fleeing the city and Nikhil being mortally wounded in an attempt to help the victims of violence.

As often cited, Tagore’s outlook on Bengal is that it is a product of “the confluence of cultures: Hindu, Mohammedan, and British” (Tagore cited in Sen 2001: on-line). It is not a surprise to see him frequently speaking against the patriotism of the Indian independence movement, particularly if it involves the idea of sectarian division. Ghare Baire a novel written in 1916 is probably

A poster of Ghare-Baire (1984)

designed by Satyajit Ray.

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the most poetic form of his critique towards the issue. Although Ray’s 1984 film rendition can capture the complexity of the story’s political context, it does not allow us to get deep into its main characters’ heads as much as it should. Accordingly, Bimala is seen here primarily as an allegory of the Indian nation and her struggle is that with her identity. Originally from a traditional Hindu family, she comes to an exposure to Western culture only after she is married into the household of her aristocratic husband. Like her country, her world is that of a clash between cultures where one is obliged to negotiate for one’s place in it. We see her attempts to fit into this world by fulfilling the tasks that her husband and her English teacher bestow upon her without questioning. But with the arrival of Sandip and his passionate Sawadeshi ideologue, she soon realizes that there is another world that she could possibly fit into, probably more easily. It is the world that she does not have to try to understand – only requires her to subdue her reason, and let her passion go.

Tagore puts Bimala to face the dilemmas of right and wrong, of reason and passion, and of being human and being patriotic. She is a part of the country whose ideal she should support, but at the same time she is also a wife and a human being. Through Ghare Baire, Tagore warns us of a danger in which a patriotic sentiment can easily turn into violence and consume one’s humanity. In one of his famous letter he clearly stated that “Patriotism cannot be our final spiritual shelter; my refuge is humanity. I will not buy glass for the price of diamonds, and I will never allow patriotism to triumph over humanity as long as I live” (Tagore 1908 cited in Sen 1997: xix - xxx). This is the truth that

Like her country, Bimala’s world is that of a clash between cultures where one is obliged to negotiate for one’s place in it.

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Bimala has come to realize with the price of pain and tragedy.

The Tagore’s Experiment

Indian film scholar Moika Biswas (n.d.: online) comments that Charulata (1964) is about growing up, and that it is the story of an Indian woman growing into modernity and into subjectivity. In the light of her comment, we might also see Ghare Baire (1984) as an expansion of Tagore’s experiment in this subject. Through violent and painful events, Bimala is also growing up into her emancipated femininity and into a sense of citizenship. The fate of Charu is left uncertain both in Tagore’s text and in Ray’s film, but as for Bimala in Ray’s film, we eventually see her emerging into the light as a widow. Considering that Satyajit Ray films usually come as a trilogy, one could surely wonder which of Tagore’s female characters could have been the subject of his next film if Ray were still alive.

Considering that the character before her was left in widowhood, what would then be the fate of this character? Also, considering Tagore’s openness to debate, how far would the poet let a translation bring her into a contemporary discussion on gender and femininity? One cannot stop wondering.

“Patriotism cannot be our final spiritual shelter; my refuge is humanity. I will not buy glass for the price of diamonds, and I will never a l low patr io t i sm to triumph over humanity as long as I live” - Rabindranath Tagore

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รัตนา จักกะพาก และ จิรยุทธ์ สินธุพันธ์ุ จินตทัศน์ทางสังคมและกลวิธีการเล่าเรื่องในภาพยนตร์ของสัตยาจิต เรย์: การศึกษาวิเคราะห์. กรุงเทพฯ: จุฬาลงกรณ์มหาวิทยาลัย, 2545.

จิรยุทธ์ สินธุพันธ์ุ ชีวทัศน์และสุนทรียทัศน์ในภาพยนตร์ของสัตยาจิต เรย์. ใน ถิรนันท์ อนวัชศิริวงศ์, สุนทรียนิเทศศาสตร์ การศึกษาสื่อสารการแสดงและสื่อจินตคดี,

หน้า 191 - 221. กรุงเทพฯ: คณะนิเทศศาสตร์ จุฬาลงกรณ์มหาวิทยาลัย, 2546.

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