It was the best outdoor ever: Sharmila Tagore on Aranyer Din Ratri
You entered the world of films with Satyajit Ray's Apur Sansar (1959). How did working with him that early in your career shape your sensibilities as an artiste?
Although I was very young, I used to read a lot of books. I was what in Bengali they say paaka — more grown up than your age. To work with Manik da was a learning because you see him, and the entire unit… they were all very well informed about their profession… art and photography. I was 13 but even then, that process of osmosis… just by being there you absorb so much.
What continues to make Ray's cinema relevant to present-day audience?
He continues to be contemporary. At Cannes, a restored 4k version of Aranyer Din Ratri (1970) was shown. That was special. Even his other films like Devi (1960) and the Apu trilogy… the mother-son relationship in Aparajito (1956)… the sixth, seventh and eighth generation reacts to it because the romance of Apur Sansar is unforgettable. The Music Room (1958), for instance, is about an aristocrat who would rather break than bend. All these films touch you deeply at a human level. From the dialogues to music, they are all technically quite superior and once it is restored, it is as good as new. It speaks to today's generation also. Mahanagar (1963) in English is called The Mighty City; Seemabaddha (1971) is Company Limited. All these films can be understood today.
Tell us about your experience at the Kechki Rest House where Aranyer Din Ratri was shot.
I cannot tell you how hot it was. It was April-May. There was no electricity. We put up a generator at night or whenever we wanted because my room had a cooler. That helped. The boys — Soumitra, Samit Bhanja, Rabi Ghosh, Shubhendu — stayed in a shed with a tin roof. They called themselves Robi pora/ bhaja (burnt/ fried), but we were all happy because the work was so good. We worked early in the morning from 5.30 to 9, and then from 3 to 6. The rest of the time we just chatted. We visited the Santhals, danced with them. We could hear the elephants in the forest. It was the best outdoor ever. May 2 was Satyajit Ray's birthday and we celebrated. Simi got a cake from Kolkata.
Also Read | At Aranyer Din Ratri's Cannes' premiere, Sharmila Tagore says, 'I, Simi Garewal are the only survivors'
You made a comeback after 13 years with Gulmohar in 2023. What do you make of the OTT revolution?
It is a good thing. So many new people got work, but again it is falling into a trap, I think, because people like Rahul Chittella, after doing Gulmohar, have been running pillar to post for his next film. OTT is also going for big stars. The Royals, for instance, was underwhelming yet you can see how expensive it was. But Netflix bought it and is showing it, but when someone with a good script goes, they are shown the door. I don't know who chooses the content.
Puratawn (2025) is reportedly your last Bengali film. Is that true? What led to this decision?
I didn't say if it's Bengali or Hindi; just that it's probably my last. We act with our entire body, so to speak. Physical fitness is important for an actor. In Puratawn, I had to climb a three-storeyed house. We were shooting on the top floor and climbing those steps at least three times a day. I could do it, but now I don't know.
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