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The Hindu
17 hours ago
- Entertainment
- The Hindu
Meditations, an art exhibition in Thiruvananthapuram, showcases colourful fragments of dissimilar visions
Chapter one of Meditations, an art exhibition by Dr Boban Ramesan, currently on at Vylopilly Samskrithi Bhavan in Thiruvananthapuram, presents a glimpse into what truly affects the artist — consciously and subconsciously. From depictions of frames inspired by legendary filmmakers Satyajit Ray and Ritwik Ghatak to images of death and decay reflecting the ongoing conflict in Gaza, the exhibition explores the personal and the public in a series of untitled works. This chapter features 68 works and chapter two features 42 works. Originally from Petta, Boban has been working as a family physician in Brisbane, Australia, for a decade. He uses Italian Fabriano paper as his preferred canvas. His paint mediums include oil paint, charcoal, pastels, pens, gouache (a water-based paint), chalk and graphite. 'I have been using oil paint for the last 10 years. Before that, my preferred mediums were charcoal and graphite. I also started using pastels a few years ago. I never used colours when I began painting as I was used to monochromatic art,' says Boban. 'I left the works untitled so that people can interpret it. I do have some ideas in my mind. If I feel differently tomorrow, I'll change it,' says Boban, showcasing artworks compiled over the past 12 months. The self-taught artist describes his work as 'mostly spontaneous', putting down his thoughts through his paintings, almost like journalling on canvas. These include his perceptions of places, experiences, and events. For instance, in one of his works, he portrays a rural area in West Bengal; despite not having travelled to the place, he has created a piece inspired by the movies of Satyajit Ray and Ritwik Ghatak. Boban displays a shore and people on it, invoking an image of the fisherfolk. Alienation appears to be a recurring theme. With charcoal as a medium, Boban has portrayed a grim, lonely setting in England. The work features a tram next to a solitary person. Subjects embracing other people further highlight a sense of loneliness or an absence of intimacy that many people often crave. 'A lot of lonely figures can be found in my work now; it appears as if I am confined to that space,' he says. 'Last year, I lost my sister, and a lot of those emotions reflect in my work. It helps me cope with sadness, as it is also said that art is therapeutic.' These artworks are dominated by shades of yellow and despite the nature of the colour representing happiness, they display loss and yearning for his sister. Personal relationships or their absence become the leitmotif for the exhibition, which does not have a central theme of any nature. Boban also attempts to revisit his dreams through his art. The abstract works feature animals, objects and even the artist himself; they represent involuntary and incoherent fragments of the artist's psyche, he believes. These dream sequences are colourful and contain recurring elements that set out the idea that the works are interwoven. A section of four works in charcoal portrays violent imagery of conflicts happening across the world, especially in Gaza, says the artist. Lamenting mothers and sights of decay presented in shades of black are direct references to the grim reality. On a closer look, the dancing figures present a group of people profiting from such violence. The exhibition and its second chapter at KCS Panicker Gallery, Museum, is on till June 22, 10 am to 5 pm.
Scroll.in
6 days ago
- Entertainment
- Scroll.in
Sunday book pick: Ghost stories by Satyajit Ray in ‘Ghosts, Supernatural and Tales of the Uncanny'
In one 'ghost' story by Satyajit Ray, a well-to-do writer – an intellectual – is stranded by a farm on a deserted road. The scarecrow guarding the crops makes for an eerie company. The longer the writer looks at the scarecrow, the more human it appears to be. Especially the clothes that it has been made to wear. The shirt, torn and discoloured, looks familiar too. When the writer eventually dozes off, he dreams of the servant he had fired on charges of thievery. He used to wear a similar shirt. The servant had denied stealing his master's watch but the writer was not interested in hearing him out. In the dream, the servant tells him where he suspects the watch has disappeared to. The writer wakes up and eventually makes his way home. On searching the spot that the servant had spoken of in his dream, he finds his watch safe and secure, ticking away. A haunted past Satyajit Ray's ghost stories – written with the young reader in mind – have been recently published as Ghosts, Supernatural, and Tales of the Uncanny by Puffin. The fifteen stories in the collection (translated primarily by Gopa Majumdar, with two by Indrani Majumdar and another two by the author) are neither gory nor horrifying, but delightfully spooky. Well-suited for children (and readers of all ages, really), the stories speak to how class conflicts, colonial hangover, animal cruelty, bad childhood memories, and guilt create horror later in our lives. There are no possessed children in these stories – the young are blemish-free, but as years pile on, callousness and cruelty become second nature, turning each of us into perpetrators of horror. First published in the Bengali children's magazine Sandesh, each of the stories is accompanied by Ray's beautiful illustrations. I must have spent a minute or two admiring the ingenuity of his calligraphy and sketches. Two stories in the collection, 'Anath Babu's Terror' and 'Mr Brown's Cottage', were adapted for the screen by Sandip Ray for his 2012 movie, Jekhane Bhooter Bhoy. In 'Anath Babu's Terror', a ghost hunter goes to a haunted house in search of an elusive ghost. The ghost does appear but will Anath Babu live to tell the tale? 'Mr Brown's Cottage' is another haunted house story set in the erstwhile remote Fraser Town in Bangalore. After learning about a certain Simon from Mr Brown's cheaply purchased diary, the protagonist sets off for the cottage, wondering who this Simon might be. In both stories, the men are propelled by curiosity as they try to uncover mysteries that have lain buried for many years. My introduction to 'Mr Brown's Cottage' was as a radio play, and I remember being adequately thrilled when the big revelation came. The story about the scarecrow and the writer was adapted as 'Kagtarua' by Sandip Ray in 2014 for the movie Chaar. Play Satyajit Ray was a young man when India gained independence. He had witnessed some of the worst atrocities of colonialism and later, he also saw how difficult it was to rouse from the colonial hangover. This makes for an interesting subject in ghost stories. In 'Indigo', Ray imagines what the coloniser's guilt might look like, whereas in 'The First-Class Compartment', an Indian man who derides everything Indian is reminded of his place when the ghost of a white sahib calls him a 'nigger' and threatens to throw him off the coupé he is travelling in. The ghosts of history do not die so easily. Phantoms of the mind Dolls have proven themselves as useful mediums for ghosts. In 'Bhuto' and 'Fritz', the dolls of a child and a ventriloquist are not inanimate objects, but those capable of feeling human emotions. The dolls are subjected to neglect and indifference, and in 'Bhuto', the doll is also a medium of the protagonist's arrogance. In the end, the dolls come alive to teach a lesson that the humans were long overdue. The most remarkable stories in the collection – 'Ratan Babu and That Man' and 'Khagam' – also happen to be translated by Ray. The two stories are as different from each other as they can be. In 'Ratan Babu and That Man', a man is surprised to find another person who is so similar to him in temperament and mannerisms. But soon, it starts to bug him. In 'Khagam', the senseless killing of a snake costs a man dearly. In fact, Ray seems to suggest that animal cruelty is one of the most horrific crimes that a human being is capable of, making it one of the recurring themes in his stories. Another affecting story on animal cruelty is 'A Strange Night for Mr Shasmal'. Other animals turn up at Mr Shasmal's home to make him pay for killing a dog. No ghost story collection is complete without a delectable vampire story. 'The Vicious Vampire' is a story about just that – a vicious vampire. However, the initial tone of the story is somewhat comical. A man, deathly terrified of bats, finds the animal hanging upside down in the house where he is vacationing. But this isn't the end of his troubles, for he will soon cross paths with the local vampire. Ray's ghost stories take the readers to every corner of the country. His protagonists – all men! – encounter these vicious, scary, (and sometimes) anxious ghosts in small towns and villages. From remote sites in Rajasthan to Karnataka and Bihar to West Bengal, the ghosts appear in front of only those who seek them. Deliciously unnerving and pleasurably unsettling, Ray's ghosts are phantoms of the mind – and not so much of material.
India.com
10-06-2025
- Entertainment
- India.com
Meet Satyajit Ray's heroine, who was a top actress, later quit films for marriage, moved to US, now works as a..., her brother died when...
With a filmography spanning Telugu, Malayalam, and Bengali films, she charmed audiences with her stunning looks and captivating performances. But there's more to her story than meets the eye… Wondering who is she? She is a south actress, a resident of Kolkata, she has also worked as a director in Satyajit Ray's film while she was studying at her college. She is Suvalakshmi! Her big break came with Ajit's 'Aasai', where she played the role of Yamuna, showcasing her impressive acting skills. 'Aasai' brought her recognition, paving the way for her next project, 'Gokulathil Seethai', alongside Karthik. She eventually made Chennai her home. Suvalakshmi's cinematic journey Suvalakshmi's cinematic journey was nothing short of remarkable, with a string of hits that showcased her talent and versatility. Films like 'Love Today' and 'Nilave Vaa' with Vijay, 'Kaathirundha Kadhal', 'Kannaal Pesava', and 'Dinandhorum' with Murali, and 'Suvayamvaram' and 'Nee Varuvai En' with Parthiban, cemented her status as a talented actress. Notably, she maintained a consistent approach to her roles, shying away from glamour and instead opting for strong, meaningful characters. Suvalakshmi went through a tough phase According to several media reports, while everything was moving smoothly, she went through a tough phase at that time, as her brother died in an accident, which broke her down. Suvalakshmi pursued a career in law Reportedly, as opportunities began to dwindle, Suvalakshmi decided to leave the film industry in 2001 to study law. Suvalakshmi's comeback However, the allure of the silver screen proved hard to resist, and she returned for the film 'Nadhi Karaiyinile'. Her journey then transitioned to television, where she became a part of several popular shows. Suvalakshmi is married to… In 2002, she married her long-time friend, Swagato Banerjee, and eventually settled in the US, where she now manages her husband's business. Though she's no longer actively involved in cinema, Suvalakshmi's films continue to be cherished by her fans.
Indian Express
31-05-2025
- Entertainment
- Indian Express
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.
India Today
29-05-2025
- Entertainment
- India Today
Kamal Haasan regrets not getting Satyajit Ray to score Pushpak music: He would have
Kamal Haasan's silent film 'Pushpaka Vimana' is one of the most iconic movies in his eclectic career graph. In a recent sit-down chat with India Today, the stalwart spoke about how legendary filmmaker Satyajit Ray was to be approached for scoring music for the film. The 1987-film titled 'Pushpaka Vimana' stars Haasan and Amala in lead roles. It revolves around an unemployed man taking on the identity of an unconscious, drunk rich businessman. Critically acclaimed and highly successful, 'Pushpak' is a film that is very close to an anecdote with us, Haasan said, 'I must tell you a tidbit, which is a lost opportunity by everyone who made 'Pushpak'. We were on the very edge of contacting Mr Satyajit Ray to do music for 'Pushpak'. We missed it. We still regret it. But then market pressures were high, and we had to settle down and get the film done. Imagine that would have taken us places.'Kamal Haasan stated that had Satyajit Ray agreed to come onboard, he would have taken 'Pushpak' to a whole new level. "He would have advised us and the fact that he didn't know this was happening out of earshot. He mentions 'Pushpak' and that is truly is a missed opportunity. He would have worked," he added."We were thinking he 'could have', but he would have worked because of the way I heard him talk about that one scene in 'Pushpak'. He would have liked it and we missed an opportunity. This industry is full of lost opportunities like that," the actor Haasan's upcoming film 'Thug Life' with Mani Ratnam hits theatres on June InTrending Reel
