{"id":9594,"date":"2025-01-08T18:48:19","date_gmt":"2025-01-08T13:18:19","guid":{"rendered":"https:\/\/learningandcreativity.com\/silhouette\/?p=9594"},"modified":"2025-01-08T18:48:19","modified_gmt":"2025-01-08T13:18:19","slug":"the-moulding-of-a-master-bimal-roy-tapan-sinha","status":"publish","type":"post","link":"https:\/\/learningandcreativity.com\/silhouette\/the-moulding-of-a-master-bimal-roy-tapan-sinha\/","title":{"rendered":"The Moulding of a Master: Bimal Roy and Tapan Sinha"},"content":{"rendered":"
\"Young

Young Tapan Sinha<\/p><\/div>\n

The year was 1946 when Tapan Sinha joined New Theatres as an assistant to sound recordist Bani Dutta. But even at the young age of 21 he was clear in his mind that the future would see him as a director. So he decided to spend whatever time he could manage outside the recording studio, observing Bimal Roy. The director who had captivated Sinha with his very first film, Udayer Pathey<\/em> (1944) was then working on its Hindi avatar, Humrahi.<\/em> The Bengali youth with romanticism in his heart and love for Rabindranath, found his passion matched Bimalda\u2019s. Before long the 37-year-director was claiming his unstinted respect and admiration.<\/p>\n

Watching him at close quarters only shored up his deep regard. Without realizing it Sinha started imbibing qualities of the man he would closely associate with during the making of Anjangarh<\/em>. This was before he went to London, contacted the manager of Pinewood Studios and got to work in director Charles Crayton\u2019s unit as a sound engineer.<\/p>\n

Tapan Sinha noticed that while on the floor, Bimalda seldom sat in a chair. He always stood next to his camera thinking about lighting the scene. Often he was the first to reach the floor where he would spend hours walking on the sets and talking to the electricians about the lighting scheme. \u201cThis is what makes his camerawork so fetching!\u201d \u2013 young Sinha decided. And? He learnt that, to enrich his scenes aesthetically, a director must be technically oriented. He must visualize <\/em>the situations, and characters, through the frame of the camera. He must nurture the scenes in his mind but always see <\/em>them in his mind\u2019s eye.<\/p>\n

\"Bimal

Bimal Roy with his camera (Pic: Roy family collections)<\/p><\/div>\n

Sinha had returned from Europe when Bimalda had come to shoot Do Bigha Zamin<\/em> (1953) in Calcutta.\u00a0 The cinematographer turned director had brought with him an Arriflex. One afternoon the two legends took it apart \u2014 just as they would a Fred Zimmerman, John Houston, Frank Capra or William Wyler film \u2014 and then put it together, part by part. And he watched Bimalda as he put his hand before his eyes to form the \u2018aperture\u2019 of a camera and practice a running shot, then place a camera on a rickshaw or a taxi and take a running shot.<\/p>\n

\"Tapan

Commemorative stamps on Tapan Sinha and Bimal Roy<\/p><\/div>\n

Bimal Roy himself had been cinematographer for Pramathesh Barua, who had a remarkable sense of framing. He had also trained under Nitin Bose, from whom he imbibed the concept of \u2018source of light\u2019 and mastered the composition of night scenes. But Sinha found his Bimalda \u2018superior\u2019 to them in framing, and lighting. His close ups, and his ability to exact emotions from his actors, were ‘exemplary’.\u00a0He mentions a less mentioned film, Avignan<\/em>, directed by Madhu Bose and featuring his wife Sadhana Bose: \u201cBimalda was behind the camera and his close ups were outstanding!\u201d he enthuses in his autobiography. \u201cWe admire Bergman when it comes to close ups but Bimalda did it in 1930.\u201d Those days the speed of films was slow and to get the contrast factor in B&W photography was an achievement, he pointed out to conclude: we must always think of the time and place of making a film when evaluating it.<\/p>\n

Not only the details of photography: Sinha was struck by the innovative faculty that expressed itself when Bimalda invented artificial fog to depict winter in the studio. \u201cWhile shooting Udayer Pathey<\/em> he had bought a bottle of Nuzol, a low density oil, and sprayed it through a blower to create mist.\u201d Lesson learnt? When you have little to go by save a camera and a few lights, INNOVATE, for that\u2019s what makes a pioneer, he internalized. In due course of time Sinha himself mentored directors who would gift generations of artistes to Tollygunge \u2014 Raja Sen for one.<\/p>\n

—xxx—<\/p>\n

\"Tapan

Tapan Sinha behind the camera<\/p><\/div>\n

The bubbling Physics graduate was learning every time he went to Metro or Lighthouse, Globe or Minerva, Elite or Tiger \u2014 the theatres that brought new movies to Calcutta, be they Continental or Hollywood. The titles changed every week, so Bimalda would ask him, \u201cSeen anything worth watching?\u201d If the answer was Yes, the next question would be, \u201cLike to see it again?\u201d And if something excited the duo, the master would ask, \u201cDo you know how this shot was taken?\u201d Sometimes, the young learner would stretch his understanding of the medium; often, the cinematographer-director would detail through a break-up of the scenes. Of course, they would also discuss the social leanings of the content, not just the stylistic features.<\/p>\n

Bimalda, an avid reader, always picked up his content from stories and novels by contemporary Bengali writers. The names ranged from Subodh Ghosh to Banaphool, Jyotirmoy Roy to Jarasandha. Kabuliwala <\/em>is not the only common factor: a passion for Tagore\u2019s songs knit him to Sinha, who imbibed the mentor\u2019s inclination to spine his narratives with a strong conscience. The range of his subjects, and the span of their social commitment? The roots lay in that early exposure to his \u2018mentor\u2019, he once pointed out to this writer.<\/p>\n

So, if Bimalda did a Madhumati<\/em>, Sinha did a Kshudhita Pashan<\/em><\/a>. If the former protested untouchability with a Sujata<\/em>, the latter decried communalism with Aadmi Aur Aurat. Parakh<\/em> was a social satire, so was Banchharamer Bagan. Bandini<\/em> was a shout out for jail reforms; Adalat O Ekti Meye<\/em> screamed out for legal reforms to mete out justice to rape victims. Naukri<\/em> underscored the plight of the unemployed youths of 1950s; Aponjan<\/em> highlighted their woes in 1960s \u2013 and Atanka<\/em> in 1980s. Plight of women? Think Biraj Bahu, Maa, <\/em>or Parineeta<\/em> \u2013 and then think Nirjan Saikatey, Jatugriha,<\/em> or Antardhan<\/em>. As for Kabuliwala<\/em>, penned by their icon Rabindranath \u2013 Bimalda produced in 1961 the story that Sinha had directed in 1957!<\/p>\n

\"Kabuliwala

(L) Tapan Sinha’s Kabuliwala<\/em> in Bengali (R) Bimal Roy’s Kabuliwala<\/em> in Hindi<\/p><\/div>\n

As for the writers, few were left out of the kitty. Narayan Ganguly (Ankush<\/em>), Gour Kishore Ghosh (Sagina Mahato<\/em>), Ramapada Chaudhuri (Ek Doctor Ki Maut<\/em>), Saradindu Bandopadhyay (Jhinder Bandi<\/em>), Tarashankar Bandopadhyay (Hansuli Baanker Upakatha<\/em>), Banaphool (Hatey Bazarey<\/em>), Shankar (Ek Je Chhilo Desh<\/em>), Jarasandha (Louha Kapat<\/em>), Prafulla Roy, Shirshendu Mukhopadhyay, Dibyendu Palit, Manoj Mitra\u2026 Sinha wanted to film Amrita Kumbher Sandhaney<\/em> but the rights were with Bimalda. So Samaresh Bose suggested Nirjan Saikatey<\/em>, and Sinha fulfilled his desire to make a film around a river or ocean.<\/p>\n

When it came to adapting Rabindra Sangeet, Bimalda preempted all others by harnessing Jana gana mana<\/em> in Udayer Pathey<\/em>, four years before Independence. So, during the making of Anjangarh<\/em> Sinha was happy to know that Bimalda would use two Tagore songs in the film, Nai nai bhoy<\/em> and Sarba kharba taar hridaye taba krodh daho<\/em>. But, both being replete with compound words, Sinha was doubtful if listeners would take to them. \u201cWhy not,\u201d Bimalda had explained, \u201cif they are rendered by an artiste who understands the nuances of the words?\u201d When Sinha heard them rendered by Hemant Kumar, he could respond with just one word: \u201cExceptional!\u201d\u00a0 On his part, Sinha himself breathed new life into Ei aakashey aamar mukti<\/em> (Atithi<\/em>) and Nadi aapan begey pagolpara (Hatey Bazarey)<\/em>, even as he roped in an Ali Akbar to invoke the soul of the Hungry Stones.<\/p>\n

\"Bimal

Bimal Roy in the editing room (Pic: Roy family collections)<\/p><\/div>\n

—xxx—<\/p>\n

Many a person would ask Tapan Sinha about the Russian influence in the work of Bimal Roy, perhaps because of his debut with Udayer Pathey<\/em>. Sinha\u2019s Catholicity came from his belief that \u201cDifferent classes have made different contributions to civilize the world we live in \u2013 we must try to know them all, ponder over the contributions, and choose what appeals to us.\u201d Perhaps what he mastered most under Bimalda was the portrayal of middle class life, in a language that would eventually be identified as the \u2018cinema of the middle path.\u2019<\/p>\n

This became the signature of the Bimal Roy gharana that reached pan-Indian audience through films made in Bombay by a Hrishikesh Mukherjee (who remade Galpo Holeo Sattyi as Bawarchi<\/em>) or a Gulzar (who adapted Apanjan<\/a> as Mere Apne<\/em>) and extracted Ijaazat<\/em> out of Jatugriha<\/a>.<\/em> But Sinha did not have to leave Kolkata to achieve this reach. Sagina Mahato<\/a>, Ek Doctor Ki Maut, Aadmi Aur Aurat<\/em> \u2013 they touched every single Indian, man or woman.<\/p>\n

\"Mohua

Mohua Roychowdhury in Aadmi Aur Aurat<\/em> [Man and Woman]<\/p><\/div>Perhaps he also learnt from Bimalda that commercial success is not the sole yardstick to either write off or measure the success of a film. Anjangarh<\/em> had failed at the box office, perhaps because the socialistic story did not work with the masses. But it wasn\u2019t a \u2018flop\u2019 since it was technically so rich, Sinha wrote in his autobiography. These very words could be applied to his Kshudhita Pashan<\/em> which was retrieved from the brink of extinction some years ago.<\/p>\n

\"Anjangarh

Anjangarh<\/em> poster<\/p><\/div>\n

While on Anjangarh<\/em> Tapan Sinha remembers Raja Ganguly, whom Bimalda had discovered after a lot of search. Six feet and more in his socks, owner of a handsome physique, his most attractive features were his eyes. \u201cApart from Ashok Kumar I can\u2019t recall anyone else with such eloquent eyes,\u201d he writes, \u201cand his voice reminded me of K C Dey.\u201d In the middle of the night he would call up and before Sinha could curse him he would sing lines from Tagore or a bhajan.<\/p>\n

Raja trained in horse riding for a year for a scene where he \u2013 a scion of the royal state of Anjangarh \u2013 is shown playing polo. \u201cWe were to shoot the scene in Dhanbad. The day before we would board the train he fractured his arm in minor accident. But despite his arm being in a sling he pleaded with Bimalda, \u2018Please don\u2019t use a body double!\u2019 And notwithstanding the plaster cast he gave a memorable shot.\u201d<\/p>\n

Raja Ganguly did not live to savour the glory, though, Sinha recounts in Chalacchitra Ajibon<\/em>. \u201cOne day Raja came driving a secondhand car. \u2018How can a hero go around the city in public transport?\u2019 \u2013 he said, anticipating his success. But days before the film\u2019s release the petrol can in his car caught fire and he was badly burnt. Had he lived on, he would have been another example of Bimalda\u2019s eye for talent.\u201d<\/p>\n

\u201cWhat I learned in the two years with Bimalda, particularly during the making of Anjangarh<\/em>, helped me a great deal in my career which saw me make perhaps double the number of films he had made,\u201d Sinha once told this writer. \u201cI tried to follow him as far as the character of a director goes.\u201d Disarming personality. Polite. Soft spoken. Never one to beat his own drum but amazingly resilient. And, unbeaten by the outdoor sun. Tapan Sinha with a white topi is one of the pictures I would see in Ultorath <\/em>that was regular in our house in distant Bombay. \u201cYes, I learnt from Bimalda that unless you put in hard work, you can never make a good film.\u201d<\/p>\n

Words \u2014 qualities \u2014 you could use for either of the two legends of Indian cinema.<\/p>\n

 <\/p>\n

Sources: Conversations with the author; interview for Remembering Bimal Roy by Joy Bimal Roy; Chalacchitra Aajibon \u2013 autobiography of Tapan Sinha<\/em><\/p>\n

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\u2014 The Centenary Tribute Series<\/h2>\n