Chapter 4 Rendezvous with Ray
1. Answer the following questions.
1. What did Ray's detractors accuse him of? Did Roberge agree to their accusation? If not, why?
Answer: Ray’s detractors accused him of "selling India’s poverty to the West"—suggesting that he gained international fame by showcasing the poor conditions in India.
However, Roberge did not agree with this accusation. He strongly disagreed, explaining that what struck him most in Ray's films was not the material poverty, but rather the "enormous spiritual poverty" of some rich people, which he felt was far more deplorable. Roberge believed that Ray’s films portrayed the depth and dignity of human life, not poverty for the sake of sensationalism.
2. I didn't come here to convert. In fact, I am the one who got converted. Who said these words? What different shades of meanings do you find in the words of the speaker?
Answer: These words — "I didn't come here to convert. In fact, I am the one who got converted." — were said by Fr. Gaston Roberge.
Different shades of meaning in his words:
1. Literal Meaning:
As a priest, people might assume he came to India to convert others to Christianity. But he clarifies that this wasn’t his intention at all.
Personal Transformation:
The phrase "I am the one who got converted" reveals a deep inner change. Living in India, experiencing Bengali culture, and engaging with people and cinema—especially Satyajit Ray’s work—profoundly transformed his worldview, values, and perhaps even his spiritual or philosophical outlook.
Humility and Respect:
His words reflect humility and respect for the people and culture he encountered. Rather than imposing his beliefs, he absorbed and appreciated what he found in India.
Spiritual Awakening (without religion):
Even though Roberge remained a priest, the “conversion” he mentions could symbolize a spiritual awakening—one rooted in human connection, art, and cultural exchange, rather than traditional religion.
3. Roberge took nine years to meet Ray in person after joining St. Xavier's college. Why did he take so long? What would you do if you were in his place?
Answer: Roberge took nine years to meet Satyajit Ray in person because he wanted to prepare himself before initiating a conversation. Although he admired Ray deeply and wanted to meet him right away, he didn’t want to approach him like a fan or a tourist meeting a celebrity. Instead, Roberge wished to:
- Understand Ray’s work thoroughly,
- Appreciate his depth as an artist, and
- Ensure that their dialogue would be meaningful and respectful.
He wanted their meeting to be a genuine exchange between equals, not a one-sided admiration.
If I were in his place?
If I were in Roberge's place, I’d probably feel the same kind of hesitation—especially when meeting someone I deeply admire. But whether I’d wait nine years? That depends!
- If I were confident and eager, I might try to meet him earlier, perhaps as a student or learner, expressing my admiration and asking for guidance.
- But if I were as thoughtful and intentional as Roberge, I might also wait until I felt ready to have a real, meaningful conversation—not just a fan moment.
4. How was Ray perceived by the outsiders? Was this perception true of Ray's real character?
Answer: Outsiders often perceived Satyajit Ray as:
- Cold
- Aloof
- Intimidating
But was this perception accurate?
Not at all. According to Fr. Roberge, this image was far from Ray’s true character.
In reality, Ray was:
- Shy and discreet about expressing emotions
- Simple and unassuming in his manner
- Possessed a subtle sense of humour
- Warm and thoughtful in close relationships
He wasn’t someone who wore his emotions on his sleeve, but once a bond was formed—as in the case of his friendship with Roberge—Ray was generous with his time, thoughts, and even his work, like private film screenings and open discussions.
5. What is meant by the line, 'Ray took off where Tagore signed out. What was Ray searching for?
Answer: The line "Ray took off where Tagore signed out" means that Satyajit Ray continued the philosophical and cultural legacy that Rabindranath Tagore had begun, particularly in addressing the crises of society and civilization.
What was Ray searching for?
In his later films, particularly "Ganashatru", "Shakha Prashakha", and "Agantuk", Ray's exploration of themes became more personal and reflective. His work in these films was not just about aesthetic beauty (as in his earlier films) but about self-expression—Ray was directly speaking to society about moral and social concerns.
- Philosophically, Ray was grappling with the issues of modern civilization, humanity, and ethical dilemmas, much like Tagore did in his final work Shabhyatar Sankat (Crisis of Civilization).
- In these films, Ray seemed to be searching for answers—possibly about life, human nature, and the meaning of existence. This might have been especially true given that Ray was facing his own mortality, as he was quite ill during the making of these films.
6. How did Roberge try to take 'Chitrabani' forward? How did 'Chitrabani' help film-making in Bengali?
Answer: Fr. Gaston Roberge played a crucial role in establishing and promoting Chitrabani, a communication and film institute in West Bengal, founded in 1970. His efforts helped to push the boundaries of film education and production in the region.
How did Roberge try to take Chitrabani forward?
1. Initial Funding:Roberge sought and arranged funding for Chitrabani from Canadian agencies. He didn’t hesitate to apply for international support because he believed that richer countries like Canada owed a debt to places like India and that supporting such initiatives was a way to help bridge the gap.
As a token of friendship, Satyajit Ray lent his name as co-founder of the institute and was part of its first governing body. Later, he also agreed to be its adviser. This association with Ray added immense credibility to the institute and drew attention to its work.
3. Educational Contribution:
Roberge directed Chitrabani for 26 years, focusing not just on documentary films, but also on nurturing local talent in filmmaking. He wanted to create a space where young filmmakers could learn the craft and gain practical experience.
How did Chitrabani help filmmaking in Bengali?
1. Training and Nurturing Talent:Chitrabani provided education and training to aspiring filmmakers in West Bengal. It became a hub for learning, allowing many young filmmakers to explore and refine their skills in film production.
2. Documentary Film Production:
The institute was a significant force in the production of important documentaries in the Bengali language, which highlighted various social, cultural, and political aspects of Bengal.
3. Local Talent Development:
Chitrabani became a breeding ground for local talent in filmmaking, offering opportunities to those who may not have had access to conventional film education or industry connections.
4. Cultural Impact:
By supporting and fostering the art of filmmaking, especially in the form of documentary cinema, Chitrabani contributed to Bengali cinema’s growth, not just in entertainment, but also in social consciousness.
7. The theme of Rendezvous with Ray' is... (Tick any two options.)
a) To explain the efforts of Chitrabani.
b) To picturize the illustrious life of Ray.
ANGANA
c) To explain the experiences of Roberge with
Answer: The correct options are:
b) To picturize the illustrious life of Ray.
c) To explain the experiences of Roberge with Ray.
These options reflect the essence of Rendezvous with Ray, which primarily focuses on the life and work of Satyajit Ray, as well as the personal experiences and deep bond shared between Fr. Gaston Roberge and Ray.
