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Ray Pride

By Ray Pride Pride@moviecitynews.com

Homage masala: Satyajit Ray lives!

At Glamsham.com, Subhash K. Jha reports that Sacred Evil, a new Indian film, is as homage-heavy as anything Quentin T. might make, but the art referenced is weightier. 14219070_sacred_evvvvil.jpg“Not too many people have noticed that Abhiyaan Rajhans and Abhigyan Jha‘s [supernatural thriller] Sacred Evil is strewn with references to and actors from Satyajit Ray‘s films. Not only do we see the Ray regular Soumitra Chatterjee in a cameo, the lady who escorts the film’s protagonist to Soumitra’s office is the heroine of Satyajit Ray’s Kanchenjunga. “That’s right. My affinity to Ray’s cinema goes back a long time. My film contains not only homage to Ray but also to my other idol Ismail Merchant,” Rajhans says. “I was assisting Ismail in a film called Gaachh (The Tree) which was based on the life of Soumitra when I met Ivan Kozelka, the cinematographer of Sacred Evil. Ismail thought very highly of him. And I decided that the day I make my first film Ivan will shoot it for me… Ismail had shot his first film Householder in English and in Calcutta… I obviously chose to do the same. Householder was a black and white film, there is an entire portion of Sacred Evil in which colours have been washed out, leaving only a single colour bright, a red, a yellow or a green but mostly it looks black and white… Ismail’s hero was Ray. And my favourite childhood author was Ray. I read [his novel] ‘Sonar Kella’ 99 times… I believe Ray was a far better writer than a director. That’s not to say he is a lesser director than anyone else. The world is yet to discover the sci-fi and thrillers of Ray. I had the good luck to visit Ray’s personal library while shooting Gaachh and I wasn’t surprised to find his shelves loaded with Isaac Asimov, Conan Doyle, Edgar Allan Poe and O. Henry…


sacred_evil2.jpgA lot of real time is slowed down in Sacred Evil, just the way Ray liked to in most of his movies. Soumitra, Ray’s favourite actor, appears in a cameo as Dr. Guha. His character in the screenplay is even called Dr. Satyajit Guha. His house and office are situated in a building that was first popularised by Ray’s films. Ismail referred to these as Tagorean houses. And as you noticed, Alaknanda Roy, heroine of Ray’s Kanchenjunga, appears in another cameo as Mrs. Durham. Even Dr. Guha’s maid is a Ray regular… The two opening scenes reveal immediately the subject of the film and the pace in which we will be dealing with it and the mood of the film. This is a decidedly Ray influence.” [Also: a remembrance of Ray from what his 85th birthday from actors Waheeda Rehman, Madhabi Mukherjee, Sharmila Tagore, Aloknanda Roy, Kushal Chakraborty and Soumitra Chatterjee: “He had practically no set method for directing. He would give us enormous freedom. But he would restrain veteran actors when they tended to get theatrical.”; CalcuttaWeb’s bio of Ray has RealPlayer excerpts from over a dozen films, four of which are songs.]

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon