The Enigmatic Writer; Satyajit Ray

Across the subcontinent, the fashion with bhoot, pret, pisach runs deep. One of the greatest filmmakers of the subcontinent who is often credited for works of production he put out in the cinematic universe is forgotten for his literary contributions. Here is his story.

source: telegraph india

The idea that one will find someone lurking only if one looks deep within the shadows is the saying people often use to shield others from the inexplicable.

In the rich cultural and traditional heritage that encompasses our subcontinent, the presence of mysticism with a hint of terrifying horror often awaits us.

From vampires to zombies, the West has successfully managed to hook an entire generation of viewers to bloodsucking and brain-eating organisms. However, no glistening under-the-sun vampire or turning under-the-full-moon werewolf has quite an impact as our very own bhoot and pret.

Brilliant Indian director, screenwriter, author and lyricist Satyajit Ray’s work have stood in sharp contrast to the number of successful productions ever produced.

However, beyond his cinematic masterpieces lie his literary brilliance. Aside from the detective fiction that had multiple readers hooked to the end, his work on horror is of great significance as well. Most literary circles laud the maestro for his stories that essentially target children and adolescents. And even though these stories are written for a younger audience, seldom is the hint of naiveness found that people see analogous to young adult fiction.

Instead, Ray’s story uncover several themes, welcomes chills and makes for a thrilling read. Barring Monihara (The Last Jewel) released in 1961, and adapted from Tagore’s story, Ray did not uncover any themes of horror in his other films. However, writing more than 20 short stories, Ray has extensively covered the genre of horror in his literary pursuit.

In Khagam, Ray takes on a man who has a full-grown cobra. However, the cobra only has one intent, to kill and eat the man. The twists and turns of the story enable the man to convert into a snake himself. The intricate detailing of the story is such, that even adults can end up shivering.

Neel Atanka or Indigo Terror starts like any typical horror story. A middle-aged man who is forced by the woes of a flat tyre takes refuge in an old bungalow during a thunderstorm to shield himself from the elements. However, the same night, the man transforms into a British manager of an old Indigo factory. The manager who was confronted and terrorised by oppressed peasants was forced into committing suicide. With vivid descriptions that send a chill down the spine, this story lends from actual historic events and weaves the perfect fiction.

In Fritz, the narrator and his friend embark upon a harmless trip to Bundi, Rajasthan. Only later the narrator’s friend is haunted by a doll he would often play with in his childhood years. The doll manages to creep its way into the lives of the two friends throughout the story. With a chilling setting and the eeriness of Bundi, the story could give a run to the famous Anabelle.

Ray’s ability to successfully weave a narrative with the right amount of thrill and horror is precisely what helps make him a maestro of his craft. Foregoing such literary fiction and plastering the mere tag of the director on his legacy would thereby, be disappointing.