No place for Ray masters
Wednesday,
August
30,
2006
Kolkata
(UNI):
Almost
half
of
Satyajit
Ray
masterpieces
have
been
restored
in
the
US,
but
cannot
be
brought
back
home
for
lack
of
a
proper
place
to
house
them.
The
maestro's
son
Sandip
Ray,
Member
Secretary
of
Ray
Society,
told
UNI
that
17
of
36
films
by
his
father
had
been
restored,
but
there
was
a
problem
in
bringing
them
to
the
city.
''The
AMPASA
has
completed
restoration
of
some
of
the
Ray
classics,
but
they
are
in
Los
Angles.
They
will
hand
it
over
to
us
only
when
we
have
a
vault
in
place,
built
to
their
specification.
It's
a
very
technically
superior
vault
where
different
restored
reels
can
be
kept
at
different
temperatures
and
away
from
any
electrical
circuit
so
that
there
is
no
chance
of
fire,''
he
said.
''But
the
cost
of
making
this
vault
is
huge
and
along
with
this,
we
need
a
proper
place
to
house
it.
These
bottlenecks
have
deterred
us
from
bringing
the
originals
back
to
the
city
where
they
should
be.
However,
we
have
got
highly
digitised
remastered
copies
with
us
for
now,''
he
said.
Academy of Motion Pictures Arts and Sciences Archives (AMPASA), like other film archives recognized by Federation International Archives of Film (FIAF) in Brussels, Belgium, follows a meticulous path in restoring films: treating the originals with utmost respect without attempting to improve upon their authenticity and integrity The original, when available, is the principal source of a fine grain film print or that of an inter-positive which is displayed as the candidate for restoration. The process involves frame by frame intensive work, occasionally turning to better quality surviving elements of unsubtitled 35mm film prints for replication when the original proves unusable.
The Satyajit Ray Society, in coordination with the Satyajit Ray FASC, has so far been instrumental in the restoration of such Ray classics as Pather Panchali (Song of the Little Road), Aparajito (The Unvanquished), Apur Sansar (The World of Apu), Parash Pathar (The Philosopher's Stone), Jalsaghar (The Music Room), Devi (The Goddess), Teen Kanya (Three Daughters, excluding the part of Monihara) , Abhijan (The Expedition), Mahanagar (The Big City), Charulata (The Lonely Wife), Nayak (The Hero), Goopy Gyne Bagha Byne (The Adventures of Goopy and Bagha), Seemabaddha (Company Limited), Jana Aranya (The Middleman), and Kapurush-O-Mahapurush rpt Kapurush-O-Mahapurush (The Coward and the Holy Man). The other films that are now on the restoration anvil include Monihara and Kanchanjungha.
Sandip remembers that the process started with David H.Shepard, a noted film preservationist in California, coming to India to examine and file a technical report on the original negatives of Ray films. He was accompanied by Dilip K.Basu, Director of the Satyajit Ray FASC. Shepard found eighteen of Ray's thirty-six film-negatives in 'tatters'. His preliminary report regarding preservation of films by Satyajit Ray remains one of the most authoritative documents on Ray films. The urgent need for immediate restoration was more than obvious in that report --- a need that became even more urgent because six of Ray's classics, including The Apu Trilogy, were burnt in a fire at the Henderson Laboratories in London (1993), subsequent to Shepard's visit.
Contrary to a common misperception that Ray's films are not being digitally restored, it doesn't mean they will not be in the future, especially films such as Kanchenjunga (Sikkim) which do not have the original negatives any longer. It maintains an annual budget for Ray restorations. Additional funds have come from the Packard Humanities Institute, the Film Foundation, and Merchant-Ivory Foundation. Sandip Ray laments that the original scripts of Pather Panchali and Charulata are still missing. ''My father never bothered to take back things after he gave them and it is a monumental task to get the peices together,'' he added. But the problem at hand was to raise funds to help the dream come true and bring the films back to the city and built a Ray Museum to house it, Arup De, CEO of Ray Society, said.
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