Satyajit Ray is universally recognised as a brilliant filmmaker who transformed Indian cinema with his remarkable films. However, many may not know that Ray was also a talented graphic designer and artist. He designed posters for many of his films, skillfully capturing their central themes in a single image. While these posters are available online, a more personal way to appreciate his work is to take a walk through the streets where he lived. In Kolkata, there is a street where these amazing posters are displayed: Bishop Lefroy Road.
Bishop Lefroy Road, nestled in the heart of South Kolkata, is renowned for its historical connection to the legendary filmmaker, who called this area home for an impressive 22 years. In 2016, the street underwent a remarkable transformation, aiming to honour Ray's legacy and enhance the cultural landscape of the neighbourhood.
The residence where Ray lived was officially designated as a Grade 1 heritage building by the Kolkata civic authorities, recognising its architectural significance and its role in the city’s cultural history. This designation not only preserves the physical structure but also celebrates the artistic journey of one of India's most beloved filmmakers.
In a bid to further enrich the ambiance of Bishop Lefroy Road, the local government replaced the old sodium vapour streetlights with exquisitely designed Victorian-era-style lanterns. These new fixtures do more than illuminate the street; they feature creative replicas of posters from Ray's acclaimed films, all intricately designed by him. As a result, this stretch of road has evolved into an open-air gallery, showcasing the unique artistry that has captivated audiences worldwide. The newfound aesthetic appeal not only attracts tourists and film enthusiasts but also serves as a source of pride for local residents, all while keeping the spirit of Satyajit Ray alive in the community.
Among the numerous striking artworks, one poster stands out prominently: a captivating image from the iconic film, "Devi."
The design illustrates the theme of religious superstition, where an elderly man is convinced that his daughter-in-law embodies the deity Kali in his dreams. The poster artfully captures this duality through the divided face of the talented Sharmila Tagore, symbolising the tension between reality and the supernatural. This compelling visual not only draws viewers in but also invites them to reflect on the intricate narratives woven into Ray's films, making the "gallery" a living tribute to his genius and a source of inspiration for generations to come.
As you stroll through the streets, keep an eye out for the striking poster advertising the film "Ganashatru." The artwork showcases a powerful visual of fingers pointing at the protagonist, encircled in a dramatic graphic that effectively conveys the theme of societal judgment. This imagery symbolises the hostile crowds and powerful corporations that label the doctor as a heretic for his bold assertion that the supposedly holy water from the local temple is not only contaminated, but also contributing to the suffering and deaths of nearby residents. This compelling narrative invites viewers to reflect on the struggle between truth and the pressure of conformity in a society that often prioritises reputation over reality.
Recently, the street underwent a remarkable transformation. On May 2, the day Satyajit Ray was born, lights were switched on, and the street museum showcasing his artworks, film posters, dialogues, and tributes was launched with street light kiosks shining brightly. "You could say that Bishop Lefroy Road has been re-themed and reborn," says Mudar Patherya, the mastermind behind this transformation. Several anonymous donors made this project possible. And among those who assisted him were Ray's son Sandip Ray, who carefully vetted every single picture and contributed some pieces from the family collection.
"There was Ashim Basu, the Councillor of Ward 70, who cleared various obstructions; Bappada, who printed and installed the vinyl overnight; Ranjit, the painter of the electricity boxes; the Trisys team of designers; and Optiluxx Lights, which handled the illumination."
As one of the most celebrated filmmakers in Indian cinema, Ray had a unique journey into the world of filmmaking, notably without any formal training. Initially, he enrolled in a fine arts course at Visva-Bharati University in Santiniketan but ultimately decided to drop out, preferring to venture into the professional realm where his creativity could blossom. This decision led him to a position at a British advertising agency, where he worked as a junior visualiser.
During his time in the advertising field, Ray collaborated with various prominent advertising agencies and publishers, including the renowned Signet Press. His roles were varied, involving not only visual marketing but also book and magazine design, which allowed him to cultivate a keen eye for aesthetics and visual storytelling. These experiences profoundly influenced his later film work, creating a distinctive style that set him apart from his contemporaries.
The impact of graphic design on Ray's artistry is particularly apparent in his film posters, notable for their innovative use of typography and design elements. His passion for graphic design extended to the creation of his own typefaces, which included Ray Bizarre and Ray Roman, designed for both Bangla and English scripts. This fusion of his artistic talents in visual design and filmmaking illustrates how Ray's diverse skill set contributed to his legacy as a pioneer in the world of cinema. Now thanks to this city project, you can view his work in a setting that was close to him.
