PPT ON Patol babu, film star

MADE BYNAME -SAGAR

CLASS-10ROLL NO-23

Born 2 May 1921Calcutta, Bengal, British India

Died 23 April 1992 (aged 70)Calcutta

Occupation Film director, producer, screenwriter, writer, music director, lyricist

Years active 1950–91

Spouse Bijoya Das (1949–1992)

Signature

Satyajit Ray

More about the Author

Satyajit Ray (1921-1992), an Indian filmmaker and among the dozen or so great masters of world cinema, is known for his humanistic approach to cinema. He made his films in Bengali. Satyajit Ray received the honorary Academy Award for Lifetime Achievement. Ray wrote numerous short stories, articles, and novels in Bengali.He made a significant contribution to children's literature in Bengali. Most of his fiction was written for teen age children. His detective stories and novels were particularly popular with them.His stories are unpretentious and entertaining. The subjects include: adventure, detective stories, fantasy, science fiction and even horror

Pather Panchali (1955) Aparajito (1956, The Unvanquished) Apur Sansar (1959, The World of Apu) Jalsaghar (1958, The Music Room)

Kanchenjunga (1962)Charulata (1964, The Lonely Wife)

Ashanti Sanket (1973, Distant Thunder)The Chess Players (1977)The Home and The World (1984)

Ganashatru (1989, Public Enemy) Agantuk (1990, The Stranger).

Major contributions

• Bharat Ratna• Golden Lion• National Board of

Review Award for Best Foreign Language Film

• Golden Bear• Film fare Award

for Best Director• Sutherland

Trophy• Academy Award

for lifetime achievement

“There's always some room for improvisation.” Satyajit Ray

Awards

Theme of The StoryThe story “Patol Babu, Film Star” has not one but several themes woven into the narrative, chief among them being excellence in art versus material or monetary gains. Another theme that runs throughout the story is the tradition of theatre versus film making. Patol Babu represents the former and Baren Mullick and company represent the latter. Film making gives importance to a chosen few star actors only. Extreme form of professionalism makes film making quite mechanical and dehumanizing. No wonder, good artists with small roles feel out of place there.

Sitalakanto Ray, better known as Patol Babu, is a 52 years old short and bald headed man who lives in

Calcutta with his wife. He used to work in a railway factory in Kanchrapara in in his younger days but left

the job and joined a private company Hudson and Kimberley, Calcutta in 1934 for higher pay.

Unfortunately, he lost the job nine years later in a retrenchment, due to world war 2. Even since then he had to struggle to make a living. He tried his luck in

running a variety store, did odd jobs, and sold insurance without ever succeeding in improving his lot. The

struggle took its toll on his health and state of mind. He felt so dejected that he began to consider himself a

nonentity, although in his younger days he used to be a theater star and had performed in Jatras, amateur

theatricals and plays. He was much sought after as an actor and people used to buy to his shows especially to watch his performance. But now acting has become a thing of the remote past. Of late has been toying with

the idea of taking up a job with a scrap iron dealer.

Summary of the Chapter

Once when Nishikanto Babu came to the Patol Babu, he told him that his brother-in-law Naresh Dutt who works in film business told him that he needed one fiftyish, short, bald-headed one man for his film. And Nishikanto Babu suggested the name of Patol Babu. Actually, Patol Babu was in a great need of money. He had experienced to work in plays and films. He lived in the KANCRAPARA and worked in the railway factory but due to the war cost he lost his nine years old job. He accepted the offer of Naresh Dutt, he has given the role of a PEDISTRIAN,. Next morning he had to rich at the FARADAY HOUSE, he was so much excited and his heart was trembling with happiness when he reached at the FARADAY HOUSE. But the problem was that he was not still given the lines of the dialogue. He asked about his lines of the dialogue to the Naresh Dutt. And Naresh Dutt told Sosanko and Jyoti to give the lines to the Patol Babu. Jyoti tore off a page and wrote something and give it to the Patol Babu. The word"oh" is written on that page. Patol Babu became very sad to see his dialogue he was surprised to see that he has to just speak the word "oh" as the line of his dialogue.

He could not decide whether he act or not, he went the nearest pan-shop and thinked about it. Then a faint memory was stirred up in Patol Babu 's mind. It was Mr. Pakrashi who said "Remember one thing Patol ,however small part you are offered never consider it beneath your dignity to accept it. As an artist your aim should be to make the most of your opportunity and squeeze the last drop of meaning out of your lines. Mr. Pakrashi was PotalBabu 's mentor,he was a woderful actor and a good person.And then Patol Babu decided to play the role of a pedestrian. He made rehearsals on his dialogue,and speak the word "oh" in different pitches high to low. And finally he perfomed and it was really good performance. Patol Babu left the place without taking money. He was very much satisfied with his performance.He would get fifteen to twenty rupees for his small job but he was satisfied so much with his perfection and dedication

(Q) Answer the following questions briefly

(a) What was the news that Nishikanto Ghosh

gave Patol Babu?

(b) How did Patol Babu react? Why?

(c) Why had Patol Babu lost his first job in

Calcutta?

(d) How does Patol Babu reconcile to the

dialogue given to him?

(e) Who was Mr. Pakrashi? How do his words help Patol

Babu in enacting his role?

(f) How do we know that Patol Babu was a meticulous

man?

(g) Why did Mr. Mullick turn down Patol Babu's request

for a rehearsal?

(h) What were the special touches that Patol Babu gave

to his role to make it more

authentic?