Director Rahul Sankrityan talks about his film ‘Shyam Singha Roy’ starring Nani and Sai Pallavi, which settles in two timelines
Veteran actor Uttam Kumar’s hairstyle, director Guru Dutt’s thin mustache, curly hair and sparkling eyes, Satyajit Ray’s body language, Kamal Haasan’s cuff Nayakan The actor was one of several reference points for creating the look of Nani for the titular character in a Telugu film. Shyam Singha Roy, Director Rahul Sankrityan has been fascinated by the art, cinema and culture of Bengal and was enthralled when writer Satyadev Jung presented a story largely set in Bengal. “I liked the opening story and we made it up.”
The film, slated to release on December 24, has a story that unfolds in two timelines – a contemporary location featuring new-age filmmakers Vasu (Nani), Kriti Shetty, Madonna Sebastian, Leela Samson and others, and Shyam Singha Roy and Sai. is the residence of. The character of Pallavi in Bengal of 1969-70.
A guessing game going on, with movie buffs wondering whether the story deals with reincarnation or a supernatural element. “There is more to the story. I will give a lot more if I discuss this point,” says Rahul, who takes time off for this interview in the midst of finalizing the film’s post-production.
new age filmmakers
The opening scenes of the trailer offer a glimpse into the world of Vasu, with books on Ray and cinema in the background. “It took a lot of nuance to create Vasu’s world which in turn connects him to Shyam’s world,” says Rahul.
Vasu is portrayed as a new filmmaker who has quit his software job and is making a low budget project. That part of the characterization is an extension of Rahul’s own journey. He quit his job as a software engineer to make short films and eventually direct feature films. End (2014) more taxi wala (2018). “I built the character of Vasu around my likes and dislikes. That was the easy part and it helped me incorporate the humor. His journey in the story is fictional.”
taxi wala There was a supernatural element in the story and Shyam Singha Roy Explores concepts such as human consciousness and the possibilities of emotion beyond time-limits. Rahul’s fascination for these subjects stems from his interest in aspects that go beyond day-to-day norms. He read books on philosophy and consulted a psychologist for the film: “I believe that certain dimensions and emotions of man transcend time and space.”
Part of Bengal is a throwback to 1969 and 70, a period that Rahul refers to as “interesting times in India and Bengal”. Shyam is a communist writer who is in favor of social reforms. References from the lives of Rabindranath Tagore and Raja Ram Mohan Roy were used to develop the character. “Both Tagore and Roy were social reformers who belonged to the upper class and rebelled against regressive practices.”
class and gender discourse
Rahul knew that he had to play the character of Shyam in such a way that he did not openly appear as an upper class male protector. Rahul welcomes the increased dialogue on filmmaking on social media over how class and gender are portrayed, saying it helps filmmakers avoid clichés: “At the same time, if I think too much I do how everything is being minutely analysed, I might not be able to do what is required for Shyam’s character.”
The story also talks about the Devadasi tradition featuring Sai Pallavi in that scenario: “The tradition was prevalent throughout India. It was prominent in the then Orissa and Bengal saw its spread. This story tells how women bore the brunt of superstition and exploitative practices.”
The production design team, led by Rahul and Avinash Kolla, specifically referenced Bengal literature and cinema, to create the period Bengal established. byomkesh bakshi, Bengali dialogues included. It was a challenge to strike a balance between the Bengali and Telugu lines. What worked was that Telugu was recognized as an official language in West Bengal. “During independence, many people from Srikakulam migrated to Bengal to work in the railways. Today there are many areas in Bengal where Telugu speaking people constitute 40% to 50% of the voting population.
Shyam Singha Roy Rahul’s third and most challenging film till date. The film is high on visual effects and music. Rahul first approached AR Rahman, but the composer was tied with his own project. Then, added Mickey J. Meyer: “I wanted someone who could compose for both eras and had enough time. Mickey’s strength is the melody, but he surprised me with the song ‘Rise of Shyam’ which is more dramatic. For the Bengali era, he used Hindustani ragas. He also got engaged to Baul singers.”
grungy texture
Cinematographers Sanu John Varghese and Rahul were particular about the quality of the visual effects. It helped that Varghese was incorporated into specific lighting arrangements for scenes requiring visual effects. Warm tones of brown and red formed the color palette for the period setting, while the contemporary story allowed for a cooler palette. “We wanted the parts of Bengal to look like a Rembrandt painting with dark reds and browns. We wanted the raucous nature of those paintings and considered shooting the period portions on film. ,
In recent times, Telugu film greatness There were some parts that were shot on film. Rahul had a discussion with director Nag Ashwin and things were definitely going well, but this was before the pandemic struck. “We didn’t have the luxury of time and we stuck to the digital format.”
As the film nears its release date, Rahul expresses his gratitude for the support extended by producer Venkat Boyanapalli when a major part of the Rs 6.5 crore temple set collapsed due to strong wind and rain. “They asked us not to compromise on what was required for the film. The entire set was rebuilt,” he said.
A self-taught filmmaker and an outsider to the film industry, Rahul admits that the journey has not been easy. While he learned the craft through online resources and watching films, he says a film school or the assistance of an established filmmaker can help along his journey: “Those who come from film schools tend to be peers from other institutions. I miss it. Or, if I had worked with an established filmmaker, I could have learned how to navigate the industry better.”
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