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company limited The inimitable Satyajit Ray In April 1943, Satyajit Ray, a 21-year-old economics graduate, took a job at a Britishowned advertising agency in Calcutta. He worked on ad campaigns for tea and biscuits, among other things. Ray was obsessed with western classical music and films, and “around 1946 he started writing film scripts as a hobby”, biographer Andrew Robinson says. The following year, Ray co-founded a film society in Calcutta, one of only two in India at the time. “While I sat at my office desk,” he said, “my mind buzzed with the thought of the films I had been seeing.” However, he had risen quickly to a senior position at the ad agency, and “the thought had not once occurred to me of changing my profession”. Then, in 1950, Ray’s employers sent him to England for six months training: “Doubtless the management hoped that I would come back a fully-fledged advertising man, wholly dedicated to the pursuit of selling tea and biscuits.” Within three days of arriving in London, Ray saw Vittorio De Sica’s Bicycle Thieves. “It was in a double bill at the Curzon with A Night at the Opera…it just gored me.” Ray had always wondered whether he could make a film cheaply by using a mostly amateur cast and shooting almost entirely on location. Bicycle Thieves showed him it was possible, and “I came out of the theatre with my mind fully made up,” Ray later said: “I would become a film-maker. The prospect of giving up a safe job didn’t daunt me any more.” He didn’t actually quit his day job until www.vivaLewes.CoM 1956, the year after he released his first film, Pather Panchali. He had made Pather in his spare time, putting his salary towards production costs. It was a great success, and allowed him to make a drastic career change, aged 35. Ray was rather glad to escape the corporate world, if his 1971 film Company Limited is anything to go by. It’s about a well-meaning office worker who is corrupted by what Ray called the ‘bureaucratic and commercial machine’. Shyamalendu Chatterjee has risen quickly to a senior position in a British-owned fan company, and his only ambition is further promotion. He discovers that a large batch of fans, due for export in seven days, is faulty. He will take the blame if the company defaults on its contract. Can he solve the problem in time? The use of such a mundane plot may itself be a joke about how boring corporate life is. Fortunately, Ray keeps it interesting with some romantic tension: Shyamalendu’s sister-in-law visits, and he wonders if he ‘married the wrong sister’. There’s also some satire, as Ray shows the Indian upper class as having become quite British; they watch horse racing, go to clubs which were formerly ‘British-only’, and casually use English words and phrases. At one point, a minor character is handed a whisky, and says in English: “Thank you, old boy.” Ray said of the film: “In a sense, the British have not really left.” Steve Ramsey March 6th, 8pm, All Saints. CineMa 35
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