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Journalism of Courage
Noted character actor,director and theatre person Dilip Roy passed away after a long struggle with cancer in a Kolkata nursing home on September 2.
Dilip Roy was one of the handsomest,most talented and strikingly-original actor-directors in Bengali cinema. He died a bachelor but with three adopted sons and an adopted daughter who,however,pre-deceased him earlier this year. His body and eyes were given away for medical research according to his last wishes. His hearse was brought and kept at the Nandan complex in the afternoon after passing through the Tollygunge Studios. Noted dignitaries from Bengali cinema came to pay their tributes personally and the first flowers were laid by West Bengal CM Buddhadeb Bhattacharya. A visibly- moved Soumitra Chatterjee said that he did not consider him as colleague and friend but as a member of his family. Our relationship had transcended the formalities that exist merely in belonging to the same profession and industry. I am too moved to comment on this personal loss. I knew he was ill,but the end is always a shock, said Chatterjee.
He expressed his talent through a wide range of roles in outstanding films and his directorial ventures. His talent was ideally explored by the late Tapan Sinha,who chose him for some of the best roles of his career in films like Kalamati,Hansuli Banker Upakatha,Khsudita Pashan,Jhinder Bondi,Khoniker Atithi and Aponjon. Other noted movies in which he gave memorable performances are Abhaya O Sreekanto,Dui Purush,Sabyasachi and Neelkantho. He continued to act occasionally even during his illness. His last film released was Mon Maane Na. Three of his latest projects awaiting release are Autograph,Jakhon Eshechhilem and Nayika.
He also directed three very good movies,namely Debdas 1979,Amrita Kumbher Sandhaane 1982 and Neelkantha 1985. While chairing a seminar on The Influence of Sarat Chandra Chattopadhyay on Cinema,some years ago,Roy said,After the tremendous popularity and historical relevance of the Bengali and Hindi versions of Devdas, no filmmaker in Bengal had the guts to touch the novel for filming. The two films were considered to be almost sacrosanct,so deep had been their influence on the creative mind of filmmakers. Precisely for this reason,I took it up as a challenge to direct the film. He added that the late Bikash Roy,a famous character actor,told him that he was probably making the biggest mistake by taking up Devdas for filming. I took the risk despite his warnings,and I must admit that it paid off.
Srijit Mukherjee,who directed Roy in his soon-to-be-released directorial debut with Autograph,says,When I first read out the small but stirring one-scene part to him,I saw his cataract-tinted grey eyes gleam with anticipation of a new challenge. He said,quite disarmingly,that the character of the veteran actor,erstwhile hero and now out- of-work actor could well have been named after him,and not as the fictional Torun Mukherjee. He said that he would do the part,even in that tremendously failing health,because he felt he will be remembered for that one scene. While rehearsing the scene,I could see he was using all the pain,all the grievances he had against this industry to give a character flesh and blood 8211; for one final time. When the extremely complicated three minute-long single-take scene was okayed,all the members of the team were on their feet giving him a standing ovation. I went to hug him and touch his feet. He softly asked me,Could I deliver remotely close to what you had written for me? If not,I am good for another take.
