'Soumitra Chatterjee And His World' Review: A Truly Comprehensive Account

Since Soumitra Chatterjee’s passing, several biographies have been written about him, but Sanghamitra Chakraborty’s work is possibly the first truly comprehensive account. She explores the various aspects of his life in order of significance, beginning with his childhood before moving on to his discovery by Satyajit Ray. This section is enriched by an insightful sketch of Ray’s own background, followed by a detailed examination of Soumitra’s performances in each of Ray’s films. She traces his gradual evolution as an actor, noting how his resemblance to a young Rabindranath Tagore played a key role in his casting—particularly in films such as Devi and Charulata.

Chakraborty also highlights the roles in which Soumitra was less effective, such as Narsingh in Abhijan—a part that Uttam Kumar had declined. Interestingly, though, Uttam Kumar later praised Soumitra’s performance with an unusual metaphor involving smoking. In addition to exploring the nuances of Soumitra’s artistic relationship with Ray, through an interview with Sandip Ray, Chakraborty also examines his work with other filmmakers. She discusses his collaborations with Tapan Sinha, which began with the Indian adaptation of The Prisoner of Zenda, in which Soumitra played the villainous Rupert of Hentzau. Other aspects of his life run as an undercurrent throughout the book, maintaining a chronological flow while keeping the focus on pivotal moments.

Chakraborty then delves into Soumitra’s career beyond Ray, considering the opportunities that were available to him—including the possibility of working in Hindi films, which he ultimately rejected. This decision was influenced by Uttam Kumar’s infamous failure in Chhoti Si Mulakat. While this section is slightly less fluid, as Chakraborty separates each potential path into distinct subsections, it effectively clarifies the actor’s choices through well-sourced quotations.

She further explores the crisis in the Bengali film industry and offers insights into Soumitra’s relationships with his wife and children. Along the way, readers discover little-known personal details—such as his wife’s quiet dedication to his dietary needs and interests, always placing his well-being before her own, and his son’s fragile health as a child. As a father, Soumitra was exceptionally loving, a trait he had inherited from his own father. His early years were profoundly shaped by historic events like the Bengal Famine and the Great Calcutta Killings, both of which left an indelible mark on him.

Chakraborty notes that Soumitra was fortunate to have three great mentors—Rabindranath Tagore, whom he never met, Satyajit Ray, and Sisir Kumar Bhaduri, the legendary theatre actor whose career was waning as Soumitra’s was beginning. Each of these figures influenced him in distinct ways. At the same time, Calcutta—despite its decline from its former glory as the British Empire’s foremost Indian city—shaped his artistic sensibilities through its rich culture and intellectual life. Soumitra embraced his Bengali identity in all its facets, from theatre and poetry to visual art. He became the editor of the little magazine Ekkhon, wrote poetry, and gradually pursued painting as well.

A section on Bengali theatre explores its profound impact on Soumitra, linking back to his early years. Chakraborty expands on themes introduced at the start of the book, showing how he transitioned seamlessly from stage to screen, guided by Ray’s mentorship and Bhaduri’s advice on interpreting scripts by ‘interrogating’ them.

The concluding chapters examine Soumitra’s later years, his growing focus on language and poetry, and the increasing importance of literature in his life. This section—titled The Books and Brandy Star—reveals how he overcame his initial shyness about reading his own work. Chakraborty poignantly describes him as an “endangered species,” surrounded by new faces as many of his longtime friends and collaborators had passed on. Personal challenges at home compelled him to accept roles he might not otherwise have considered, as a means of distraction. Art, particularly his doodles, became a form of therapy. Through it all, he remained resilient—an unvanquished spirit, much like Apu, even in the face of the Covid-19 pandemic.

For scholars and cinema enthusiasts, Chakraborty’s extensively researched biography serves as both a valuable resource and a treasured addition to any library. The book also carries a personal touch, featuring a foreword by Sharmila Tagore and a selection of photographs—even though small, likely due to resolution constraints.