In Ray’s centenary, a new exhibition showcasing original costumes from ‘Chess Player’ celebrates the filmmaker’s eye of detail
In its introduction to ‘A King’s Gambit’, a unique exhibition showcasing the original costumes of Satyajit Ray Shatrunj players, Curator Indrani Majumdar lovingly describes the opening sequence of the film where one hand reaches the chessboard and a move is made. A second later, the other hand from the opposite end is seen countering it. “The woven silk sleeves and ornate rings of the players indicate that the scene is set in a bygone era,” says Indrani.
Read also | Get ‘First Day First Show’ our weekly newsletter from the world of cinema delivered to your inbox. You can subscribe here for free
As the camera zooms out to bring the two players, Nawab Mir Roshan Ali and Mirza Sajjad Ali, into focus, what first strikes you is its grandeur – the lavish decorations and the splendid costumes worn by the lazy royals.
faithful representation
Later Mughal-e-Azam, it was perhaps the only film of the period in which costumes and architecture played a central role and K. Like Asif, Ray was also involved in painstaking research. However, unlike Asif’s great work, Ray’s film was a historical one, based on the story of Premchand, who imprisoned Wajid Ali Shah’s last days on the throne of Awadh. In addition to the beleaguered poet-king, Lieutenant General Sir James Outram, Captain Weston and Doctor Fairer also find loyal representation in their clothing.
Satyajit Ray’s notes and sketches for the film.
The costumes reflect the gruesome research that Ray put into the lives and times of the characters. The exhibition showcases a wide range of achkans, angrakhas, jamas, pyjamas, shararas, cholis, turbans, turbans, silver jewelry and footwear from the personal collection of producer Suresh Jindal, housed over the years in steel boxes with camphor squares. are protected. Suresh says that Ray has “the curiosity and curiosity of a child” when it comes to researching and learning something new.
Indrani explains that Ray took from the English translation of Abdul Halim Sharar. Lucknow, the Last Stage of an Eastern Culture. “It took a master craftsman from Agra three months to embroider the green robe of Wajid Ali Shah. The sharara that Shabana Azmi wore was tailored by the sisters of poet Ali Sardar Jafri. An entire collection of priceless heritage shawls was lent to us by the Thakur families of Calcutta,” says Suresh.
Wajid Ali Shah’s green lehenga.
Much credit for providing the authentic experience goes to Shama Zaidi, who along with Javed Siddiqui not only transliterated Ray’s English script, but also took care of the costumes. “Apart from her grooming in theatre, Shama definitely comes from the surroundings. He had firsthand experience of seeing and handling the required costumes,” says Suresh, who knew him from his theater days. He says that a lot of information was obtained from the paintings of that time. According to Ray, the Kathak scene, in particular, was inspired by the engravings of that period.
critical resource
The Salar Jung Museum, the Falaknuma Palace of the Nizams in Hyderabad and the City Palace Museum in Jaipur were the primary sources of research for the film. Another important resource was the archival images available at the then Bourne & Shepherd photographic studio in Calcutta. The Victoria Memorial offered an oil painting by Wajid Ali Shah, which served as the primary reference for the king’s anatomy.
“All of the British apparel was hired in London from Nathan and Burman, the largest costume rental for film and stage in Europe,” says Suresh. After detailed consultation with the National War Museum, London, a British expert, Andrew Mollo, drew sketches for military costumes. “Richard Attenborough (who played James Outram) brought them with him as personal belongings and took them back with him. He learned that Outram smoked chives and bought them from a famous London tobacconist himself,” says Suresh miss.
However, there were blips. Indrani quotes Ray’s biographer, Mary Seton, who wrote, “For accuracy, ADC uniforms were ordered in London. When they arrived they were in summer uniforms but the order was for winter! Helmet too wrong It was Shama Zaidi who showed her almost right.”
The letters exchanged by Ray and Suresh can also be seen; ready-made sketches for clothes with samples of their fabrics; Also sketches of jewelery made by Manju Saraogi. two sections of Kherod account (Clothbound Notebook) is also displayed digitized by the National Digital Library of India. “The letters reveal that Ray was a great correspondent. He had many pen friends and used to reply to his fans, no idea how he got so much time,” Indrani says. The shining crown is shown, which is the center of the story.
many carelessly labeled Shatrunj players As a Hindi film, but it is in Urdu and Awadhi dialect and this is reflected in the censor certificate. It also means that Ray was working for the first time with a language and culture that was not his own. “Of course, he was worried about making his first non-Bengali film, but in Shama and Javed, he got the right support to speak up and guide him on the modalities. Ray was a great man in every possible way, but he was equally courteous and open to suggestions. Suresh, who co-produced Gandhi, Attenborough is also said to have had a team that guided him on colloquialism and mannerisms.
Saeed Jaffrey and Sanjeev Kumar in Shatrunj Ke Khiladi.
Saeed Jaffrey was Ray’s choice, while Suresh suggested Sanjeev Kumar and Amjad Khan for their star value and theater background. “It was not that Ray was not aware of his strength. He watched all kinds of cinema and was a regular at the International Film Festival of India in Delhi. This is reflected in her choice of casting veteran actor Veena as Wajid Ali Shah’s mother. The film’s set could have become a wrestling ring among capable actors, but says Suresh, “Saeed and Sanjeev were too secure in their craft to attend a wrestling match.”
The film manages to bring out the conflicting layers in the personality of Wajid Ali Shah, which English historians often fail to appreciate. Wajid’s poetry was being sung on the streets of Awadh when the company was calling him incompetent. “During his time, Oudh was the biggest contributor to the company’s treasury. Lucknow and Muslims, in general, loved the film, as Wajid is a very dear person in their history,” says Suresh, who also produced two historical films, tuberose And Story.
Suresh says such exhibitions are rare in India. “I hope that more can be held to inspire pride in our incomparable heritage in clothing design and related crafts.”
(A King’s Gambit: Chess, Dress and a Crown Exhibited till 5 November at India International Centre, New Delhi.
.