I Didn't Get Jesus by Tintoretto - Sandip Ray

I Didn't Get Jesus by Tintoretto

Chandi Mukherjee22 Oct 2008

Sandip Roy has finished recently the shooting of his latest Feluda (a private investigator living in Kolkata, whose real name is Prodosh Chandra Mitter) adventure Tintoretto-r-Jishu (The Jesus of Tintoretto). The story was written by Satyajit Ray 30 years back. It deals with the stealing of a painting done by Tintoretto. Feluda gets involved by trailing the lost painting, the climax of which happens in Bangkok. But who is Tintoretto? He was a famous venation paints (1518 1594) originally named Jacopo Covin. But as his father had defended the gates of Padna in a rather robust way against the imperial troops, he was popularly known as Jacopo Robusti.

Sandip Roy has finished recently the shooting of his latest Feluda (a private investigator living in Kolkata, whose real name is Prodosh Chandra Mitter) adventure Tintoretto-r-Jishu (The Jesus of Tintoretto). The story was written by Satyajit Ray 30 years back. It deals with the stealing of a painting done by Tintoretto. Feluda gets involved by trailing the lost painting, the climax of which happens in Bangkok.

But who is Tintoretto? He was a famous venation paints (1518 1594) originally named Jacopo Covin. But as his father had defended the gates of Padna in a rather robust way against the imperial troops, he was popularly known as Jacopo Robusti.

But why Satyajit Ray picked an European painter like Tintoretto of the 16th Century in his sleuth adventure story? It is simply because he wanted to make the story believable by using the name Tintoretto, who is not at all that popular and known as an artist amongst Bengali middle class people. 99% of these people havent heard about his name before senior Ray wrote the story. It is Satyajit Ray who introduced the Bengali with the name of the famous Italian painter.

Tintoretto-r-JishuTintoretto-r-Jishu

The entire life of Tintoretto was spent in Venice and most of his paintings are still is the churches or other buildings for which it was painted. What was Tintoretto specialized in? He was specialized in painting the Christ. Satyajit Ray not only picked up Tintoretto, but also added his Tintorettos specialization in the story.

Tintorettos greatest paintings are the vast series of paintings he did for the Scuola di San Rocco in Venice from 1565 to 1587 where the scenes from the life of virgin in the lower hall. The art historians consider him as the last great painter of Italian Renaissance. His dramatic use of perspectival space and lighting art. Tintoretto had great influences on venation paintings, but the artist who most fruitfully observed the visionary energy and intensity of Tintorettos paintings was Ei Greco. Seeing Tintorettos Crucifixion (1568), Henry James wrote, Surely no single painting in the world contains more of human life, there is everything in it, including the most exquisite beauty.

So, this is Tintoretto. Now the question comes in to the mind that has Sandip Roy copied one of the Tintorettos paintings of Christ for his film? Our discussion starts with this question.

 

Who has copied the painting of Christ by Tintoretto in your film?

I dont want to disclose the name right now. I shouldnt do this before the release of the film.

At least tell us which painting of Tintoretto you have picked up for copying?

Actually, to tell you the truth I have searched every corner for a single painting of Jesus by Tintoretto which can be copied. But I didnt get. My father did an illustration of the painting by Tintoretto in his published book. It might be, or might not be direct illustration of Tintorettos Jesus, it might be an imaginative illustration, I dont know. But as I had no other references, I had to depend on the illustration done by my father. We have developed a painting out of that. It has a flavour of 16th century old masters painting.

Of late your films have been criticised on the line that Feluda has become move action oriented than a cerebral sleuth as imagined by the creator Satyajit Ray. Recently in one of your interview you have said that you would try to make Feluda in Tintoretto-r-Jishu more cerebral. Does this pressure disturb your own rhythm of film making?

Probably I havent meant that. I have done two Feluda adventure before. Bombaier Bombete and Kailashe Kelenkari. Both the films demanded action. Kailashe Kelenkari was not totally action-oriented, it had some cerebral work too. But relatively less that the films my father did. Tintoretto-r-Jishu has the scope of Feluda being more cerebral. Actually it depends on the story itself you are dealing with. If the story demands Felus cerebral activity, only then I have that scope.

We always believed Feluda stories are not only adventure stories, but also some kind of travelogues too.

I also believe that.

Bombaier Bombete & Kailashe Kelenkari lack in that Do you agree?

Again I would say that it depends on the original story. Bombay is a concrete jungle. There was no scope. But in Kailashe Kelenkari I have tried to induce the feeling of travelogue. But if you compare these two films, yes, they are better travelogues. Rajasthan and Benaras have definitely a better quality of visuals than Bombay or Ellora have.

When it will be released?

The release date is final. It will be released on 12th December, 2008.

Gorosthane Saabdhan is your next Feluda adventure?

No more Feluda in 2009 for sure. But definitely as promised before next Feluda will be on 2010. Not yet decided whether I will make Gorosthane Saabdhan or not. But I have a weakness on that particular story. Apart from that, the film will be totally based in Kolkata thats an advantage.

I have recently visited the commentary of Park Street.

What is the condition?

It is deteriorating every day. The description of the commentary as written by Satyajit Ray is still there. If you dont make the film at an early date, you may miss many things.

That is the major concern. Let me think. But not in 2009.

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