Soumendu Roy, the acclaimed cinematographer renowned for his collaborations with legendary filmmaker Satyajit Ray, passed away in Kolkata at the age of 90. His contributions to the world of cinema, especially in the realm of cinematography, were nothing short of remarkable.
Roy’s journey into the world of filmmaking began when he took up the responsibility of caring for an expensive camera on behalf of Technician’s Studio during the shooting of Ray’s debut film, “Pather Panchali”. This marked the start of his apprenticeship under Ray’s principal cinematographer, Subrata Mitra.
During his time working alongside Mitra, Roy absorbed invaluable lessons in the art and craft of filmmaking. He openly acknowledged that his initial fascination with photography was ignited by a gift of a Baby Brownie camera. Little did the giver of this gift know that Roy would go on to achieve such heights in his career.
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A significant moment in Roy’s career occurred during the filming of “Jana Aranya” when he and Ray had a one-sided exchange about lighting for a scene. Ray, known for his meticulousness, recognized Roy’s commitment to perfectionism. Despite occasional questions about his role as a cinematographer in Ray’s films, it was evident that Roy possessed qualities that aligned perfectly with Ray’s expectations.
Ray was known for his detailed explanations to the actors and crew, including Roy, about the intensity of light required for scenes. Both filmmaker and cinematographer understood that achieving the right mood of the characters on screen was paramount, and any deviation could mar the film’s quality.
Roy’s exceptional qualities made him the ideal choice for Ray’s cinematographer. His skill set was put to the test in “Sonar Kella,” where he flawlessly captured the final scene of a young boy in search of his friends in an abandoned castle in Jaisalmer. The use of natural light in this sequence made it appear effortless to the audience.
Another significant challenge came with “Asani Sanket”, a film depicting the Great Bengal Famine of 1943. Roy’s expertise shone through as he successfully met the demands of this complex project.
Roy’s association with Satyajit Ray extended to the film “Ghare Baire,” based on a Tagore novel. However, his talents were not confined to Ray’s films alone. He worked with directors such as Tarun Majumdar on “Palatak” and “Alor Pipasa,” as well as Tapan Sinha on “Wheelchair” and “Ek Doctor Ki Maut.” His versatility and adaptability were evident as he collaborated with these accomplished directors.
When asked about his years with Ray, Roy succinctly summed up his learning as “the language of cinema.” With Soumendu Roy’s passing, the world mourns the loss of one of the great cinematographers who worked alongside Satyajit Ray. Together with Subrata Mitra, they formed an integral part of Ray’s cinematic legacy, leaving behind a lasting impact on Indian cinema.
