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Charu Roy
Charu Roy (6 September 1890 – 29 September 1971), full name Charuchandra Roy, was a pioneering Indian filmmaker, actor, painter, cartoonist, art director, and geologist. A prominent figure in the formative years of Indian cinema, Roy made significant contributions to both silent and talkie films. His multi-faceted legacy spanned cinema, printing, fine arts, journalism, and stagecraft. He is best remembered for his cinematic realism and authentic portrayals of Bengali middle-class life, steering away from Western aesthetics.[1]
| Charu Roy | |
| |
| Born | 6 September 1890, Berhampur, Murshidabad, Bengal Presidency, British India |
| Died | 29 September 1971, Kolkata, West Bengal, India |
| Nationality | Indian |
| Occupation | Filmmaker, actor, painter, art director, cartoonist, geologist |
| Years active | 1920s–1940s |
| Education |
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| Title | Pioneer of early Indian cinema and visual storytelling |
| Key Projects |
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| Companies Directed |
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| Awards & Recognition |
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| Affiliations | Indian Society of Oriental Art, Bengal School of Art |
| Philanthropy | Promoted art education and cultural preservation |
| Residence | 5A Deshapriya Park East, Kolkata, India |
Early life and education
Roy was born in Berhampur in Murshidabad district of West Bengal, to parents Shyamacharan and Soudamini Roy.[2] He completed his early education in Berhampur and later obtained a B.Sc. degree from Presidency College, University of Calcutta.[3] He began his professional life as a geologist at Bird & Co., working in the mining regions of Keonjhar, Odisha.[3]
Artistic training and early career
Roy trained in painting under the local sculptor Broja Pal.[4] He later studied tempera under Abanindranath Tagore at the Bengal School of Art and was associated with the Indian Society of Oriental Art.[5] Among his contemporaries were Nandalal Bose, Jamini Roy, and Ramkinkar Baij.
In 1913, Roy began as an artist and illustrator for Bengali monthlies such as Bharatbarsha and Prabasi.[6] From 1922 to 1925, he contributed regularly as the first educational cartoonist for Ananda Bazar Patrika, signing his work as “C.R.”.[7]
Roy also illustrated books by prominent Bengali authors such as Narendra Deb and Radharani Devi, and he was credited with designing the cover of the magazine Amrita.[8]
Personal life
In 1919, Roy married Maya Roy. They had one son, Mukul Roy, born on 31 May 1923.[9] He had two sisters, Surama and Amiyaa. In later life, he lived in a self-designed house at 5A Deshapriya Park East, Kolkata. Roy died on 29 September 1971 at the age of 81. He was survived by his grand daughter Ratnamala, who lives in Bhubaneswar.[3]
Film career
Roy began his film career as an actor and art director. He appeared in Franz Osten's silent films such as The Light of Asia (1925), Shiraz (1928), and A Throw of Dice (1929), co-starring with Himanshu Rai, Seeta Devi, and Devika Rani.[10]
He later directed several films, both silent and talkie, including:
- Silent: Anarkali (1929), Bigraha (1930), Chorkanta (1931), and Swami (1931)
- Talkies: Rajnati Basantasena (1932), Kinbadanti (1933), Daku ki Ladki (1935), Bangalee (1936), Begraha (1938), Graher Fer (1939), and Pathik
Cinematic style
Roy’s filmmaking emphasized poetic realism and a deep sense of cultural rootedness. His 1936 film Bangalee depicted everyday Bengali middle-class life with unmatched authenticity. Filmmaker Satyajit Ray praised Roy’s resistance to Hollywood conventions and his dedication to indigenous forms of storytelling.[11]
Art direction and stage work
Roy was a key figure in Bengali stagecraft and introduced innovative three-dimensional set designs in Sisir Bhaduri’s play Sita.[12] He served as art director for films like Nilachaler Madhusudan and Malancha by Madhu Bose, and he also designed the sets for Chashar Meye and several other Bengali stage productions.[3]
Painting
Charu Roy’s passion for visual art remained constant throughout his life. Notable paintings include:
- At the Dawn of Day
- A Mendicant
- My Lamp Goes Out Everytime
- Call of the Woods
- Evening Glow
- A Love Letter
- Karna-Kunti
- Bazar – illustrating the first encounter of a newlywed couple
- A painting depicting the dance of Urvashi, harmonizing poetic depictions of the nymph queen found in works by Kalidasa
His 1941 painting Mother and Child, rendered in wash and tempera in the Kalighat style, is currently preserved at the National Gallery of Modern Art, New Delhi.[13]
Cartooning and journalism
Known by the pen name "C.R.", Roy became widely recognized for his satirical and educational cartoons in Ananda Bazar Patrika.[14] He also served as the founding editor of Bioscope, India's first dedicated film magazine.[3]
== Critical Recognition and Stagecraft: Book Reference == Noted for his exceptional artistic skill, Charu Roy was instrumental in revolutionizing Bengali stage décor. A devoted student of Indian art and a pupil of [Abanindranath Tagore], Roy’s hauntingly beautiful paintings have garnered widespread acclaim in both India and abroad. His inborn poetic sensibility and exquisite taste were particularly evident when Sisir Kumar Bhaduri entrusted him with designing the scenery and stage furnishings for the celebrated performance of ‘‘Sita’’. Renowned dramatic critic Dr. P. Guha Thakurta observed:
Before commencing this task, Charu Roy held extensive consultations with the celebrated archaeologist Rakhaldas Banerjee, Dr. Suniti Kumar Chatterjee, and other leading authorities on ancient Indian architecture. He conducted comprehensive research by consulting appropriate books and made a thorough study of the subject to ensure the authenticity and excellence of his stage designs.
Legacy and reception
Charu Roy made foundational contributions to Bengali and Indian visual media yet remains underacknowledged in mainstream cinema history. Satyajit Ray credited Roy for his pioneering role in shaping native realism in Indian film, distinct from foreign narrative structures and iconography.[15]
Selected filmography
| Year | Title | Role(s) | Notes |
|---|---|---|---|
| 1925 | The Light of Asia | Actor, Art Director | Dir. Franz Osten |
| 1928 | Shiraz | Actor | Co-starred with Seeta Devi |
| 1929 | A Throw of Dice | Actor | Based on the Mahabharata |
| 1929 | Anarkali | Director | Silent film |
| 1930 | Bigraha | Director | Released 29 November |
| 1931 | Chorkanta | Director | Silent film |
| 1931 | Swami | Director | Early talkie |
| 1932 | Rajnati Basantasena | Director | Talkie |
| 1933 | Kinbadanti | Director | Based on folklore[16] |
| 1935 | Daku ki Ladki | Director | Action-adventure talkie |
| 1936 | Bangalee | Director | Realist social drama |
| 1938 | Begraha | Director | Talkie |
| 1939 | Graher Fer | Director | Talkie |
| 1940 | Pathik | Director | Talkie |
References
- ↑ Ray, Satyajit. Speaking of Films. New Delhi: Penguin Books.
- ↑ Encyclopaedia of Hindi Cinema, ed. Gulzar, Nihalani, Chatterjee, p.192.
- ↑ 3.0 3.1 3.2 3.3 3.4 Cinema India International, Vol. IV No. 4, 1987.
- ↑ Hansen, Kathryn. Stages of Life: Indian Theatre Autobiographies. Anthem Press, p. 290.
- ↑ Indiancine.ma – entries on Charu Roy
- ↑ Sarala (Charu Roy) – Indiancine.ma
- ↑ Ray, Sandip (ed.). Satyajit Ray on Cinema.
- ↑ Sarala (Charu Roy) – Indiancine.ma
- ↑ Family records and genealogical sources, Bhubaneswar archives.
- ↑ Goble, Alan. The Complete Index to Literary Sources in Film.
- ↑ Ray, Satyajit. Speaking of Films.
- ↑ Ray, Satyajit. Article in Illustrated Weekly of India.
- ↑ National Gallery of Modern Art – Jaipur House
- ↑ Majumdar, Neepa. Wanted Cultured Ladies Only!: Female Stardom and Cinema in India, 1930s–1950s.
- ↑ Ray, Satyajit. Speaking of Films.
- ↑ Encyclopaedia of Hindi Cinema, ed. Gulzar et al.