Nemai Ghosh’s first book of photography from the French Riviera – GetBengal story

One day, a girl who identified herself as Rumki (Banerjee) came to see me. She introduced herself as the young Durga of Pather Panchali. At the time, she was associated with a publishing house and had come to meet me as a representative of her organisation. She studied my collection of photographs at length. Excitedly, she asked me, “What have you done? You keep so many photographs lying around! Please do something. If nothing else, at least publish a book.”

With conviction and enthusiasm, she told me that a book like this would provide invaluable insight into the life of India’s greatest filmmaker. It would be a collector’s edition. I was taken aback. For the last few years, I have looked at Manik Da and his world through the lens of an attentive student. I had taken several photographs but never thought of doing anything with them. 

I also had a passion for writing. I had written a report on the shooting of Pratidwandi. I used to keep notes of my experiences. An essay of mine was also published once in a journal, in the Continental Film Review. Manik Da liked it. Soon after, I wrote another essay and showed it to Manikda. He kept it with him. When he returned it to me, I found it different from my original. He had polished and elevated it into a wonderful write-up. I did not dare to publish Manikda’s writing as mine. So, to this day, I have kept the essay with me.

Afterwards, a publishing house in Kolkata proposed that I write a book with Manik Da’s photographs. An attractive proposition! I wanted to show the draft contract to Manik Da. Usually, whenever I was nervous about asking him something, I would take Boudi's help. This time too, I told Boudi about it. She took me to Manik Da and said, “Look, Nemai is going to write a book. He wants to talk to you about the royalty.” Manik Da was busy doing something. He just raised his eyes and looked at us. He heard the details of the proposal and said, “Nemai will write a book, and for that, I shall have to make money! Never, I shall take any money from him!”

The gentleman, whose name I will refrain from mentioning, told me jokingly that because I did not do the photography for Pather Panchali, my book would be incomplete and, in fact, worthless.

But how is that relevant? I wondered, why hadn't the ones who had clicked photos on the film preserved their work? This motivated me, and I decided I must publish the book at any cost. I selected some pictures, arranged them in several albums, and showed them to Manik Da. Surprised at the volume of the collection, he said, “When did you take so many photographs?”

But as luck would have it, the Kolkata-based organisation backed out. Although disheartened, I continued my effort. Eventually, quite a few publishers from Delhi showed interest. But either they wanted a recommendation letter from some political leader or a write-up by Manik Da of around 20 pages. At around this time, Ravi Sabarwal of Time Books advised me to contact some overseas publishers.

I also decided if the book was made, the foreword would be written by none other than Henri Cartier-Bresson, my photography guru. I started writing letters to him without telling anyone. Initially, he showed no interest. After about a year of correspondence, he agreed to just see my photographs. He asked me to meet him in Paris with the photographs—from Kalighat, Kolkata, straight to Rivoli, Paris. Manik Da was stunned when he learnt of this. But he did not say anything. My relationship with him was based on mutual trust. He would understand me.

Ultimately, the book came out in August 1991. With the first copy in my hand, I ran to Bishop Lefroy Road, to Manik Da’s house. I presented him with the copy and offered my pranam by touching his feet. He immediately stood up and embraced me. No matter how much anyone tried, they would never succeed in creating a rift between us. 

Data from Manikda: Memories of Satyajit Ray by Nemai Ghosh