In an interview with The Hollywood Reporter India, Tagore reminisced about the challenging shoot in the Betla forest during the hot summer and recalled staying in a modest “chaukidaar’s room” while filming. “I had the chowkidar’s room and I had a water cooler. In dry weather, it worked very well. These guys were in a shed with with tin roof. So they would all joke about themselves and say ‘I am Rabi roast’, Subhendu would say ‘I am sauteed Subhendu’ because it used to be so hot. You cannot imagine how hot it was. We could only work from 5:30 AM to 9:00 AM and then again from 3:00 PM to 6:00 PM. Rest of the time, we just bonded and became good friends,” she recalled.Tagore explained that Ray wanted to shoot during the hot summer because the trees were leafless. “He wanted a particular look and it was only possible in May because then the rains came soon after, and before that, it was all leafy and lush,” she said, highlighting the Ray’s dedication in bringing his vision to life. Satyajit Ray’s contributions to cinema are monumental, with his works like The Apu Trilogy and Charulata earning international acclaim. The restoration and screening of Aranyer Din Ratri at Cannes serve as a testament to his lasting legacy and the global appreciation of his artistry.The presence of Tagore and Garewal at Cannes not only celebrated a cinematic masterpiece but also highlighted the timeless elegance and cultural richness of Indian cinema on the world stage.
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