Rinki Roy Bhattacharya discusses the inspiration behind the Bimal Roy Award, the challenges of preserving her father’s legacy, and the importance of recognizing underappreciated talent in Indian cinema. Vinta Nanda speaks to her.

Photography: Vinta Nanda   

Rinki Roy Bhattacharya, daughter of legendary filmmaker Bimal Roy, is a distinguished author, journalist, and documentary filmmaker. She has been at the forefront of preserving and promoting her father's rich cinematic legacy. As the director of the Bimal Roy Foundation, she has been involved in numerous initiatives to celebrate his contributions, including film screenings, retrospectives, and now, the establishment of the Bimal Roy Award. Rinki's work extends beyond cinema, as she is also known for her writings on social issues, particularly gender and women's rights.

The Bimal Roy Award honours the legacy of legendary filmmaker Bimal Roy, known as the father of neo-realism in Indian cinema. This prestigious award, being introduced at the World Film Festival on 21^st September 2024 in Kolkata, recognizes outstanding contributions to progressive and independent cinema in India. Through the Bimal Roy Foundation, Rinki Roy Bhattacharya has worked to preserve her father’s cinematic heritage, ensuring his influence on filmmakers like Satyajit Ray, Mrinal Sen, and Tapan Sinha is celebrated. The award emphasizes the importance of recognizing underappreciated talent and upholding the values of artistic integrity in today’s film industry.

In an exclusive conversation, Rinki Roy Bhattacharya opens up about the creation of the Bimal Roy Award, its significance, and her tireless efforts to preserve her father's legacy. Known as the father of neo-realism, Bimal Roy's films, such as Do Bigha Zamin and Madhumati, continue to influence generations of filmmakers. She shares her thoughts on the challenges of keeping his legacy alive, and why honouring filmmakers in her father's name remains relevant today. Over then, to my conversation with her…  

Establishing the Bimal Roy Award

Vinta Nanda: What inspired you to establish the Bimal Roy Award at the third edition of the World Film Festival, and what do you hope it will achieve in terms of recognizing cinematic excellence?

Rinki Roy Bhattacharya: The Bimal Roy Award, incidentally, happened quite by accident. But it is about the best thing to have. You are aware that my father, Bimal Roy, was an unquestioned pioneer of progressive cinema, often referred to as the father of neo-realism. He set an example for filmmakers like Mrinal Sen, Tapan Sinha, Satyajit Ray, and Ritwik Ghatak (who was my father's assistant). His debut film Udayer Pathe (later remade as Hamrahi) inspired them to consider cinema as an independent art form distinct from theatre or literature. Ray noted that Bimal Roy moved away from the theatrical acting style with his very first film. He shot on real locations.

Despite all this, lamentably, there was no State Award like the Dadasaheb Phalke Award bestowed on him. This rankled me. That’s why I founded the Bimal Roy Foundation in 1997.

Whether we achieve anything is not my concern. I am overjoyed to bring my extraordinary father centre stage in Kolkata, into the public eye. He longed to return there and belonged to the finest literary culture of Bengal. One of his admirers even called Bimal Roy the “Tagore of cinema.” I think that is the most apt description.

The Selection Process and Festival Platform

Vinta Nanda: Could you share some insights into the selection process for the recipients of the Bimal Roy Award? What qualities or contributions to cinema will the jury prioritize?

Rinki Roy Bhattacharya: This is difficult to say, Vinta. It is a prestigious body, and they have their own criteria.

Vinta Nanda: The World Film Festival is organized by the Federation of Film Societies of India, Eastern Region. How do you see their role in promoting regional and independent cinema in India, and what made this festival the right platform to introduce the Bimal Roy Award?

Rinki Roy Bhattacharya: Now that’s another story. Roopa Barua, who is a committed member of the Bimal Roy Foundation, apart from being a versatile documentary filmmaker, was keen for us to meet the festival director, Premendra Mitra, during his MIFF visit. In that meeting, we got chatting, and I heard myself say, "Why can't we have a Bimal Roy Award during your next season? When you have so many awards, surely this is worth considering?" And that’s it. It is the generosity of the festival that the Bimal Roy Award for Best Film is actually happening.

Preserving Bimal Roy's Legacy

Vinta Nanda: As the daughter of the iconic filmmaker Bimal Roy, how have you continued to preserve and promote his legacy over the years through your foundation and other initiatives?

Rinki Roy Bhattacharya: You surely know that it has been an uphill struggle to keep his legacy alive. I have vocal critics who think I am doing it for some personal agenda. On the other hand, I have tremendous goodwill from the general viewing public who admire his works. The support I received from my father's celebrated stars, for example, Sunil Dutt, Dilip Kumar, Vyjayanthimala, Dharmendra, and many others, kept me going. I am blessed to be his daughter.

I have succeeded in getting a tiny road named after him opposite where we lived and securing a first-day cover by the postal department, held at the Bombay University. The work is endless, and I shall keep it going. I’ve published his biography, written the Madhumati book, and held Bimal Roy film festivals in places like Hamburg (Germany), the UK, Delhi, Kolkata, Pune, Kerala, Mysore, Hyderabad. I continue to screen his films by public demand and hold workshops on various aspects of his craft.

Vinta Nanda: Why do you believe that honouring filmmakers through an award in your father's name is significant in today’s cinematic landscape, and how do you see it reflecting his values and artistic vision?

Rinki Roy Bhattacharya: The Indian film industry is indeed vast. There are hundreds who go unacknowledged. If the foundation can bring just a handful of unknown but deserving technicians or artists into the spotlight, we feel it is worth the effort.

I’ll give you one example: There was a gifted lyricist named Yogesh, who wrote for Salil Chowdhury (all Anand songs were penned by him), but he remained invisible. We decided to honour him. Debu Sen, my father's most trusted aide, was never given the recognition he deserved, yet he was an integral part of the Bimal Roy school of filmmaking. These stories deserve to be brought out, Vinta. 

The legacy of a visionary, a cinema poet like Bimal Roy, survives. Look at the subjects he narrated, and look at the maestros who came from under his shadow. It is amazing. When Lagaan was released in Kolkata, the critics noticed its resemblance to Do Bigha Zamin. The legacy deserves support.