After the shooting wrapped up, we went into post-production, which entailed hard work for all of us. As always, Manik-da did the editing and the spotting (the subtitles), but we also had to work on foreign translations, contact film festivals, set up distributors and deal with the government and its censorship, regulations and mountains of paperwork.
Film censorship in India among the most stringent in the world. The government kept, and continues to keep, a tight grip on absolutely everything in the country. India, at that time, followed a socialist model of government, which meant it had all the bureaucratic control of a Soviet regime without the Gulags and the terror. Thus, the governance was sardonically dubbed the ‘licence permit raj’. This meant that whether you wanted to start an industry or undertake any kind of business activity, from commerce to cinema, various licences and permits had to be required.
Even today, each film is checked by a government-appointed censor board before public exhibition. Prior to a film’s submission, a script must be written for the board, containing all the shots, scenes and dialogues as they appear in the final version. This script is generally written by specialists in the field (usually assistant directors or assistant editors) hired by the producer. This ‘censor script’ and the actual film are then submitted to the board. If it objects to any portions, these must be cut. If approved, it issues a certificate that has to be attached to the first reel of the film before it can be publicly shown. Not surprisingly, this can cause unforeseen delays and involves extra work.
A licence was needed to buy raw stock, for all foreign sales agreements, to export a film, even to send a film to foreign film festivals. With absolutely everything requiring a government licence or permission, schedules were upset, overseas agreements and release dates were thrown into turmoil. No commitments could be made because you never knew if and when a licence would be given. This is what Ray refers to in one of his letters as ‘bureaucratic shilly-shallying’.
7/7/77
Dear Suresh,
Herewith the amended credit list.
As you can see, the acknowledgement list is an endless one—but obligatory. I have decided to put it at the end of the film as a rolling title superimposed over a freeze of the last shot. In the brochure it can go as it is at the bottom of the list.
Problem: Sunil is not happy with the ‘production manager’ credit. In any case, Bhanu1 is the production manager, and he would not want to share it with anybody else (rightly, I think). Perhaps you can come up with a special credit for Sunil. He feels he should be credited as ‘assistant producer’, but this is something you should work out with Sunil. Javed, I had always thought of as the ‘dialogue assistant’, and not as assistant director. Since this gives him a solo credit, he shouldn’t complain. I think the name of Mr Bels2 should be included in the list of actors, but I don’t know the first name. Uma3 does. And what about the twenty-four officers from Delhi?
I had said that I would come to Bombay to OK Rammohan’s drawings for the animation, but I find he’s so tied up with the editing and the music that I suggest as an alternative that Rammohan should send his detailed storyboard to me in Calcutta. This I could then approve or amend and send back. Can you talk to Rammohan and convey this to him? I shall need the finished thing by 20 in order to be able to compose and record the music by 25. We have booked HMV on 23/24/25 for the recording.
Babu,4 Nemai5 and Sumantra6 are producing the stills. Sunil will be able to send them to you tomorrow. I’m also arranging to send the costumes for Zehra; Shama has just sent me the list. I’m preparing a few roughs for ads for Zehra and will send them on as soon as ready.
Best,
Yours,
Manik-da
28 July 1977
Dear Suresh,
Sunil has given me your letter. There has never been any question of your ‘bending’ for my sake, as there is none now. You must recall that in the early stages I supported you against Bansi when I felt he was making exorbitant demands (although I realize now that he hasn’t gone over budget, and you too must have realized that the sets are going to add enormously to the attraction of the film). Where I was hurt was in your attitude towards the crew. Any insult to them, direct or indirect, I regard as an insult to myself. It is possible that your definition of an insult is not the same as mine, and perhaps we should have had a clear discussion on this aspect before we started shooting. I am proud of my crew because I feel Ashok, Bhanu, Purnendu, Pocha, Bolai, Trailokya, etc. are truly dedicated workers who are willing to give their all for the good of the film. Some of them may have their little foibles—but who doesn’t?—and who cares if such shortcomings are offset by their skill in their particular jobs? Without my being there, they would all have quit. In the 25 years I’ve been in this line, I’ve never faced a situation like this. Can you wonder that I should lose my equanimity? Since you talk of bending, can you cite an instance where you had to do so? Have I ever asked for anything more than was required for the good of the film? I thought we had agreed on what was good for Shatranj even before we started shooting. And you had the advantage of a fully prepared script where, as producer, you didn’t run the risk of the director springing unpleasant surprises on you. How can the question of bending arise unless I make unreasonable demands? I must make it clear, though, that I do not think it unreasonable to expect decent treatment of my crew on location.
However, let me report on the work in Lucknow and Bombay. We finished dubbing Hari7 and Amjad, and also the retakes of Farida, Farrookh [sic] and Leela Mishra. The Lucknow shots were also all taken. There are three shots (one day’s work) still to be taken in Calcutta: 1) Nawab watching pigeons 2) Dismounting of guns (in Fort William) and 3) Sacks of mohurs passing from Awadh coffer to EI Co coffer. Amitabh8 being away in Kashmir, I have left instructions with Shama and Javed to supervise the recording of the narration in my absence. I had expected to bring back the dialogue tracks of the Attenborough scenes, but Narinder has apparently been too busy to transfer these. I must tell you that this is going to hold up our editing since we have already edited everything else. Narinder must give us top priority or I can’t guarantee that I’ll finish the final cut by the end of July. Narinder has suggested that we do the channelling also in Bombay so that he may be available for occasional transfer jobs. I think this is a suitable suggestion. Accordingly, I have asked Tinnu to book an editing room for us from Aug 4 for 10 days. We have already booked Rajkamal for mixing for 4 days from Aug 16. For channelling and mixing, I’ll have to have with me Prilal, Kashi, Prince, Babu and one production man (Bhanu or Anil). I’ve told Uma to book us at the Shalimar. Monku will stay with her friends the Imams.
Rammohan wants me in Bombay for a day or two after he’s finished the drawings for the animations. He wants my OK before he actually exposes them. I reckon this would be about a fortnight from now.
Best,
Yours,
Manik-da
27/7/77
Dear Suresh,
I suggest pushing back the release by at least a fortnight. Here’s a simple calculation to show why 16 would be cutting it too fine:
RR finishes on 19
Rajkamal will take at least ten days to develop the sound—21
Sound and picture sent to Madras on 22—received 23—(this is being optimistic)
Negative cutting will take a minimum of five days—29
Soumendu will take a minimum of ten days—7 September already
Then censorship, etc.
I think it would be most unwise to rush things at this stage. Postponement would help both Zehra and Sud at HMV,9 who wants to bring out the first recording to coincide with the opening. Besides, there are a few things to do in Bombay apart from just channelling and RR—Shabana and Hari have a few lines of dubbing, Amjad has to record the song and Amitabh has to re-record a few lines of the commentary.
Also, I shall need a ½ shift in a recording studio to record two pieces of music for which no hands were available in Calcutta. We can still keep comfortably to our RR dates though.
I’ve been expecting a phone call from you re: my trip to Delhi.
Best,
Manik-da
Dear Suresh,
Within ½ an hour of speaking to you on the phone this morning, I received a copy of the latest (Autumn) Sight & Sound by air. There is a full-page ad for the London Film Festival with a still from Shatranj featured prominently. It would appear that they have already printed the programme and I don’t see how you can get out of it now without considerable embarrassment. I should make every effort to straighten out the difficulties and keep our commitment. Favourable reviews in London at this stage would also make things easier for you at this end—now that you are left largely to fend for yourself. I know the situation is very complex—most of the complexity arising out of Dossani backing out—nevertheless a very great effort and an exploration of all possible avenues seem to be indicated in order to avoid an all-round disaster. All of this is a great pity, and it seems it’s going to take a lot of zest out of my holiday trip. However, I do hope some miracle will happen and everything will come out right at the end. Do keep me posted.
My Manali address will be:
[address deleted to preserve privacy]
Best,
Manik-da
6/10/77
Dear Suresh,
Herewith 12 reels of spotting sheets. Reels 12 and 14 will be ready tomorrow morning. I’ll ask Sunil to send it by hand of some messenger so that no time is lost.
As you can see, a lot of work has gone into the translation. I’m afraid you did a very rush job.10 It’s still not 100 % satisfactory, but this is the best that could be done in the time that we had. I also discovered that the censor script has a lot of mistakes and omissions in it.
The snag is that this is the only copy. Perhaps you could get hold of a typist here to make some copies for you—one to be sent to me in Calcutta. And what about the French translation? Who does it and where and when? It hardly seems likely that we can get a subtitled copy ready in time for the Paris screening. However, do what is possible under the circumstances.
I hope you’ve regained your voice by now. We leave for Kulu-Manali on 11 and will be back in Calcutta on 25 latest.
I’m taking FUJI Print No. 1 with me for screening at Society11 on 9 morning. After that the print will be free.
Manik-da
For the negative of the film we used Eastman Kodak raw stock, considered to be the best in the world. At that time, due to the weak condition of the Indian economy and its foreign exchange reserve, mostly ORWO raw stock (both positive and negative) was being imported from East Germany. Since our trade and economy were aligned more with the Soviet Union, we could pay for all our imports from the Soviet bloc in Indian rupees rather than hard currency such as dollars or pounds sterling. Of the three raw stocks available back then—Kodak, ORWO and Fuji—ORWO was the cheapest and the least preferred. But since Kodak and Fuji were only allowed into the country with import licences issued against the export of completed films, they usually had to be bought from private film distributors and exporters by paying a huge black market premium.
Prints of our film for important release centres and film festivals were made on Fujicolor, but since this was financially prohibitive for all prints, we often had to use ORWO for less important release centres.
8/10/77
Dear Suresh,
Herewith the 2 remaining reels. I had left the other 12 reels with Soumendu with instructions to hand them over to you as soon as you arrived, but I learnt later that you had postponed your Madras trip and asked for the spotting sheets to be sent to you in Bombay. I believe this was done immediately.
I can see that bureaucratic shilly-shallying12 has upset our whole programme. This is not the first time that such a thing has happened though. As far as I can see, only the London festival screening is now a certainty. I doubt if we can make it to Paris. What about the French translation and the French subtitling?
Since I can’t cut short my trip to Manali, why don’t you have your Bangalore opening on 21 anyway? Is my presence absolutely essential? Think about it.
Best,
Yours,
Manik-da
27/10/77
My dear Suresh,
I doubt if I can come to Bombay for the screening on 30—the Manali trip was quite hectic—but I’d like to request you to invite the following to the screening:
1.Mr Subhas Ghosal
2.Mr and Mrs Imam
I do hope you will see a good print. Ideal would be Fuji No. 3—if you have access to it.
I had a call from the London Film Festival yesterday. They are, naturally, desperately keen to show the film—but I couldn’t give them much hope. Do keep on trying, however, and keep me posted.
I hope you realize how anxious I am about the fate of the film.
Best,
Yours,
Manik-da
Nov 2, ’77
My dear Manik-da,
It is not in my nature to wallow in self-pity. When ideas I cherish, or things I have helped built, crumble in front of me because of underhanded attacks by elements that one has implicitly trusted, my immediate reaction is to get up and hit right back. It is further not in my nature to call upon higher powers to defend me until and unless the fight has totally exhausted me. I do not call upon elephant guns to defend me in a fight that can be won by a hand-to-hand combat.
It is not only the established mafia who are against Shatranj; there is also a section of the artsy-craftsy, culture-vulture crowd who consider themselves to be the arbitrators of taste in cinema. But in front of Shatranj, to use Mao’s phrase, they are paper tigers. We will definitely win.
I am enclosing copies of some letters that I hope will constitute enough proof that I am not against Shatranj going to London or other festivals.13 A certain doubt has been created by some people who have in the past (and now) accused me of ‘paranoia’ and ‘masochism’. Considering the enormous stresses I am under, I am glad to observe that the state of my mental health is sound. None of my neuroses are self-destructive. I guess neuroses are like germs—some benevolent and some malignant.
We will win.
Suresh
Enclosures:
1.Letter to Gemini dated 29 October
2.Letter to director of film festival dated 25 October
3.Letter to Sapphire Movies dated 21 September
4.Letter from Sapphire Movies dated 3 October
This letter is sufficient reason why the established mafia have to be fought tooth and nail—and why the fight has to be won.
A big handicap I face is insufficient experience in ‘street fighting’ (I have been taught to ‘play cricket’ in polite drawing room conversations), but I am learning, and learning fast.
5.Letter to Uma dated 2 November
Reaction to Shatranj by all who have seen it is absolutely super. One ardent fan from the established cinema that you have won is Prakash Mehra14 (Zanjeer, Hera Pheri, Khoon Pasina). He has expressed a desire to distribute it in Delhi-Uttar Pradesh. Also Amitabh and Vinod Khanna15 have been raving about it all over town. Things are definitely looking up. Our own cast are walking tall with all the kudos their performances are getting. The intuitive faith I had expressed, vide my letter to you, on reading the first draft of the screenplay has come true. It is a great film.
Best,
Suresh
3/11/77
Dear Suresh,
Your fat envelope was most welcome. I have a very clear picture of the situation now. Is N.N. Sippy16 the producer–distributor who is connected with Hrishikesh Mukherji [sic]?17 If so, then I shouldn’t be surprised if Hrishi turns out to have a hand in the machinations. Remember how eager he was to throw a spanner into the works in the early stages of the production? However, I do hope things will straighten out in the near future. But one must fend against over-optimism. Shatranj is a film for a specialized audience, as even the screenplay must have suggested. I believe this audience is yet to be tapped, and I also believe that it is large enough to make such a film a viable proposition. Incidentally, Charles Cooper of Contemporary18 has suddenly come into the picture, offering to advance money against the film in case we are short of funds. Personally I feel that Connoisseur19 are better distributors and Pallanca a more honest man than Cooper.20 I want you to keep this in mind when the time comes to negotiate a deal.
The enclosed clipping would be of interest to you. I assume this is the story given out by our friend Kumar.21 I’ve had to answer a barrage of telephone calls arising out of this, and will probably have to continue doing so over the next few weeks!
The letter, cables and phone calls I’ve received from Bombay in the last few days have been most heartening. Have any of the critics seen the film? Bikram?22 Dharker?23
Yours,
Manik-da
Dear Suresh,
Herewith the modified version of the spotting sheet. Where a title is to be split up into two, I have indicated the split by an oblique line and also indicated the new footage. There should be no difficulty now.
I wonder if anyone noticed at the screening that Agha’s24 name has been dropped inadvertently. I don’t suppose there’s anything one can do about it now.
A long cable from Berlin25 requesting us to withdraw the film from London, Paris, Chicago and Rotterdam so that Berlin can have it in the competitive section.
Best,
Yours,
Manik-da
Nov. 14, ’77
My dear Manik-da,
Thank you for your letter. I am now in Delhi and will be leaving for Bombay in two days’ time. I have come here for a final settlement of the matter.26 In case this negotiation fails, I will have no choice but to take the matter before the Producers’ Council and the High Court. I was trying to avoid this step and was seeking a more amicable settlement.
I feel very encouraged by the response to the show I had in Bombay. There was a fair spectrum of people. I purposely kept the critics out, as I felt it would not be a good idea to get the reviews until a date for the release is fixed. Only Anil Dharker came, with the understanding that he will not review the film just yet. According to his reaction, he was rendered ‘speechless’.
Ismail Merchant also came, and he’s become the biggest propagandist for the film. He was recently in Delhi and was raving about the film to mutual friends. My belief that it will shatter the stupor our audiences have been subjected to has become firmer. However, Shatranj will definitely be instrumental in changing the psyche of film-makers in this country for years to come.27 Even though I have no mechanical and graphic data to go by, I feel 100 % sure that it will be a ‘safe’ proposition. In the absence of firm data, one can only project one’s intuition and make it reach that nebulous area of the future and come up with an answer to one’s uncertainties. My intuition says yes! It will be a film that will have far-ranging effects on the future course of Hindi cinema. And something that has a chance (even though a small one) of changing the consciousness of time is worth fighting for.
I whip myself into a high state of optimism because it’s necessary to keep the adrenalin flowing. The flow of adrenalin is very necessary if I am to save myself from falling into a paralytic depression. The one grave consequence of Shatranj’s failure would be to force me into making ‘formula cinema’, and that is one consequence I absolutely refuse to acknowledge until everything possible has been done. I don’t suppose it will matter a great deal to people in the industry, since then I will have fit their image of me anyway—that of a conventional producer, out to make a fast buck and nothing else. But it will drive me to a state of callousness and cynicism. It’s still a long way until there, and I might as well try my best until then. It is too important a battle for me to lay down arms and hold my head in my hands and weep in helplessness.
N.N. Sippy is not Hrishikesh’s producer. That is N.C. Sippy. In fact, N.C. Sippy is interested in buying the film for Bombay after he sees it. I will show it to him as soon as I get to Bombay. He’s Amitabh’s partner in distribution and I suppose Amit plugged in for us. He and Jaya were very impressed by the film.
I think I will deal with Pallanca rather than with C. Cooper. Most people seem to have a negative view of Charles Cooper. That would have been an important bonus of going to London. Our sale could have materialized.
With warm regards to you and your family,
Yours,
Suresh
Suresh,
Re: Awards—the convention should be followed. In other words, cash award for best film should go to the producer. In the national awards, the director gets a cash prize for the best film too—in addition to the cash he gets if he is nominated the best director. In international fests, too, if the picture gets a prize, it goes to the producer. There are other special awards for the directors.
[unsigned, but handwritten by Ray]
With all the problems revealed in these letters, it is obvious that Shatranj Ke Khilari was off to a rough start in terms of release and general acceptance. Of course, as with all Ray films, arthouse cinema worldwide was enthralled by the concept of a non-Bengali Ray film and was anxious to view it, but Hindi cinema still ruled India and our film did not remotely fit into its accepted formula.