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Ray Review: Indian OTT’s Best, A Poetic Tribute To Satyajit Ray, But… There’s Always A But!
Cast: Manoj Bajpayee, Gajraj Rao, Ali Fazal, Shweta Basu Prasad, Anindita Bose, Kay Kay Menon, Bidita Bag, Dibyendu Bhattacharya, Harshvardhan Kapoor, Radhika Madan, Chandan Roy Sanyal, Akansha Ranjan Kapoor
Creator/s: Srijit Mukherjee, Abhishek Chaubey, Vasan Bala
Available On: Netflix
Table of Contents
Ray Web Series Review: What’s It About?
If you have been an ardent follower of Satyajit Ray, you know what you are intervening in, but if you have not followed the legend, a journey awaits you to a dark land of inner consciousness where things are not easy. White. The miniseries consists of four episodes adapted for the screen by the tales of Satyajit Ray.
Ray Web Series Review: Forget Me Not
Forget Me Not Ali Fazal stars as Ipsit Nair, in the story of a man with a computer brain who faces dementia. Being a business mogul, Ipsit is a family man, but it all begins when a certain Rhea Saran makes him believe that she has been an important part of his past. Sharing personal details that only Ipsit knows, Rhea somehow gets into her head and the thought of “how could I forget about things?” It ruins everything for our faulty human with computer memory.
Directed by Srijit Mukherjee, adapted for the screen by Siraj Ahmed, this story takes you directly into the “hurting” mind of its main character. From telling you an exact 10-figure amount you owe your investors to not remembering someone you had sex with on their birthday in a place you feel like you’ve never been, you see Ispit being demolished right in front of you.
Ali Fazal’s “long hair, fancy glasses, fancy tux, loose tie” look subtly matches Ray’s vision of a smart-looking business mogul. Ali works his way toward the disruption planned by his fate. From the way he looks physically to the way he mentally screams, Fazal is the Muhammad Ali of this boxing ring designed by the legendary Satyajit Ray.
He has the best screenplay of the four stories and it’s all down to some fantastic, unrealistic scenes written in the second half. A mind-blowing scene shows current Ipsit capturing his past self in a place he doesn’t even remember visiting. Just remember the term “wheelchair travel” and watch how that gives you goosebumps towards the end of story one.
Swapnil Sonawane’s (Newton, Angry Indian Goddesses) camera fits perfectly with Anasuya Sengupta’s geometrically stunning production design. Nitin Baid’s sharp editing adds to the lighthearted nature of the story. I’ve always been a fan of Peter Cat Recording Co. and Suryakant Sawhney, the man whose music is the closest thing I have to teleportation. With a similar otherworldly feel, the background score directly delves into the blurry sense of the episode.
Episode Rating: 5/5
Ray Web Series Review: Bahrupiya
Joaquin Phoenix’s Joker was Hollywood’s response to Satyajit Ray’s Bahurupi, in which Kay Kay Menon stars as Indrashish Shaha; an aspiring makeup artist stuck with a job and life he hates. Indro is a simple man with simple dreams, but he is entangled in a world that does not suit him. Just as society pushes Joaquin’s Curry to transform into the Joker, Indro decides to design the path he will follow with the impersonation. This leads him to break the limits of the law, which ultimately leads to life-threatening problems for him, but he ends with a question: was he really Indro or a “bahrupiya” all along?
Siraj Ahmed’s script once again justifiably brings Ray’s Bahurupi to the screen. Kay Kay Menon could have gotten the best 50 minutes of her career with this one. Ray’s trademark trait of his character “struggling with his life” is portrayed by Kay Kay in a way that no one else could have. You can see in his face how his life is falling apart, and he has nothing to say about it. But, the transformation of what he becomes when he gets the key to his troubles is the rank that only an actor like Kay Kay Menon could possess. This deserves a separate article that breaks down every detail and will be available soon.
By now, Arkodeb Mukherjee’s obsession with wide-angle footage clearly manifests itself throughout the episode. Shibaji Pal’s subdued production design for the film goes hand in hand with Indro’s monotonous life. The Pronoy Dasgupta edit ties the shots together well without keeping any clutter. Sagar Kapoor’s minimum background score doesn’t stand between seeing Indro knock down his own house of cards.
Episode Rating: 5/5
Ray web series review: Hungama Hai Kyon Barpa
One of Satyajit Ray’s underrated gems, Nayak, also consists of a train ride, but with Barin Bhowmick-er Byaram, he takes the same backdrop by changing the passengers and the conversation between them. A kleptomaniac (suffering from an impulse control disorder that results in an irresistible urge to steal), Musafir Ali (Or as he likes to address himself) is a renowned Urdu ghazal singer. He clashes with Aslam Baig, a wrestler turned sportswriter, who in his day was known as Jenga The Wrestler. As we move forward, we know that this is not the first time they have met, and Musafir has not always been the big-name singer that he is today.
As Musafir is accused of stealing Baig’s fortune, the sequences mixed with just the right amount of humor entertain you throughout. If there is Manoj Bajpayee on screen unifying life lessons in Urdu, it is highly unlikely that you will try to focus on anything else. * Boom * The adorb world’s talisman, Gajraj Rao, appears with this back and forth fascination with Manoj’s Musafir Ali.
A train ride doesn’t prevent Niren Bhatt’s script from getting stuck in a compartment that tells a story full of dialogue. Instead, she uses the glass from the train’s bathroom as a window for the Musafir Ali flashback. Bhatt’s vision is fantastically supported by Anuj Rakesh Dhawan’s camera work and Aditya Kanwar’s production design ticking all the right boxes. The Manas Mittal edition complements Musafir & Baig’s dizzying journey. Naren Chadavarkar, Benedict Taylor’s background score leaves no gaps without disturbing procedures.
Episode Rating: 5/5
Ray Web Series Review: Spotlight
After a hat-trick of perfect 5/5 episodes, the fear of disaster finally clouded my thoughts beyond my control. Harsh Varrdhan Kapoor’s Spotlight begins with Ray’s quote: “There is always room for improvisation.” I don’t know if this was cryptically intentional or just plain ironic, but this is the episode that needed the most improv of the four. No, it’s not a bad experience at all, but the bar set by the top three doesn’t work in favor of the Vasn Bala-directed episode.
Spotlight is the story of a star Vikram Malhotra who has become a sensation just because of the trademark look of him. He loves to be in the spotlight, but that is soon taken from him by a religious leader Didi (played effortlessly well by Radhika Madan). Coincidentally living in the same hotel, Didi’s powers give Vikram a proof of the reality of who he is. What happens when the two meet? Yes, there is a twist, and it was enough to surprise you, but the execution takes the spark out of it.
With lines like “Fair toh ab Fair & Lovely bhi nahi raha” and Pritish rhyming with British, Vikram’s nonsense is accurately portrayed by Harsh Varrdhan. Rahul Kamble activates his beast mode for the background score. Especially the scene where Vikram’s state of mind is characterized by a fast-paced jazz drum piece hits the spot. Niren Bhatt takes a simple route with the script for this one, which I think shouldn’t have been the case. At the risk of being branded sadist, this one needed a darker, unglamorous approach. Vasan Bala continues with his touch of “film tribute” from Mard Ko Dard Nahi Hota, but here, he misses some goals.
Episode Rating: 3/5
Ray Web Series Review: Last Words:
All said and done; Despite getting his adrenaline pumping towards the end, Ray is still probably the best thing to come out of India’s OTT space. A must for those who haven’t followed Satyajit Ray as well. This serves as a bait to invite people into Ray’s ethereal world!
Ray Web Series Episodes
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