Patol Babu, Film Star

Meet the Author

• Satyajit Ray is a renowned Indian author, playwright, and director recognized for his important contributions to literature and cinema.
• Born: 2nd May, 1921
• Place of Birth: Calcutta, Bengal Presidency, British India
• Died: 23rd April, 1992
• Major Works: The Apu Trilogy, the Music Room, the Big City, Charulata
• Best Known For: He is widely considered to be one of the finest directors in the history of cinema known for his pioneering contributions to storytelling and films.

Summary & Analysis

Nishikanto Ghosh meets Patol Babu

The short story “Patol Babu, Film Star” begins on the day of Tagore’s birthday. On this fine day Nishikanto Ghosh, who lives three houses away from Patol’s house, decides to meet Patol Babu. He explains that his brother-in-law is in the production sector of the film industry, whom he had met at the Nethaji Pharmacy a day before.

The crew of the film needed a person around 50 years of age, short and bald-headed for a small role in a film. Nishikanto was reminded of Patol’s stage days as an actor and urged him to do the role. As Patol was going through a tough time, he opted to discuss the film role with his brother-in-law. He feels elated as for a 52-year-old man, this was beyond his wildest dream. His name was Naresh Dutt, said Ghosh, and also promised that he would be there to meet Patol at 10:30 am.

The way he described the character - fiftyish, short, bald-headed - it reminded me of you. So I gave him your address and asked him to get in touch with you directly. I hope you won't turn him away. They'll pay you, of course.' Patol Babu hadn't expected such news at the start of the day.

Patol Babu’s past life

Patol Babu remembers his initial acting days. He had joined the play in the Jatras, at amateur theatricals formed by the neighborhood clubs. People used to purchase tickets specifically to see Patol on stage. In 1934 he left for Calcutta to join Hudson and Kimberley in a higher-paying clerical position but was laid off due to war. In addition to leaving his factory job, he also brought his wife along with him. Since then he has been encountering difficulties in making a living.

At one time Patol Babu had a real passion for the stage; in fact, it verged on obsession. In Jatras, in amateur theatricals, in plays put up by the club in his neighbourhood, Patol Babu was always in demand.

Struggle of Patol Babu

After being laid off, he opened a variety of stores but eventually wound it up after five years. He also worked in a Bengal firm but left due to the attitude of his boss. He worked as an Insurance Salesman for grueling ten long years. Off late he was dealing with local businesses consisting of scrap iron. He was vividly recalling the past with strong dialogues experiencing a thundering effect.

Meeting with Naresh Dutt

Naresh Dutt who arrived at noon finally meets Patol Babu. He felt a little hesitant to talk about the role to him. He said the shooting would take place the next day in Faraday’s house. He also instructed him to arrive there promptly at 8:30 am sharp. On being asked what his role was, Naresh replied it was the role of a pedestrian. He added that he had a dialogue to deliver. This made Patol excited.

Patol Babu and his wife

Patol Babu joyously shares his news with his wife. But his wife advises him to stay grounded and not hope for any unrealistic outcomes. He proudly recalls his act as a dead soldier which won a prize from the chairman of the municipality. Patol Babu arrives at the shooting site and waits at Faraday's house.

On looking out for Naresh, he notices a shooting equipment spread over there. He perspires due to the immense heat of the jacket he wears for the role. Naresh identifies Patol, but by mistake, he utters his name as Atul Babu to which Patol replies that his original name was ‘Sitalakanto Ray’ although people knew him better by his nickname ‘Patol’. Naresh tells him to stand under the shades of the paan shop and is informed he will be called for shooting soon.

The thing is - remember how I started on the stage? Remember my first part? I played a dead soldier! All I had to do was lie still on the stage with my arms and legs spread. And remember how I rose from that position? Remember Mr. Watts shaking me by the hand?

The process of filmmaking

The shooting was about to commence. A huge crowd was waiting there to view the process of filmmaking. Patol Babu heard the directors say “Running Camera Rolling Action”. This shows the contrast between the glamorous world in cinema and the harsh realities of life. He overheard the crowd talking about Chanchal Kumar. Patol remembered an incident involving Chanchal that Koti Babu had praised, making him realize he had heard the name before. He imagined that if he were dressed in a Bengali dhoti and panjabi instead of a suit, and were riding a peacock, he would look just like God Kartik. Naresh then told Patol that Baren Mullik was the director, who had delivered three consecutive blockbuster hits.

Patol Babu is given the dialogue

Naresh meanwhile offers a teacup to Patol Babu. After this, he was requested for his dialogue by Patol Babu. He instructs Patol to go and meet the young lad of twenty years of age carrying a three-legged instrument. His name was Sosanko. Naresh Dutt requests Sosanko to give his lines. Sosanko pens the dialogue on the paper. All that was said was "Oh!". Patol Babu felt constrained on seeing the one-word dialogue. He declared that it triggered his thought process.

Sosanko said, 'What's the matter, Grandpa? You don't seem too pleased.' Were these people pulling his leg? Was the whole thing a gigantic hoax? A meek, harmless man like him, and they had to drag him into the middle of the city to make a laughing stock out of him. How could anyone be so cruel?

Incident after Patol Babu has his dialogue

Patol Babu’s dialogue — ‘Oh!’ made him reconsider his decision. He questioned if that was meant to denigrate his acting ability. Sosanko's eyebrows shot up upon hearing his words. When he exclaimed Sosanko added that he was the luckiest as he got a dialogue in a Baren Mullick film. Hundreds of people just walked past the camera in his films without a dialogue. He insists that even the hero Chanchal Kumar had no lines to speak that day and said he was the only one who had a dialogue.

Patol Babu is informed about the scene and role

Now a young man Jyoti appears swiftly up to Patol Babu, puts his hand on his shoulders, and explains the scene vividly. He explained the scene to him that Chanchal Kumar, a rising young executive would come and collide with him due to an embezzlement that had happened inside the office. Patol was to act as an absent-minded pedestrian who gets hit on his head by Chanchal Kumar who reflects his extreme preoccupation on the pavement. He reiterates how the shot is crucial to Patol.

Then Patol makes his way slowly to the paan shop. He glances at his dialogue paper, crumples the paper to check if anybody else is watching, and throws it in the roadside drain. He is extremely infuriated by the one-word dialogue. On Sunday mornings usually, the songs are played in praise of the goddess Kali in Karali Babu's house which he visited weekly. He wondered why he should spend a pointless Sunday morning with these useless individuals. He believes stage offered him a better experience.

Just then he collides with an absent-minded pedestrian. That's you. You're hurt in the head and say "Oh!", but Chanchal Kumar pays no attention to you and goes into the office. The fact that he ignores you reflects his extreme preoccupation--see? Just think how crucial the shot is.'

Patol Babu’s performance as an actor

Extremely frustrated, his faint memory was stirred up by the words of Gogon Pakrashi, his mentor. Patol hazily recollected that he had told him never to consider any role beneath dignity. As an artist, it was his responsibility to squeeze the last drop of meaning out of the lines. The memory led Patol Babu to infuse a different meaning and emotion into the single word of his dialogue ‘Oh!’ by delivering it with a unique intonation. This shows the importance of finding meaning in small things. It also reminds him of the advice that the words spoken are like a fruit in a tree accessible only to a few. But as actors, they should be smart enough to know how to pluck it and serve the audience accordingly.

Patol grows increasingly impatient as he waits, asking when his turn will come. He is said to wait patiently by Sosanko. He then decided to swiftly cross the road on tiptoe and went into the quiet little street. He gets reminded of Gogon’s words and feels happy that he had time to rehearse. He clears his throat and starts enunciating the syllable in various ways. He also practices physically how to tackle the situation.

Patol's chance

Patol Babu’s turn finally came. He was called precisely in half an hour. Now he no longer was apathetic to his role. He was a real artist by nature. Barren Mullick calls Patol and asks him if he knows what should be performed. He was forced to count his steps when he was to collide with Chanchal Kumar. He informed the director that if he had had a newspaper in hand while colliding, the scene would seem more realistic. His suggestion was approved. He was given a mustache as well. Patol quickly glanced into the mirror realising it suited him very well. Patol Babu inwardly applauds the director's acumen.

Patol Babu’s Act

The director now yells “Silence silence” followed by the words “Start sound”. Patol Babu clears his throat and notices the majority of the crowd turning toward him. He calculated that he needed five steps while Chanchal Kumar needed four steps to be taken, prompting him to walk faster. He holds his newspaper skillfully blending the emotions of irritation and surprise in his dialogue. The collision occurs at the most appropriate time. Chanchal Kumar had to massage his head due to the impact of the collision but he complimented Patol Babu for his impressive acting. After the shot is over, Patol Babu visits the paan shop feeling a deep sense of fulfillment. All of these years and struggle hadn'tblunted his sensibility, the author quotes. This enhances the redemptive power of art. The author states that Gogon, his mentor, would have appreciated him if he had been there.

Patol Babu’s disappearance

He factually calculates that people were just paid a modest sum of maybe twenty or thirty rupees. He feels that the personal satisfaction he gained from his meticulous performance was far more valuable than money. The value of hard work and dedication is portrayed more here. Ten minutes later Naresh Dutt went looking for Patol Babu near the paan shop. He had left the place without getting the money. Naresh Dutt was amused by Patol Babu’s strange behavior. Barreen Mullick is heard shouting that the sun is out. He orders Naresh to hurry up and clear the crowd. The shooting resumed but Patol Babu was found nowhere.

Ten minutes or so later Naresh Dutt went looking for Patol Babu near the paan shop and found that he was not there. 'That's odd--the man hadn't been paid yet. What a strange fellow!

Moral of the story

The story "Patol Babu, Film Star" emphasizes the contrast between the glamorous world in cinema and the harsh realities of life. It interprets his love and passion for acting, despite his lack of brevity and financial reward. It also reflects the fact that even a small role or job done with great care can make all the difference. Hope this was beneficial to the ICSE class 8 students.

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