In Satyajit Ray’s films, the magic began with the opening titles

For Satyajit Ray, the entire gamut of film activity was elevated art. As a film-maker there was no aspect of the process he left untouched or influenced. The way he composed his film titles gives another insight into the mind of a genius. Fascinating episodes surround his film titles.

Let us start with Aranyer Din Ratri. The titles appear against the background of woodlands and foliage.

‘Father designed a new typeface for this title. This is a novel typeface, an archetypal Ray typeface. There was no typeface like that then and now. It was a freshly invented font for this effect of the bushes appearing through the letters. They were large block and bold transparent letters. The visibility of foliage was done through a special effect known as double-printing,’ explains Sandip. ‘They are not cutout letters as could be popularly thought. Cutout letters were used in Ghare Baire. The fire in Ghare Baire appears through the cutout letters, but Aranyer Din Ratri is a completely unique font. It can’t probably be a body font but certainly can be used in headlines.’

For Ray, devising titles for his films was a creative pursuit, as important as the other aspects of his craft. His first film itself displays that. Pather Panchali’s titles are written in calligraphic...

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