A letter to the President of India: Satyajit Ray’s name should be banned for showing sexually explicit scenes


The Honourable President,  

Republic of India,  

Rashtrapati Bhavan,  

New Delhi- 110004

Sub: Satyajit Ray’s name should be banned for showing sexually explicit scenes

Respected Ācarya,

In continuation of our letter VIEW HERE ⤡ to you, we are again requesting your kind self to remove the name of Satyajit Ray from the prestigious film award. 

It is surprising and shocking for us, the ardent supporters of Sangh Parivār ideology, to find that a prestigious film award was declared on the name of Satyajit Ray, who showed not only anti-Hindu false ideology, but also the explicit and illicit sexual relationships that are prohibited in the sanātana dharma.  

We think that it goes against the ethos of our Parivār’s ideology for the following reasons:

Devi (The Goddess, 1960): An intimate scene (in a silhouette med-long-shot) between Umaprasad (a westernized elite youth) and Doyamoyee (incarnation the Mother Kali) profaned the mother goddess.

Not only that, Ray also portrayed that Khoka (a boy) has died due to non-implementation of western medicines, the supposed Kali’s Charanamrito did not work and the divine belief, as depicted by Ray, at the cost of the kid’s life. It also happened in the case of Pather Panchali (Song of the Little Road, 1955), when Durga, an adolescent girl died due to fever, even though Lord Ganesa’s idol was there. In Ray’s gaze, Hindu idol-worship is always condemned.

Charulata (The Lonely Wife, 1964): An intimate and adulterous relationship develops between Charulata and Amal, who is Charu’s brother-in-law. Even Charu embraced Amal in one sequence of the film. Later on, Amal left the house, leaving behind a letter to Charu. Charu is heartbroken due to illicit love relationship, but tries to hide her disappointment.

Kapurush (The Coward, 1965): Karunaa married woman, meets Amitabha, her ex-lover. Extra-marital relationship is being encouraged here.

In all the movies, Ray portrayed Hindu women as provocative and seductive that goes against our sanātana culture of satī and sāvitri. Only in Kapurush, the female character is reluctant to participate in the proposal of eloping.

Aranyer Din Ratri (Days and Nights in the Forest, 1970 ): Hari takes Duli, a tribal girl, into the forest and makes love to her.

On the other hand, Sanjoy is unable to respond to the seductive provocations of Jaya, a Hindu widow, when she dresses herself with ethnic ornaments. It is an unlikely incidence for a pious Hindu widow.


[a] Ghatashraddha (The Ritual, 1977 Indian Kannada language film directed by Girish Kasaravalli;

[b] the 2005 movie Water, written and directed by Deepa Mehta. In the both films, sacredness Hindu widows are profaned. These directors are negatively influenced and inspired by Rays anti-Hindu mindset. Even Deepa Mehta went to the extent to make a documentary on the widows in India:  The Forgotten Woman, 2008. All these urban naxals should be banned. They all are the “fruits of the Macaulay’s poison tree”—as mentioned by a decadent poet Samar Sen, another urban naxal!)

Pratidwandi (The Adversary, 1970): Siddhartha’s friend Adinath takes him to a nurse, who works as a part-time prostitute. Siddhartha hurriedly leaves the room when the nurse cum prostitute requests Adinath to open the bra-strap.

Jana Aranya (The Middle Man, 1975): One day, Somnath finds that in order to land a big order, he must propitiate a client by supplying him with a prostitute. Despite his hesitation and after trying several brothels, Somnath, with the help of a more experienced operator, finds a girl for the purpose. However, she turns out to be his friend Sukumar’s sister. Embarrassed and at a loss, Somnath offers her money and requests her to leave, but the girl refuses. Her purpose is to earn money, not beg, she tells him. Somnath delivers her to his client and lands the contract but is remorseful at the end.

Shatranj Ke Khilari (English: The Chess Players, 1977) : In this Premchand-story as adopted by Ray, an adulterous relationship is again foregrounded. And Mirza’s sexually deprived Muslim wife forced his husband to make love with her. Subsequently, viparita ratikriya (Cowgirl position) is vividly shown in the film. 

Premchand is considered the first Hindi author whose writings prominently featured “socialist realism”. His writings reflect the problems of the poor masses. His works depict a so-called rationalistic outlook, which views religious values as mere tools of the exploiters.

I am again mentioning here another film by Ray, Sadgati (Salvation/Deliverance, 1981 Hindi television film) based on Premchand’s story. This film defeats the divine testimony of Bhagavān Kṛṣṇa as we have found in the Bhagavad Gitā,  (भगवद् गीता):

मां हि पार्थ व्यपाश्रित्य येऽपि स्यु: पापयोनय: |

स्त्रियो वैश्यास्तथा शूद्रास्तेऽपि यान्ति परां गतिम् ||9:32||

(O son of Pārtha, those who take shelter in Me, though they be of sinful lower birth —women, vaiśyas [merchants], as well as śūdras [workers]-can approach the supreme destination.)

Thus, one of the पापयोनय: (persons with sinful lower birth) is the woman. They should take recourse to polygamous Bhagavān Kṛṣṇa instead of getting involved in adulterous relationships. 

Pikoo (1980): The film showcases a day in the life of a six-year-old kid, Pikoo, in the backdrop of his mother, Seema, who is having an extramarital affair with Hitesh, Seema’s boyfriend. As it was sponsored by the French television channel, France 3, Ray overtly put an adulterous intercourse scene here. This again proves his alienation from the svabhūmi’s ideology.

Ghare Baire (1984): It is also based on the anti-national novel of Rabindranath Thakur, a so-called “internationalist” by heart. We do not like it when our supreme leaders cite Thakur’s poems or songs, since it is against the ideology of our sangh. In this Thakur-narrative, Ray portrays Vimala, wife of Nikhilesh, having an affair with her husband’s friend, Sandeep. Even here, adultery is being encouraged. Sandeep is also depicted as kissing Vimala or “Makkhirani” (a nasty word, Queen of Bees), as he used to call her, in the film.

What have we seen in the Mahabharat (1988-90) produced by B. R. Chopra and directed by his son, Ravi Chopra? Without any sort of physical intercourse, reproduction of towel-clad children can be possible by the divine “rays” (it is not anti-Hindu Satyajit “Ray”) emitted from the hands of revered gods. However, it is a matter of regret that Ray’s protagonist alter-ego private detective Feluda was also reluctant to view the Chopra-version of The Mahabharata as he did ignore other episodes of the series after viewing only two episodes (as depicted in one of Ray’s novels).

Saṁyama and brahmacarya are the key terms in the Hindu yoga tradition. Adulterous relationships are forbidden in the sanātana dharmaṚṣi Bharata prohibited to show sexual acts in the Sanskrit plays. Vātsyāyana’s Kāmasūtra did not teach us such violation of the sanātana dharma.

Therefore, we prefer Ramayan (1987-1988) directed by Ramanand Sagar and Mahabharat (1988-90) of B. R. Chopra, Ravi Chopra rather than that of

(a)  Le Mahabharata (1989) ⤡, by Jean-Claude Carrière and directed by the English director Peter Brook.

(b) Bharat Ek Khoj(1988-89; based on the book The Discovery of India by anti-national Jawaharlal Nehru) directed by Shyam Benegal.

(c)  Tamas(1988) ⤡,written by Bhisam Sahni and directed by Govind Nihalani, is against our hindutva politics.

Cf. Indoctrinating Saffron Violence ⤡

      The End of Humans⤡

Searching for Syncretism⤡

(d) Raam ke Naam (In the Name of God)  (1992)a documentary by Anand Patwardhan is a truncated documentation of our great dharmika deed of demolishing the nasty foreigners’ Babri masjid in 1991.

Why are they (Sagar and Chopra et al.) neglected in this Hindu regime?  All of them helped us to initiate the Ram Mandir movement. On the other hand, Ray, Shyam Benegal, Govind Nihalani, Adoor Gopalakrishnan, Peter Brook, Girish Kasaravalli, Deepa Mehta, Aparna Sen et al. should be banned. Gajendra Chauhan, B. P. Singh et al. were the right choices for the directorship of the Films and Television Institute of India (FTII).

We must follow the ex-US President Donald Trump in this context. He found “genius” in the Indian film industry and recalled two all-time favourites, Sholay (1975)and Dilwale Dulhania Le Jayenge (1995). These two movies are truly representing Indian homogenous  Culture.

We are also appealing to you for dismantling the abandoned temples (of Konark and Khajuraho) with erotic sculptures and orgies for saving our dharma (Originally proposed by Mahatma Gandhi when he said “dismantle them and cover them with mud” in the 1930s, though we, the followers of the great Godse, are not supporting him except this cause. These very views of Gandhi were again opposed by the great anti-national womanizer Rabindranath Thakur). We are happy to note that the ruling party has already started it. Please see the following small documentary, shot in the October, 2019 at Benaras:  

Strange Destruction of Self: Hindus ⤡

The Sanskrit play Prabodha Chandrodaya⤡ by Krishna Mishra condemned the cārvākas for performing such sexual acts for crude pleasure and desires.  

We are writing this letter from our family as these types of films have contaminated the ethos of our Hindu United Family (HUF, we are getting IT benefits for HUF PAN cards. HUF is also a proof for uniform civil code though the antagonism between Hindu dayabhaga and Mitaksara must be resolved to preserve homogeneity of the Hindus and for maintaining  uniform civil code. Article 370 must be eradicated, but not the Article 371!). Please ban all these naxalite sexually explicit movies as a part of your mission:  Swachh Bharat Abhiyan!

Hail Godse!

Yours Sincerely,

Dr. Debaprasad Bandyopadhyay

Mrs. Rupa Bandyopadhyay

Mr. Akhar Bandyopadhyay

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