Overview
"Project Tiger" is a memoir by renowned Indian filmmaker Satyajit Ray (1921-1992) that recounts his experiences working with animals in films, particularly focusing on the challenges he faced while filming a tiger scene for his movie "Goopy Gyne Bagha Byne."
Hollywood's Excellence with Animal Actors
Ray begins by acknowledging Hollywood's superiority in making films with animals. He reminisces about famous animal stars from his childhood, including:
- Rin-tin-tin: An Alsatian dog whose acting surpassed human performances
- Lassie: A collie that could perform virtually any task directed by filmmakers
These trained animals became genuine stars, earning substantial money (up to a hundred thousand rupees per film) and receiving reverent treatment from the film industry.
Behind the Scenes at Disney Studio
Ray describes witnessing a film shoot at Disney Studio in Hollywood twenty years prior, where he observed the extraordinary care given to animal actors. The most striking example was seeing a dwarf acting as a stand-in for a large dog during lighting setup - crawling on all fours with a dog-skin draped over him. This incident highlighted the respect and professional treatment these animal actors received.
Alfred Hitchcock's "Birds"
Ray discusses the ambitious project of training nearly a hundred ravens for Alfred Hitchcock's film "Birds." Despite the difficulty of the task, Hitchcock successfully obtained trained ravens through newspaper advertisements across the United States. While the birds couldn't perform extraordinary feats, their ability to perch quietly in formation on command was considered impressive.
Challenges in Indian Cinema
Ray contrasts Hollywood's resources with the difficulties faced in Indian cinema. While some films in Bombay and Madras had worked with elephants, horses, and tigers, finding well-trained animals remained challenging. In Bengal, intelligent police dogs were occasionally available, as Ray experienced with a dog named Bhulo in "Pather Panchali."
The Tiger Challenge
The central narrative focuses on Ray's need for a tiger scene in "Goopy Gyne Bagha Byne." The story required Goopy and Bagha (both banished characters) to encounter a tiger in the forest, with the tiger walking past them without showing interest.
Finding the Tiger
Ray's team approached Bharat Circus, which was performing in Calcutta at Marcus Square. They met with:
- The Tamil manager who warmly received them
- Mr. Thorat: The ringmaster, a well-built South Indian man around forty with a tiger scar on his forearm
The Plan
The shooting location was near Shiuri in Birbhoom, requiring the tiger to:
- Emerge from a bamboo grove
- Pace gently in an open space
- Look at the camera if possible
- Return to the grove
The major concern was that Mr. Thorat had never released the tiger from its cage independently, raising doubts about the plan's feasibility.
The Solution
To control the tiger while keeping it appearing wild, they devised a system:
- A thin but strong wire around the tiger's neck
- A collar made of tiger skin to camouflage the wire
- The wire connected to an iron rod fixed in the ground
The First Attempt
At Notun Gram village, the first filming attempt yielded unexpected results:
- Mr. Thorat brought two tigers for safety
- Instead of walking sedately, the tiger began prancing enthusiastically
- The tiger leaped, jumped, and rolled around, dragging the helpless trainer
- The scene resembled a free circus performance rather than the dignified walk required
Eventually, they managed to capture the needed shots, but upon returning to Calcutta, they discovered the footage was too dark - the tiger merged with the background, making it nearly invisible.
The Second Attempt
A second shoot was arranged in Boral village, closer to Calcutta. This time:
- The entire village gathered to watch, ignoring instructions to maintain distance
- When the cage opened with a loud clang, the tiger roared and charged directly at the crowd
- The hundred and fifty villagers "melted away as if by magic"
- After this dramatic entrance, the tiger calmed down and performed exactly as required
- The camera functioned properly this time, capturing usable footage
Conclusion
Ray's memoir illustrates the unpredictable nature of working with wild animals in filmmaking. It contrasts the professional, well-established systems of Hollywood with the improvised, challenging conditions of Indian cinema. The story demonstrates how creative problem-solving, patience, and sometimes sheer luck are essential in filmmaking, particularly when working with unpredictable animal actors.
The memoir also showcases Ray's humor and storytelling ability, turning what could have been a simple technical account into an entertaining narrative that reveals the behind-the-scenes realities of filmmaking in different cultural contexts.