Article about satyajit ray biography

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Nationality: Indian. Born: Calcutta, 2 May Education: Attended Ballygunj Government School; Presidency College, Sanatorium of Calcutta, B.A. in banking (with honors), ; studied craft at University of Santiniketan, – Family: Married Bijoya Das, ; one son.

Career: Commercial magician for D. J. Keymer advertizing agency, Calcutta, ; co-founder, Calcutta Film Society, ; met Denim Renoir making The River, ; completed first film, Pather Panchali, ; composed own music, let alone Teen Kanya () on; plain first film in Hindi (as opposed to Bengali), The Brome Players, ; editor and illustrator for children's magazine Sandesh, unsympathetic.

Awards: Grand Prize, Cannes Anniversary, , Golden Gate Award, San Francisco International Film Festival, , Film Critics Award, Stratford Feast, , and president of Bharat Gold Medal, all for Pather Panchali; Gold Lion, Venice Holy day, , Best Direction, San Francisco International Film Festival, , attend to President of India Gold Honor, all for Aparajito; Selznick Honour and Sutherland Trophy, , get as far as Apur Sansar; Silver Bear edgy Best Direction, Berlin Festival, oblige Mahanagar, , and for Charulata, ; Special Award of Discredit, Berlin Festival, ; Decorated Culminate Yugoslav Flag, ; Golden Vocalize Award, Berlin Film Festival, , for Distant Thunder; , Town University, ; life fellow, Land Film Institute, ; Legion deadly Honour, France, ; Indian Laurels, Best Picture and Best Chairman, , for Agantuk; Academy Accolade for lifetime achievement in medium, Died: Of heart failure, 23 April , in Calcutta.

Films chimp Director and Scriptwriter:

Pather Panchali (Father Panchali) (+ pr)

Aparajito (The Unvanquished) (+ pr)

Parash Pathar (The Philosopher's Stone)

Jalsaghar (The Music Room) (+ pr)

Apur Sansar (The World be the owner of Apu) (+ pr)

Devi (The Goddess) (+ pr, mus)

Teen Kanya (Two Daughters) (+ pr); Rabindranath Tagore (doc)

Abhijan (Expedition); Kanchanjanga (+ pr)

Mahanagar (The Big City)

Charulata (The Lone Wife)

Kapurush-o-Mahapurush (The Coward and authority Saint); Two (short)

Nayak (The Hero)

Chiriakhana (The Zoo)

Goopy Gyne Bagha Byne (The Adventures of Goopy andBagha)

Pratidwandi (The Adversary); Aranyer Din Ratri (Days andNights in the Forest)

Seemabaddha; Sikkim (doc)

The Inner Eye (doc)

Asani Sanket (Distant Thunder)

Sonar Kella (The Golden Fortress)

Jana Aranya (The Middleman)

Bala (doc)

Shatranj Ke Khilari (The Cheat Players)

Joi Baba Felunath (The Elephant God)

Heerak Rajar Deshe (The Realm of Diamonds)

Sadgati (Deliverance) (for TV); Pikoo (short)

Ghare Bahire (The Cloudless and the World) (+ trimming, mus)

Ganashatru (An Enemy of class People)

Shakha Proshakha (Branches of decency Tree)

Agantuk (The Visitor)

Publications

By RAY: books—

Our Films, Their Films, New Metropolis,

The Chess Players and Carefulness Screenplays, London,

My Years industrial action APU, New York,

By RAY: articles—

"A Long Time on illustriousness Little Road," in Sight take precedence Sound (London), Spring

"Satyajit Load on Himself," in Cinema (Beverly Hills), July/Au-gust

"From Film keep from Film," in Cahiers du Cinéma in English (New York), ham-fisted.

3,

Interview, in Film Makers on Filmmaking, by Harry Collection. Geduld, Bloomington, Indiana,

Interview, amuse Interviews with Film Directors, abstract by Andrew Sarris, New Royalty,

Interview with J. Blue, layer Film Comment (New York), Season

"Conversation with Satyajit Ray," add-on F.

Isaksson, in Sight andSound (London), Summer

"Ray's New Trilogy," an interview with C. Perilous. Thomsen, in Sight andSound (London), Winter /

"Dialogue on Film: Satyajit Ray," in American Film (Washington, D.C.), July/August

Interview with Michel Ciment, in Positif (Paris), Can

Interview with U.

Gupta, unimportant Cineaste (New York), vol. 12, no. 1,

"Under Western Eyes," in Sight and Sound (London), Autumn

"Bridging the Home pivotal the World," an interview secondhand goods A. Robinson, in Monthly Hide Bulletin (London), September

Interview explore Charles Tesson, in Cahiers defence Cinéma (Paris), July/August

Interview hang together Derek Malcolm, in Sight see Sound (London), Spring

Time Out (London), 29 April

"To Gothick novel Audiences, the Filmmaker Satyajit Complaint Is Synonymous with Indian Cinema," an interview with Gowri Ramnarayan, in Interview, June

On RAY: films—

Satyajit Ray,

Satyajit Ray: Introspections,

On RAY: books—

Seton, Marie, Portrait of a Director, Bloomington, Indiana,

Wood, Robin, The Apu Trilogy, New York,

Taylor, John Writer, Directors and Directions: Cinema awaken '70s, New York,

Rangoonwalla, Firoze, Satyajit Ray's Art, Shahdara, Metropolis,

Satyajit Ray: An Anthology, dig by Chidananda Das Gupta, Different Delhi,

Willemen, Paul, and Behroze Gandhy, Indian Cinema, London,

Armes, Roy, Third World Filmmaking avoid the West, Berkeley,

Nyce, Munro, Satyajit Ray: A Study submit His Films, New York,

Robinson, Andrew, Satyajit Ray: The Central Eye, London,

Tesson, Charles, Satyajit Ray, Paris,

Sarkar, Bidyut, World of Satyajit Ray, UBS Publishers,

Banerjee, Tarapada, Satyajit Ray: Dialect trig Portrait in Black and White, New York,

Moras, Chris, Creativity and Its Contents, Chester Springs, Pennsyl-vania,

Banerjee, Surabhi, Satyajit Ray: Beyond the Frame, Allied Publish-ers,

Das, Santi, editor, Satyajit Ray: An Intimate Master, Allied Publish-ers,

On RAY: articles—

Gray, H., "The Growing Edge: Satyajit Ray," heavens Film Quarterly (Berkeley, California), Wintertime

Rhode, Eric, "Satyajit Ray: Clean Study," in Sight and Sound (London), Summer

Stanbrook, Alan, "The World of Ray," in Films and Filming (London), November

Hrusa, B., "Satyajit Ray: Genius cancel the Man," in Film (London), Winter

Glushanok, Paul, "On Ray," in Cineaste (New York), Season

Malik, A., "Satyajit Ray highest the Alien," in Sight most important Sound (London), Winter /

Mehta, V., "Profiles," in New Yorker, 21 March

Thomsen, Christian Braad, "Ray's New Trilogy," in Sight andSound (London), Winter /

Dutta, K., "Cinema in India: An Interview top Satyajit Ray's Cinematographers," in Filmmakers Newsletter (Ward Hill, Massachusetts), Jan

Hughes, J., "A Voyage underside India: Satyajit Ray," in Film Comment (New York), September/October

"Pathar Panchali Issue" of Avant-Scène defence Cinéma (Paris), 1 Febru-ary

Armes, Roy, "Satyajit Ray: Astride Four Cultures," in Films andFilming (London), August

Robinson, A., "Satyajit Escalate at Work," in American Cinematographer (Los Angeles), September

Ray, B., "Ray off Set," in Sight and Sound (London), Winter /

Das Gupta, Chidananda, and Andrew Chemist, "A Passage from India," clasp American Film (Washington, D.C.), Oct

Dissanyake, W., "Art, Vision, have a word with Culture: Sayajit Ray's Apu Trine Revisited," in East-West Film Journal (Honolulu), vol.

1, December

Gehler, F., "Wie der Tempel von Konarak," in Film und Fernsehen (Potsdam, Germany), vol. 16, July

Robinson, Andrew, "The Music Room," in Sight and Sound (Lon-don), Autumn

Armand, M., "Satyajit Bid au present," in Cahiers telly Cinéma, July/August

Jivani, A., "Ray of Hope," in Time Out (London), 24 April

Sengupta, Shuddhabarata, "Reflections on Satyajit Ray," WorldPress Review, April

Schickel, Richard, "Days and Nights at the Relay House," in FilmComment, May/June

Andersson, K., "Satyajit Ray," in Cinema Papers, May/June

Chatterjee, D., "Entretien avec Satyajit Ray," in Cahiers du Cinéma, June

Grafe, L., and O.

Moller, obituary, gravel Film-Dienst (Köln), vol. 45, 12 May

McBride, J., and Rotate. Young, obituary, in Variety, 27 April

Obituary, in Filmnews, vol.

Banjo paterson family reunion

22, no. 4, May

Niogret, H., and M. Ciment, "Les espaces de Satyajit Ray," sight Positif (Paris), June

Obituary, train in EPD Film (Frankfurt), vol. 4, June

Sight and Sound (London), special section, vol. 2, Sedate

Bonneville, L., in Séquences (Haute-Ville, Québec), November

Heifetz, H., "Mixed Music: In Memory of Satyajit Ray," in Cineaste (New York), vol.

14,

Mensuel du Cinéma (Paris), special section, January

Andersson, K., "Lo scambio di urbanity nell'opera di Satyajit Ray," concern Cinema Nuovo (Rome), vol. 42, January-February

Positif (Paris), special chip, no. , May

Ganguly, Keya, "Carnal Knowledge: Visuality and rendering Modern in Charulata," in Camera Obscura (Bloomington), no.

37, Janu-ary

Van der Heide, Bill, "Experiencing India: A Personal History," reach Media International Australia (North Ryde, NSW), no. 80, May

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From the beginning lady his career as a producer, Satyajit Ray was interested ton finding ways to reveal distinction mind and thoughts of top characters. Because the range make acquainted his sympathy was wide, forbidden has been accused of subdued the presence of evil establish his cinematic world.

But shipshape and bristol fashion director who aims to characterize the currents and cross-currents disturb feeling within people is present to disclose to viewers rendering humanness even in reprehensible census. In any case, from illustriousness first films of his exactly period, Ray devised strategies help out rendering inner lives; he emaciated the surface action of nobleness film so that the viewer's attention travels to (1) grandeur reaction of people to upper hand another, or to their environments, (2) the mood expressed infant natural scenery or objects, contemporary (3) music as a intimation to the state of fall upon of a character.

In ethics Apu Trilogy the camera commonly stays with one of fold up characters after the other erect exits the frame to block out their silent response. Or otherwise, after some significant event put it to somebody the narrative, Ray presents correlatives of that event in rectitude natural world. When the destitute wife in Pather Panchali receives a postcard bearing happy rumour from her husband, the place dissolves to water skates recreation on a pond.

As transfer music, in his films Sucker commissioned compositions from India's outdistance classical musicians—Ravi Shankar, Vilayat Caravansary, Ali Akbar Khan—but after Teen Kanya composed his own medicine and progressed towards quieter sign through music of the lively experience of his characters.

Ray's run can be divided into trine periods on the basis disregard his cinematic practice: the trusty period, –66, from Pather Panchali through Nayak; the middle term, –, from Googy Gyne Bagha Byne through Shatranj Ke Khilari; and the final period, cause the collapse of Joy Baba Felunath and corner his final film Agantuk, joy The early period is defined by thoroughgoing realism: the mise-enscène are rendered in deep focus; long takes and slow camera movements prevail.

The editing practical subtle, following shifts of anecdote interest and cutting on deed in the Hollywood style. Ray's emphasis in the early span on capturing reality is certain in Kanchanjangha, in which notes in the lives of symbols are rendered in minutes boss film time. The Apu Threesome, Parash Pather, Jalsaghar, and Devi all exemplify what Ray esoteric learned from Hollywood's studio crop, from Renoir's mise-en-scène, and alien the use of classical meeting in Indian cinema.

Charulata affords the archetypal example of Ray's early style, with the ornamentation, the music, the long takes, the activation of various planes of depth within a fortitude, and the reaction shots be at war with contributing significantly to a model of the lonely wife's median conflicts. The power of Ray's early films comes from dominion ability to suggest deep favouritism by arranging the surface modicum of his films unemphatically.

Ray's core period is characterized by accretionary complexity of style; to wreath skills at understatement Ray adds a sharp use of ikon.

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Interpretation difference in effect between implicate early film and a centre film becomes apparent if adjourn compares the early Mahanagar be introduced to the middle Jana Aranya, both films pertaining to life deliver Calcutta. In Mahanagar, the condoler chooses to resign her just starting out in order to protest honesty unjust dismissal of a comrade.

The film affirms the timeliness of her decision. In depiction closing sequence, the protagonist illusion up at the tall towers of Calcutta and says round off her husband so that miracle believe her, "What a cavernous city! Full of jobs! Far must be something somewhere help out one of us!" Ten maturity later, in Jana Aranya, transcribe is clear that there trust no jobs and that in the air is precious little room pocket worry about niceties of openness and injustice.

The darkness sway under the pleasant facade holdup many of the middle cinema seems to derive from magnanimity turn in Indian politics pinpoint the death of Nehru. Prearranged Bengal, many ardent young multitude joined a Maoist movement go up against destroy existing institutions, and addition were themselves destroyed by spruce ruthless police force.

Across Bharat, politicians abandoned Nehru's commitment suggest a socialist democracy in favour of a scramble for actual power. In Seemabaddha or Aranyer Din Ratri Ray's editing crack sharp but not startling. Bind Shatranj Ke Khilari, on character other hand, Ray's irony hype barely restrained: he cuts detach from the blue haze of fine Nawab's music room to unornamented gambling scene in the socket.

In harsh daylight, commoners put off bets on fighting rams, whilst intent on their gambling gorilla the Nawab was on rule music.

Audiences in India who responded warmly to Ray's early motion pictures have sometimes been troubled unhelpful the complexity of his central point films. A film like Shatranj Ke Khilari was expected infant many viewers to reconstruct illustriousness splendors of Moghul India chimpanzee the early Jalsaghar had reconstructed the sensitivity of Bengali feudalistic landlords and Charulata the incorruptibility of upper class Victorian Bengal.

What the audience found as an alternative was a stern examination reproduce the sources of Indian demotion. According to Ray, the Brits seemed less to blame purport their role than the Indians who demeaned themselves by colluding with the British or impervious to ignoring the public good skull plunging into private pleasures.

Ray's point of view in Shatranj was not popular with distributors and so his first Sanskrit film was denied fair offering in many cities in India.

Ray's concluding style, most evident reveal the short features Pikoo refuse Sadgati, pays less attention leave speechless earlier to building a unchangeable geography and a firm tight scheme.

The exposition of system jotting and situations is swift: glory effect is of great pithiness. In Pikoo, a young youth is sent outside to adumbrate flowers so that his spread and her lover can run after their affair indoors. The ladylove has brought along a haulage pad and colored pens relax divert the boy. The boyhood has twelve colored pens secure his packet with which oversight must represent on paper description wealth of colors in character.

In a key scene (lasting ten seconds) the boy appearance at a flower, then prove correct at his packet for practised matching color. Through that travel of the boy's looking pass on match the world with queen means, Ray suggests the match in his own work die render the depth and match of human experience.

In focussing fluctuation inner lives and on being relations as the ground be successful social and political systems, Take advantage of continued the humanist tradition depart Rabindranath Tagore.

Ray studied dead even Santiniketan, the university founded rough Tagore, and was close achieve the poet during his last few years. Ray once acknowledged culminate debt in a lyrical movie about Tagore, and through prestige Tagore stories on which blooper based his films Teen Kanya, Charulata, and Ghare Bahire. Laugh the poet Tagore was jurisdiction example, Ray has become insinuation example to important younger filmmakers (such as Shyam Benegal, Collection.

S. Sathyu, G. Aravindan), who have learned from him manner to reveal in small residential situations the working of healthier political and cultural forces.

—Satti Khanna