| Satyajit Ray |
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Portrait of Ray
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| Native name | সত্যজিৎ রায় |
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| Born | 2 May 1921
Calcutta, Bengal Presidency,British India |
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| Died | 23 April 1992 (aged 70)
Kolkata, West Bengal |
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| Nationality | Indian |
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| Ethnicity | Bengali |
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| Alma mater | University of Calcutta |
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| Occupation | Director, Producer, Screenwriter, Lyricist, Music Composer, Calligrapher, Illustrator, Writer |
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| Years active | 1950–1992 |
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| Spouse(s) | Bijoya Ray (m. 1949–92) |
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| Children | Sandip Ray (son) |
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| Signature |  |
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Ray directed 36 films, including feature films, documentaries and
shorts. He was also a fiction writer, publisher, illustrator, calligrapher, music composer, graphic designer and film critic. He authored several short stories and novels, primarily aimed at children and adolescents.
Feluda, the sleuth, and
Professor Shonku, the scientist in his science fiction stories, are popular fictional characters created by him. He was awarded an honorary degree by
Oxford University.
Ray's first film,
Pather Panchali (1955), won eleven international prizes, including the
Best Human Document at the
1956 Cannes Film Festival. This film, along with
Aparajito (1956), and
Apur Sansar (1959) form
The Apu Trilogy. Ray did the
scripting, casting,
scoring, and editing, and designed his own credit titles and publicity material. Ray received many
major awards in his career, including 32 Indian
National Film Awards, a number of awards at international film festivals and award ceremonies, and an honorary
Academy Award in 1992. The Government of India honoured him with the
Bharat Ratna in 1992.
Life and career[edit]
Early life and background[edit]
Satyajit Ray's ancestry can be traced back for at least ten generations.
[5] Ray's grandfather,
Upendrakishore Ray Chowdhury was a writer, illustrator, philosopher, publisher, amateur astronomer and a leader of the
Brahmo Samaj, a religious and social movement in nineteenth century
Bengal. He also set up a printing press by the name of
U. Ray and Sons, which formed a crucial backdrop to Satyajit's life.
Sukumar Ray, Upendrakishore's son and father of Satyajit, was a pioneering
Bengali writer of
nonsense rhyme (abol tabol) and children's literature, an illustrator and a critic. Ray was born to Sanjay Shende and Suprabha Ray in Calcutta.
Sukumar Ray died when Satyajit was barely three, and the family survived on Suprabha Ray's meager income. Ray studied at
Ballygunge Government High School, Calcutta, and completed his BA in economics at
Presidency College, Calcutta then affiliated with the
University of Calcutta, though his interest was always in fine arts. In 1940, his mother insisted that he studied at the
Visva-Bharati University at
Santiniketan, founded by
Rabindranath Tagore. Ray was reluctant due to his love of Calcutta, and the low opinion of the intellectual life at Santiniketan
[6] His mother's persuasion and his respect for Tagore finally convinced him to try. In Santiniketan, Ray came to appreciate
Oriental art. He later admitted that he learned much from the famous painters
Nandalal Bose[7] and
Benode Behari Mukherjee. Later he produced a documentary film,
The Inner Eye, about Mukherjee. His visits to
Ajanta,
Ellora and
Elephanta stimulated his admiration for
Indian art.
[8]
In 1943, Ray started work at D.J. Keymer, a British-run advertising agency, as a "junior visualiser," earning eighty
rupees a month. Although he liked
visual design (graphic design) and he was mostly treated well, there was tension between the British and Indian employees of the firm. The British were better paid, and Ray felt that "the clients were generally stupid."
[9] Later, Ray also worked for
Signet Press, a new publishing house started by
D. K. Gupta. Gupta asked Ray to create cover designs for books to be published by Signet Press and gave him complete artistic freedom. Ray designed covers for many books, including
Jibanananda Das's
Banalata Sen, and
Rupasi Bangla,
Bibhutibhushan Bandyopadhyay's
Chander Pahar,
Jim Corbett's
Maneaters of Kumaon, and
Jawaharlal Nehru's
Discovery of India. He worked on a children's version of
Pather Panchali, a classic Bengali novel by
Bibhutibhushan Bandyopadhyay, renamed as
Aam Antir Bhepu (
The mango-seed whistle). Designing the cover and illustrating the book, Ray was deeply influenced by the work. He used it as the subject of his first film, and featured his illustrations as shots in his ground-breaking film.
[10]
Along with
Chidananda Dasgupta and others, Ray founded the
Calcutta Film Society in 1947. They screened many foreign films, many of which Ray watched and seriously studied. He befriended the American
GIs stationed in Calcutta during World War II, who kept him informed about the latest American films showing in the city. He came to know a
RAF employee, Norman Clare, who shared Ray's passion for films, chess and western classical music.
[11]
In 1949, Ray married
Bijoya Das, his first cousin and long-time sweetheart.
[12] The couple had a son,
Sandip, who is now a film director. In the same year, French director
Jean Renoir came to Calcutta to shoot his film
The River. Ray helped him to find locations in the countryside. Ray told Renoir about his idea of filming
Pather Panchali, which had long been on his mind, and Renoir encouraged him in the project.
[13] In 1950, D.J. Keymer sent Ray to London to work at its headquarters office. During his three months in London, Ray watched 99 films. Among these was the
neorealist film
Ladri di biciclette (
Bicycle Thief) (1948) by
Vittorio De Sica, which had a profound impact on him. Ray later said that he came out of the theatre determined to become a film-maker.
[14]
The Apu years (1950–59)[edit]
Ray gathered an inexperienced crew, although both his cameraman
Subrata Mitra and art director
Bansi Chandragupta went on to achieve great acclaim. The cast consisted of mostly amateur actors. He started shooting in late 1952 with his personal savings and hoped to raise more money once he had some passages shot, but did not succeed on his terms.
[15] As a result, Ray shot
Pather Panchali over three years, an unusually long period, based on when he or his production manager
Anil Chowdhury could raise additional funds.
[15] He refused funding from sources who wanted a change in script or supervision over production. He also ignored advice from the government to incorporate a happy ending, but he did receive funding that allowed him to complete the film.
[16] Ray showed an early film passage to the American director
John Huston, who was in India scouting locations for
The Man Who Would Be King. The passage was of the vision which Apu and his sister have of the train running through the countryside, the only sequence which Ray had yet filmed due to his small budget. Huston notified Monroe Wheeler at the
New York Museum of Modern Art (MOMA) that a major talent was on the horizon.
With a loan from the
West Bengal government, Ray finally completed the film. It was released in 1955 to great critical and popular success. It earned numerous prizes and had long runs in both India and abroad. In India, the reaction to the film was enthusiastic;
The Times of India wrote that "It is absurd to compare it with any other Indian cinema [...]
Pather Panchali is pure cinema."
[17] In the United Kingdom,
Lindsay Anderson wrote a glowing review of the film.
[17] But, the reaction was not uniformly positive. After watching the movie,
François Truffaut is reported to have said, "I don't want to see a movie of peasants eating with their hands."
[18] Bosley Crowther, then the most influential critic of
The New York Times, wrote a scathing review of the film. Its American distributor Ed Harrison was worried Crowther's review would dissuade audiences, but the film had an exceptionally long run when released in the United States.
Ray's international career started in earnest after the success of his next film,
Aparajito (
The Unvanquished).
[19] This film shows the eternal struggle between the ambitions of a young man, Apu, and the mother who loves him.
[19] Critics such as
Mrinal Sen and
Ritwik Ghatak rank it higher than Ray's first film.
[19] Aparajito won the
Golden Lion at the
Venice Film Festival, bringing Ray considerable acclaim. Before completing
The Apu Trilogy, Ray directed and released two other films: the comic
Parash Pathar (
The Philosopher's Stone), and
Jalsaghar (
The Music Room), a film about the decadence of the
Zamindars, considered one of his most important works.
[20]
While making
Aparajito, Ray had not planned a trilogy, but after he was asked about the idea in Venice, it appealed to him.
[21] He finished the last of the trilogy,
Apur Sansar (
The World of Apu) in 1959. Critics
Robin Wood and
Aparna Sen found this to be the supreme achievement of the trilogy. Ray introduced two of his favourite actors,
Soumitra Chatterjee and
Sharmila Tagore, in this film. It opens with Apu living in a Calcutta house in near-poverty. He becomes involved in an unusual marriage with Aparna. The scenes of their life together form "one of the cinema's classic affirmative depictions of married life."
[22] They suffer tragedy. After
Apur Sansar was harshly criticised by a Bengali critic, Ray wrote an article defending it. He rarely responded to critics during his filmmaking career, but also later defended his film
Charulata, his personal favourite.
[23]
Ray's film successes had little influence on his personal life in the years to come. He continued to live with his wife and children in a rented house, with his mother, uncle and other members of his extended family.
[24]
From Devi to Charulata (1959–64)[edit]
During this period, Ray composed films on the
British Raj period (such as
Devi), a documentary on Tagore, a comic film (
Mahapurush) and his first film from an original screenplay (
Kanchenjungha). He also made a series of films that, taken together, are considered by critics among the most deeply felt portrayals of Indian women on screen.
[25]
Ray followed
Apur Sansar with
Devi (
The Goddess), a film in which he examined the superstitions in
Hindu society. Sharmila Tagore starred as Doyamoyee, a young wife who is
deified by her father-in-law. Ray was worried that the censor board might block his film, or at least make him re-cut it, but
Devi was spared. In 1961, on the insistence of Prime minister
Jawaharlal Nehru, Ray was commissioned to make
a documentary on
Rabindranath Tagore, on the occasion of the poet's birth centennial, a tribute to the person who likely most influenced Ray. Due to limited footage of Tagore, Ray faced the challenge of making a film out of mainly static material. He said that it took as much work as three feature films.
[26]
In the same year, together with
Subhas Mukhopadhyay and others, Ray was able to revive
Sandesh, the children's magazine which his grandfather once published. Ray had been saving money for some years to make this possible.
[27] A duality in the name (
Sandesh means both "news" in Bengali and also a sweet popular dessert) set the tone of the magazine (both educational and entertaining). Ray began to make illustrations for it, as well as to write stories and essays for children. Writing became his major source of income in the years to come.
In 1962, Ray directed
Kanchenjungha. Based on his first original screenplay, it was his first film in colour. The film tells of an upper-class family spending an afternoon in
Darjeeling, a picturesque hill town in West Bengal. They try to arrange the engagement of their youngest daughter to a highly paid engineer educated in London. He had first conceived shooting the film in a large mansion, but later decided to film it in the famous hill town. He used the many shades of light and mist to reflect the tension in the drama. Ray noted that while his script allowed shooting to be possible under any lighting conditions, a commercial film contingent present at the same time in Darjeeling failed to shoot a single scene, as they only wanted to do so in sunshine.
[28]
In the sixties, Ray visited Japan and took particular pleasure in meeting the filmmaker
Akira Kurosawa, for whom he had very high regard. While at home, he would take an occasional break from the hectic city life by going to places such as Darjeeling or
Puri to complete a script in isolation.
In 1964 Ray made
Charulata (
The Lonely Wife); it was the culmination of this period of work, and regarded by many critics as his most accomplished film.
[29] Based on "
Nastanirh", a short story of Tagore, the film tells of a lonely wife, Charu, in 19th-century Bengal, and her growing feelings for her brother-in-law Amal. Critics have referred to this as Ray's
Mozartian masterpiece. He said the film contained the fewest flaws among his work, and it was his only work which, given a chance, he would make exactly the same way.
[30]Madhabi Mukherjee's performance as Charu, and the work of both Subrata Mitra and Bansi Chandragupta in the film, have been highly praised. Other films in this period include
Mahanagar (
The Big City),
Teen Kanya (
Three Daughters),
Abhijan (
The Expedition) and
Kapurush o Mahapurush (
The Coward and the Holy Man).
New directions (1965–82)[edit]
In the post-
Charulata period, Ray took on projects of increasing variety, ranging from fantasy to science fiction to
detective films to
historical drama. Ray also made considerable formal experimentation during this period. He expressed contemporary issues of Indian life, responding to a perceived lack of these issues in his films. The first major film in this period is
Nayak (
The Hero), the story of a screen hero travelling in a train and meeting a young, sympathetic female journalist. Starring
Uttam Kumar and Sharmila Tagore, in the twenty-four hours of the journey, the film explores the inner conflict of the apparently highly successful
matinée idol. In spite of the film's receiving a "Critics prize" at the Berlin Festival, it had a generally muted reception.
[31]
In 1967, Ray wrote a script for a film to be called
The Alien, based on his short story "Bankubabur Bandhu" ("Banku Babu's Friend") which he wrote in 1962 for
Sandesh, the Ray family magazine.
Columbia Pictures was the producer for what was a planned US-India co-production, and
Peter Sellers and
Marlon Brando were cast as the leading actors. Ray found that his script had been copyrighted and the fee appropriated by Mike Wilson. Wilson had initially approached Ray through their mutual friend,
Arthur C. Clarke, to represent him in Hollywood. Wilson copyrighted the script credited to
Mike Wilson & Satyajit Ray, although he contributed only one word. Ray later said that he never received a penny for the script.
[32] After Brando dropped out of the project, the project tried to replace him with
James Coburn, but Ray became disillusioned and returned to Calcutta.
[32] Columbia expressed interest in reviving the project several times in the 1970s and 1980s, but nothing came of it. When
E.T. was released in 1982, Clarke and Ray saw similarities in the film to his earlier
Alien script. The Indian director Satyajit Ray claimed that this film plagiarized his script. Ray said that Steven Spielberg's movie "would not have been possible without my script of 'The Alien' being available throughout America in mimeographed copies." Spielberg denied any plagiarism by saying, "I was a kid in high school when this script was circulating in Hollywood." (Spielberg actually graduated high school in 1965 and released his first film in 1968.
[33] Besides
The Alien, two other unrealised projects which Ray had intended to direct were adaptations of the ancient
Indian epic, the
Mahābhārata, and
E. M. Forster's 1924 novel
A Passage to India.
[34]
In 1969, Ray released what would be commercially the most successful of his films. Based on a children's story written by his grandfather,
Goopy Gyne Bagha Byne (
The Adventures of Goopy and Bagha), it is a
musical fantasy. Goopy the singer and Bagha the drummer, endowed with three gifts by the King of Ghosts, set out on a fantastic journey. They try to stop an impending war between two neighbouring kingdoms. Among his most expensive enterprises, the film project was difficult to finance. Ray abandoned his desire to shoot it in colour, as he turned down an offer that would have forced him to cast a certain
Hindi film actor as the lead.
[35]
Ray made a film from a novel by the young poet and writer,
Sunil Gangopadhyay. Featuring a musical motif structure acclaimed as more complex than
Charulata,
[36] Aranyer Din Ratri (
Days and Nights in the Forest) traces four urban young men going to the forests for a vacation. They try to leave their daily lives behind. All but one of them become involved in encounters with women, which becomes a deep study of the Indian middle class. According to Robin Wood, "a single sequence [of the film] ... would offer material for a short essay".
[36]
After
Aranyer, Ray addressed contemporary Bengali life. He completed what became known as the
Calcutta trilogy:
Pratidwandi (1970),
Seemabaddha (1971), and
Jana Aranya (1975), three films that were conceived separately but had thematic connections.
[37]Pratidwandi (
The Adversary) is about an idealist young graduate; if disillusioned at the end of film, he is still uncorrupted.
Jana Aranya (
The Middleman) showed a young man giving in to the culture of corruption to make a living.
Seemabaddha (
Company Limited) portrayed an already successful man giving up his morality for further gains. In the first film,
Pratidwandi, Ray introduces a new, elliptical narrative style, such as scenes in negative, dream sequences, and abrupt flashbacks.
[37] In the 1970s, Ray adapted two of his popular stories as detective films. Though mainly addressed to children and young adults, both
Sonar Kella (
The Golden Fortress) and
Joy Baba Felunath (
The Elephant God) found some critical following.
[38]
Ray considered making a film on the
Bangladesh Liberation War but later abandoned the idea. He said that, as a filmmaker, he was more interested in the travails of the refugees and not the politics.
[39] In 1977, Ray completed
Shatranj Ke Khiladi (
The Chess Players), a
Hindi film based on a story by
Munshi Premchand. It was set in
Lucknow in the state of
Oudh, a year before the
Indian rebellion of 1857. A commentary on issues related to the colonisation of India by the British, this was Ray's first feature film in a language other than Bengali. It is his most expensive and star-studded film, featuring
Sanjeev Kumar,
Saeed Jaffrey,
Amjad Khan,
Shabana Azmi,
Victor Bannerjee and
Richard Attenborough.
In 1980, Ray made a sequel to
Goopy Gyne Bagha Byne, a somewhat political
Hirak Rajar Deshe (
Kingdom of Diamonds). The kingdom of the evil Diamond King, or
Hirok Raj, is an allusion to India during
Indira Gandhi's
emergency period.
[40] Along with his acclaimed short film
Pikoo (
Pikoo's Diary) and hour-long
Hindi film,
Sadgati, this was the culmination of his work in this period.
The last phase (1983–92)[edit]
In 1983, while working on
Ghare Baire (
Home and the World), Ray suffered a heart attack; it would severely limit his productivity in the remaining 9 years of his life.
Ghare Baire was completed in 1984 with the help of Ray's son (who operated the camera from then on) because of his health condition. He had wanted to film this
Tagore novel on the dangers of fervent nationalism for a long time, and wrote a first draft of a script for it in the 1940s.
[41] In spite of rough patches due to Ray's illness, the film did receive some critical acclaim. It had the first kiss fully portrayed in Ray's films. In 1987, he made
a documentary on his father,
Sukumar Ray.
Ray's last three films, made after his recovery and with medical strictures in place, were shot mostly indoors, and have a distinctive style. They have more dialogue than his earlier films and are often regarded as inferior to his earlier body of work.
[42] The first,
Ganashatru (
An Enemy of the People) is an adaptation of the famous
Ibsen play, and considered the weakest of the three.
[43] Ray recovered some of his form in his 1990 film
Shakha Proshakha (
Branches of the Tree).
[44] In it, an old man, who has lived a life of honesty, comes to learn of the corruption of three of his sons. The final scene shows the father finding solace only in the companionship of his fourth son, who is uncorrupted but mentally ill. Ray's last film,
Agantuk (
The Stranger), is lighter in mood but not in theme. When a long-lost uncle arrives to visit his niece in Calcutta, he arouses suspicion as to his motive. This provokes far-ranging questions in the film about civilisation.
[45]
In 1992, Ray's health deteriorated due to heart complications. He was admitted to a hospital, but never recovered. The
Academy of Motion Picture Arts and Sciences awarded him an
Honorary Academy Award. Ray became the first and the only Indian yet to receive the honor. Twenty-four days before his death, Ray accepted the award in a gravely ill condition, saying that it is the "Best achievement of [his] movie-making career."
[46] He died on 23 April 1992 at the age of 70.
Film craft[edit]
Satyajit Ray considered script-writing to be an integral part of direction. Initially he refused to make a film in any language other than
Bengali. In his two non-Bengali feature films, he wrote the script in English; translators interpreted it in Hindi or Urdu under Ray's supervision. Ray's eye for detail was matched by that of his art director Bansi Chandragupta. His influence on the early films was so important that Ray would always write scripts in English before creating a Bengali version, so that the non-Bengali Chandragupta would be able to read it. The craft of
Subrata Mitra garnered praise for the cinematography of Ray's films. A number of critics thought that his departure from Ray's crew lowered the quality of
cinematography in the following films.
[31] Though Ray openly praised Mitra, his single-mindedness in taking over operation of the camera after
Charulata caused Mitra to stop working for him after 1966. Mitra developed "bounce lighting", a technique to reflect light from cloth to create a diffused, realistic light even on a set. Ray acknowledged his debts to
Jean-Luc Godard and
François Truffaut of the
French New Wave for introducing new technical and cinematic innovations.
[47]
Ray's regular film editor was
Dulal Datta, but the director usually dictated the editing while Datta did the actual work. Because of financial reasons and Ray's meticulous planning, his films were mostly cut "on the camera" (apart from
Pather Panchali). At the beginning of his career, Ray worked with
Indian classical musicians, including
Ravi Shankar,
Vilayat Khan and
Ali Akbar Khan. He found that their first loyalty was to musical traditions, and not to his film. He had a greater understanding of western classical forms, which he wanted to use for his films set in an urban milieu.
[48] Starting with
Teen Kanya, Ray began to compose his own scores.
He used actors of diverse backgrounds, from famous film stars to people who had never seen a film (as in
Aparajito).
[49] Robin Wood and others have lauded him as the best director of children, pointing out memorable performances in the roles of Apu and Durga (
Pather Panchali), Ratan (
Postmaster) and Mukul (
Sonar Kella). Depending on the talent or experience of the actor, Ray varied the intensity of his direction, from virtually nothing with actors such as
Utpal Dutt, to using the actor as "a puppet"
[50] (
Subir Banerjee as young Apu or Sharmila Tagore as Aparna). Actors who had worked for Ray praised his customary trust but said he could also treat incompetence with "total contempt".
[51]
Literary works[edit]
Ray created two popular fictional characters in Bengali children's literature—
Feluda, a detective, and
Professor Shonku, a scientist. The Feluda stories are narrated by Topshe, his teenage cousin, something of a
Watson to Feluda's
Holmes. The science fictions of Shonku are presented as a diary discovered after the scientist had mysteriously disappeared. Ray also wrote a collection of
nonsense verse named
Today Bandha Ghorar Dim, which includes a translation of
Lewis Carroll's "
Jabberwocky". He wrote a collection of humorous stories of
Mullah Nasiruddin in Bengali.
His short stories were published as collections of 12 stories, in which the overall title played with the word twelve (for example
Aker pitthe dui, or literally "Two on top of one"). Ray's interest in puzzles and puns is reflected in his stories. Ray's short stories give full rein to his interest in the macabre, in suspense and other aspects that he avoided in film, making for an interesting psychological study.
[52] Most of his writings have been translated into English. Most of his screenplays have been published in Bengali in the literary journal
Eksan. Ray wrote an autobiography about his childhood years,
Jakhan Choto Chilam (1982).
Ray as Calligrapher[edit]
Satyajit Ray designed four typefaces for roman script named Ray Roman, Ray Bizarre, Daphnis, and Holiday Script, apart from numerous Bengali ones for the
Sandesh magazine.
[53][54] Ray Roman and Ray Bizarre won an international competition in 1971.
[55] In certain circles of Calcutta, Ray continued to be known as an eminent graphic designer, well into his film career. Ray illustrated all his books and designed covers for them, as well as creating all publicity material for his films, i.e., Ray's artistic playing with the Bengali graphemes was also revealed in the cine posters and cine promo-brochures' covers. He also designed covers of several books by other authors.
[56] In his calligraphic technique there are deep impacts of: (a) Artistic pattern of European musical staff notation in the graphemic syntagms; (b)
alpana ("ritual painting" mainly practised by Bengali women at the time of religious festival; the term denotes 'to coat with'. Generally categorised as "Folk"-Art cf. in Ray's graphemic representations.
Thus, so-called division between classical and folk art is blurred in Ray's representation of Bengali graphemes. The three-tier X-height of Bengali graphemes was presented in a manner of musical map and the contours, curves in between horizontal and vertical meeting-point, follow the patterns of alpana. It is also noticed that the metamorphosis of graphemes (This might be designated as "Archewriting") as a living object/subject in Ray's positive manipulation of Bengali graphemes.
[57]
Critical and popular response[edit]
Ray's work has been described as full of
humanism and universality, and of a deceptive simplicity with deep underlying complexity.
[58][59] The Japanese director
Akira Kurosawa said, "Not to have seen the cinema of Ray means existing in the world without seeing the sun or the moon."
[60] But his detractors find his films glacially slow, moving like a "majestic snail."
[29] Some find his humanism simple-minded, and his work
anti-modern; they criticize him for lacking the new modes of expression or experimentation found in works of Ray's contemporaries, such as
Jean-Luc Godard.
[61] As
Stanley Kauffman wrote, some critics believe that Ray assumes that viewers "can be interested in a film that simply dwells in its characters, rather than one that imposes dramatic patterns on their lives."
[62]Ray said he could do nothing about the slow pace.
Kurosawa defended him by saying that Ray's films were not slow, "His work can be described as flowing composedly, like a big river".
[63]
Critics have often compared Ray to artists in the cinema and other media, such as
Chekhov,
Renoir,
De Sica,
Hawks or
Mozart. The writer
V. S. Naipaul compared a scene in
Shatranj Ki Khiladi (The Chess Players) to a Shakespearean play; he wrote, "only three hundred words are spoken but goodness! – terrific things happen."
[22][64][65] Even critics who did not like the
aesthetics of Ray's films generally acknowledged his ability to encompass a whole culture with all its nuances. Ray's obituary in
The Independent included the question, "Who else can compete?"
[66] His work was promoted in France by
The Studio des Ursulines cinema.
Political ideologues took issue with Ray's work. In a public debate during the 1960s, Ray and the
Marxist filmmaker
Mrinal Sen engaged in an argument. Sen criticised him for casting a matinée idol such as
Uttam Kumar, whom he considered a compromise.
[67] Ray said that Sen only attacked "easy targets", i.e. the Bengali middle-classes. However Ray himself has made movies on Bengali middle class in films like
Pratidwandi and
Jana Aranya set during the period of the
naxalite movement in
Bengal. Advocates of socialism said that Ray was not "committed" to the cause of the nation's downtrodden classes; some critics accused him of glorifying poverty in
Pather Panchali and
Ashani Sanket (Distant Thunder) through lyricism and aesthetics. They said he provided no solution to conflicts in the stories, and was unable to overcome his
bourgeois background. During the
naxalite movements in the 1970s, agitators once came close to causing physical harm to his son, Sandip.
[68] Early in 1980, Ray was criticised by an Indian
M.P. and former actress
Nargis Dutt, who accused Ray of "exporting poverty." She wanted him to make films to represent "Modern India."
[69]
Satyajit Ray is a cultural icon in India and in Bengali communities worldwide.
[70] Following his death, the city of Calcutta came to a virtual standstill, as hundreds of thousands of people gathered around his house to pay their last respects.
[71] Satyajit Ray's influence has been widespread and deep in
Bengali cinema; a number of Bengali directors, including
Aparna Sen,
Rituparno Ghosh and
Gautam Ghose as well as
Vishal Bhardwaj,
Dibakar Banerjee,
Shyam Benegal and
Sujoy Ghosh from Hindi cinema in India,
Tareq Masudand
Tanvir Mokammel in Bangladesh, and
Aneel Ahmad in England, have been influenced by his film craft. Across the spectrum, filmmakers such as
Budhdhadeb Dasgupta,
Mrinal Sen[72] and
Adoor Gopalakrishnan have acknowledged his seminal contribution to Indian cinema. Beyond India, filmmakers such as
Martin Scorsese,
[73][74] Francis Ford Coppola,
James Ivory,
[75] Abbas Kiarostami,
Elia Kazan, François Truffaut,
[76] Carlos Saura,
[77] Isao Takahata,
[78] Wes Anderson,
[79] Danny Boyle[80] and any many other noted filmmakers from all over the world have been influenced by his cinematic style, with many others such as
Akira Kurosawa praising his work.
[60] Gregory Nava's 1995 film
My Family had a final scene that repeated that of
Apur Sansar.
Ira Sachs's 2005 work
Forty Shades of Blue was a loose remake of
Charulata. Other references to Ray films are found, for example, in recent works such as
Sacred Evil,
[81] the
Elements trilogy of
Deepa Mehta.
[82] According to Michael Sragow of
The Atlantic Monthly, the "youthful
coming-of-age dramas that have flooded art houses since the mid-fifties owe a tremendous debt to the
Apu trilogy".
[83] The trilogy also introduced the
bounce lighting technique.
[84] Kanchenjungha (1962) introduced a narrative structure that resembles later
hyperlink cinema.
[85] Pratidwandi (1972) helped pioneer
photo-negative flashback and X-ray digression techniques.
[86] Together with
Madhabi Mukherjee, Ray was the first Indian film figure to be featured on a foreign stamp (
Dominica).
Many literary works include references to Ray or his work, including
Saul Bellow's
Herzog and
J. M. Coetzee's
Youth.
Salman Rushdie's
Haroun and the Sea of Stories contains fish characters named
Goopy and
Bagha, a tribute to Ray's fantasy film. In 1993,
UC Santa Cruz established the Satyajit Ray Film and Study collection, and in 1995, the Government of India set up
Satyajit Ray Film and Television Institute for studies related to film. In 2007, the BBC declared that two
Feluda stories would be made into radio programs.
[87] During the
London Film Festival, a regular "Satyajit Ray Award" is given to a first-time feature director whose film best captures "the artistry, compassion and humanity of Ray's vision".
Wes Anderson has claimed Ray as an influence on his work; his 2007 film,
The Darjeeling Limited, set in India, is dedicated to Ray. Ray also a graphic designer, designed most of his film posters, combining folk-art and calligraphy to create themes ranging from mysterious, surreal to comical; an exhibition his posters was held at
British Film Institute in 2013.
[88]
Awards, honours and recognitions[edit]
In 1992, the
Sight & Sound Critics' Top Ten Poll ranked Ray at No. 7 in its list of "Top 10 Directors" of all time, making him the highest-ranking
Asian filmmaker in the poll.
[95] In 2002, the
Sight & Sound critics' and directors' poll ranked Ray at No. 22 in its list of all-time greatest directors,
[96] thus making him the fourth highest-ranking Asian filmmaker in the poll.
[96] In 1996,
Entertainment Weekly magazine ranked Ray at No. 25 in its "50 Greatest Directors" list.
[97] In 2007,
Total Film magazine included Ray in its "100 Greatest Film Directors Ever" list.
[98]
The Ray family[edit]
Filmography[edit]
See also[edit]
Satyajit Ray ( About this sound listen (help·info); 2 May 1921 – 23 April 1992) was an Indian filmmaker. He is considered as one of the greatest filmmakers of the ...
Satyajit Ray (2 May 1921 – 23 April 1992) was an Indian filmmaker who worked prominently in Bengali cinema and who has often been regarded as one of the ...
-
Satyajit Ray was born in Calcutta on 2nd May 1921. His father, Sukumar Ray was an eminent poet and writer in the history of Bengali literature. In 1940, after ...
Satyajit Ray, The great filmmaker from India. Life, films, filmmaking and more...
Biography. Satyajit Ray Director, Producer, Screenwriter, Composer, Writer, Graphic Designer Born: May 2, 1921, Kolkata (Calcutta), India Died: April 23, 1992, ...
Satyajit Ray, an Indian filmmaker and among the dozen or so great masters of world cinema, is known for his humanistic approach to cinema. He made his films ...
Named after the legendary film maestro Satyajit Ray, SRFTI is a national center of excellence and offers post-graduate program in Cinematic studies.
Duration, 3-year (full time), Postgraduate Programme in Cinema. Course Structure, Integrated Course in I & II Semester – 20 weeks each [common for all ...
A comprehensive archive of the works of Satyajit Ray, including his films as well as originals and facsimiles of his papers, sketches and graphics.
- Jump up^ Robinson, W. Andrew. "Satyajit Ray". Encyclopaedia Britannica. Retrieved 2015-02-15.
- Jump up^ Chakrabortty, Aditya (22 July 2013). "Satyajit Ray's artifice and honesty set him apart from other film directors". The Guardian.
- Jump up^ "Film Programs: The Brilliance of Satyajit Ray". Berkeley Art Museum and Pacific Film Archive. Retrieved 2015-02-15.
- Jump up^ Wigley, Samuel (20 August 2014). "Satyajit Ray: five essential films". British Film Institute. Retrieved 2015-02-15.
- Jump up^ Seton 1971, p. 36
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- Jump up^ Seton 1971, pp. 71–72
- Jump up^ Robinson 2003, pp. 56–58
- Jump up^ Robinson 2005, p. 38
- Jump up^ Robinson 2005, pp. 40–43
- Jump up^ Arup Kr De, "Ties that Bind" by The Statesman, Calcutta, 27 April 2008. Quote: "Satyajit Ray had an unconventional marriage. He married Bijoya (born 1917), youngest daughter of his eldest maternal uncle, Charuchandra Das, in 1948 in a secret ceremony in Bombay after a long romantic relationship that had begun around the time he left college in 1940. The marriage was reconfirmed in Calcutta the next year at a traditional religious ceremony."
- Jump up^ Robinson 2005, pp. 42–44
- Jump up^ Robinson 2005, p. 48
- ^ Jump up to:a b Robinson 2003, pp. 74–90
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- ^ Jump up to:a b Seton 1971, pp. 112–15
- Jump up^ "Filmi Funda Pather Panchali (1955)". The Telegraph(Calcutta, India). 20 April 2005. Retrieved 29 April 2006.
- ^ Jump up to:a b c Robinson 2003, pp. 91–106
- Jump up^ Malcolm D (19 March 1999). "Satyajit Ray: The Music Room". The Guardian (London). Retrieved 19 June 2006.
- Jump up^ Wood 1972, p. 61
- ^ Jump up to:a b Wood 1972
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- Jump up^ Palopoli S. "Ghost 'World'". metroactive.com. Retrieved19 June 2006.
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- ^ Jump up to:a b Robinson 2003, p. 157
- Jump up^ Antani J. "Charulata". Slant magazine. Retrieved 19 June2006.
- ^ Jump up to:a b Dasgupta 1996, p. 91
- ^ Jump up to:a b Ray, Satyajit. "Ordeals of the Alien". The Unmade Ray. Satyajit Ray Society. Archived from the original on 27 April 2008. Retrieved 21 April 2008.
- Jump up^ Newman J (17 September 2001). "Satyajit Ray Collection receives Packard grant and lecture endowment". UC Santa Cruz Currents online. Retrieved 29 April 2006.
- Jump up^ C. J. Wallia (1996). "Book review: Satyajit Ray by Surabhi Banerjee". India Star. Retrieved 31 May 2009.[dead link]
- Jump up^ Seton 1971, pp. 291–297
- ^ Jump up to:a b Wood 1972, p. 13
- ^ Jump up to:a b Robinson 2003, pp. 200–220
- Jump up^ Rushdie 1992
- Jump up^ Robinson 2003, p. 206
- Jump up^ Robinson 2003, pp. 188–189
- Jump up^ Robinson 2003, pp. 66–67
- Jump up^ Robinson 2003, pp. 339–364
- Jump up^ Dasgupta 1996, p. 134
- Jump up^ Robinson 2003, p. 353
- Jump up^ Robinson 2003, pp. 353–364
- Jump up^ "Acceptance Speeches: Satyajit Ray". Academy of Motion Picture Arts and Sciences. Retrieved 22 April 2013.
- Jump up^ Sen A. "Western Influences on Satyajit Ray". Parabaas. Retrieved 29 April 2006.
- Jump up^ Robinson 2003, pp. 315–318
- Jump up^ Ray 1994, p. 100
- Jump up^ Robinson 2003, p. 78
- Jump up^ Robinson 2003, p. 307
- Jump up^ Nandy 1995
- Jump up^ Datta, Sudipta (19 January 2008). "The Ray show goes on".The Financial Express (Indian Express Newspapers (Mumbai) Ltd). Retrieved 10 April 2008.
- Jump up^ "Ray Typography". Retrieved 24 July 2014.
- Jump up^ Robinson 2003, p. 57
- Jump up^ Robinson 2003, pp. 57–59
- Jump up^ "Chobi Lekhen Sottojit (Satyajit Ray Writes Paintings)". academia.edu.
- Jump up^ Malcolm D (2 May 2002). "The universe in his backyard". The Guardian (London). Retrieved 15 February 2007.
- Jump up^ Swagrow M. "An Art Wedded to Truth". The Atlantic Monthly. Retrieved 15 February 2007.
- ^ Jump up to:a b Robinson 2003, p. 96
- Jump up^ Robinson 2003, pp. 306–318
- Jump up^ Robinson 2003, pp. 352–353
- Jump up^ Robinson 2003, pp. 314–315
- Jump up^ Ebert R. "The Music Room (1958)". Chicago Sun-Times. Retrieved 29 April 2006.
- Jump up^ Robinson 2003, p. 246
- Jump up^ Robinson 2005, pp. 13–14
- Jump up^ Robinson 2003, p. 177
- Jump up^ Robinson 2003, p. 205
- Jump up^ Robinson 2003, pp. 327–328
- Jump up^ Tankha, Madhur (1 December 2007). "Returning to the classics of Ray". The Hindu (Chennai, India). Retrieved 1 May 2008.
- Jump up^ Amitav Ghosh. "Satyajit Ray". Doom Online. Retrieved19 June 2006.
- Jump up^ Mrinal Sen. "Our lives, their lives". Little Magazine. Retrieved29 June 2006.
- Jump up^ Chris Ingui. "Martin Scorsese hits DC, hangs with the Hachet". Hatchet. Retrieved 6 June 2009.
- Jump up^ Jay Antani (2004). "Raging Bull: A film review".Filmcritic.com. Retrieved 4 May 2009.[dead link]
- Jump up^ Sheldon Hall. "Ivory, James (1928–)". Screen Online. Retrieved 12 February 2007.
- Jump up^ Dave Kehr (5 May 1995). "The 'World' of Satyajit Ray: Legacy of India's Premier FIlm Maker on Display". Daily News. Retrieved 6 June 2009.
- Jump up^ Suchetana Ray (11 March 2008). "Satyajit Ray is this Spanish director's inspiration". CNN-IBN. Retrieved 6 June 2009.
- Jump up^ Daniel Thomas (20 January 2003). "Film Reviews: Grave of the Fireflies (Hotaru no Haka)". Retrieved 30 May 2009.
- Jump up^ "A Review of Wes Anderson's The Darjeeling Limited". 28 October 2007. Retrieved 2007-12-24.
- Jump up^ Alkarim Jivani (February 2009). "Mumbai rising". Sight & Sound. Retrieved 1 February 2009.
- Jump up^ SK Jha (9 June 2006). "Sacred Ray". Calcutta, India: Telegraph India. Retrieved 29 June 2006.
- Jump up^ André Habib. "Before and After: Origins and Death in the Work of Jean-Luc Godard". Senses of Cinema. Archived from the original on 14 June 2006. Retrieved 29 June 2006.
- Jump up^ Sragow, Michael (1994). "An Art Wedded to Truth". The Atlantic Monthly (University of California, Santa Cruz). Retrieved11 May 2009.
- Jump up^ "Subrata Mitra". Internet Encyclopedia of Cinematographers. Retrieved 22 May 2009.
- Jump up^ "An Interview with Satyajit Ray". 1982. Retrieved 24 May2009.
- Jump up^ Nick Pinkerton (14 April 2009). "First Light: Satyajit Ray From the Apu Trilogy to the Calcutta Trilogy". The Village Voice. Retrieved 9 July 2009.
- Jump up^ Datta S. "Feluda goes global, via radio". The Financial Express. Retrieved 12 February 2007.
- Jump up^ Isabel Stevens (13 August 2013). "Satyajit Ray's film posters: in pictures". The Guardian. Retrieved 6 June 2014.
- Jump up^ "11th Moscow International Film Festival (1979)". Moscow International Film Festival. Retrieved 20 January 2013.
- Jump up^ "Silver Bear winners (directors)". listal. 24 November 2008. Retrieved 19 April 2009.
- Jump up^ "Personal Awards". Satyajit Ray official site. Retrieved19 April 2009.
- Jump up^ Robinson 2003, p. 1
- ^ Jump up to:a b "Personal Awards". Awards. satyajitray.org. Retrieved9 April 2008.
- Jump up^ "Awards and Tributes: Satyajit Ray". San Francisco International Film Festival: The First to Fifty. San Francisco Film Society. Retrieved 8 April 2008.
- Jump up^ "Sight and Sound Poll 1992: Critics". California Institute of Technology. Retrieved 29 May 2009.
- ^ Jump up to:a b Kevin Lee (5 September 2002). "A Slanted Canon". Asian American Film Commentary. Retrieved 24 April 2009.
- Jump up^ "Greatest Film Directors and Their Best Films". Filmsite.org. Retrieved 19 April 2009.
- Jump up^ "The Greatest Directors Ever by Total Film Magazine".Filmsite.org. Retrieved 19 April 2009.
References[edit]
- Biswas, M, ed. (2006). Apu and after: Revisiting Ray's cinema. Seagull Books. ISBN 978-1-905422-25-8.
- Cooper, D (2000). The Cinema of Satyajit Ray: Between Tradition and Modernity (PDF). Cambridge University Press. ISBN 0-521-62980-2.
- Dasgupta, C (1996). The cinema of Satyajit Ray. Penguin India.ISBN 0-14-024780-7.
- Ganguly, S (2001). Satyajit Ray: In search of the modern. Indialog.ISBN 81-87981-04-0.
- Y, Ishaghpour (2002). Satyajit Ray, l'Orient et l'Occident. Volume 24 of Les essais. Différence. ISBN 2-7291-1401-7.
- Mitra, S (1983). "The Genius of Satyajit Ray". India Today.
- Nandy, A (1995). "Satyajit Ray's Secret Guide to Exquisite Murders".The Savage Freud and Other Essays on Possible and Retrievable Selves. Princeton University Press. ISBN 0-691-04410-4.
- Nyce, B (1988). Satyajit Ray: A Study of His Films. Praeger Publishers. ISBN 0-275-92666-4.
- Ray, S (1993). Our films, their films (3 ed.). Asia Book Corp of Amer.ISBN 0-86311-317-6.
- Ray, S (1994). My Years with Apu. Viking. ISBN 0-670-86215-0.
- Ray, S (2005). Speaking of films. Penguin India. ISBN 0-14-400026-1.
- Robinson, A (2003). Satyajit Ray: The Inner Eye: The Biography of a Master Film-Maker. I. B. Tauris. ISBN 1-86064-965-3.
- Robinson (2005). Satyajit Ray: A Vision of Cinema. I. B. Tauris.ISBN 1-84511-074-9.
- Rushdie, S (1992). Imaginary Homelands. Penguin. ISBN 0-14-014036-0.
- Santas, Constantin (2002). Responding to film: A Text Guide for Students of Cinema Art. Rowman & Littlefield. ISBN 0-8304-1580-7.
- Seton, Marie (1971). Satyajit Ray: Portrait of a director. Indiana University Press. ISBN 0-253-16815-5.
- Wood, R (1972). The Apu trilogy. November Books Ltd. ISBN 0-85631-003-4.
External links[edit]
- Experiencing Ray's "The Apu Trilogy"
- Satyajit Ray Foundation
- SatyajitRay.org
- Satyajit Ray at the Internet Movie Database
- "Satyajit Ray: A Vision of Cinema". Archived from the original on 4 January 2006. article by W. Andrew Robinson
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listen (help·info); 2 May 1921 – 23 April 1992) was an Indian filmmaker. He is considered as one of the greatest filmmakers of the 20th century.[1][2][3][4] Ray was born in the city of Calcutta into a Bengalifamily prominent in the world of arts and literature. Starting his career as a commercial artist, Ray was drawn into independent filmmaking after meeting French filmmaker Jean Renoir and viewing Vittorio De Sica's Italian neorealist 1948 film Bicycle Thieves during a visit to London.
Ray directed 36 films, including feature films, documentaries and shorts. He was also a fiction writer, publisher, illustrator, calligrapher, music composer, graphic designer and film critic. He authored several short stories and novels, primarily aimed at children and adolescents. Feluda, the sleuth, and Professor Shonku, the scientist in his science fiction stories, are popular fictional characters created by him. He was awarded an honorary degree by Oxford University.Ray's first film, Pather Panchali (1955), won eleven international prizes, including the Best Human Document at the 1956 Cannes Film Festival. This film, along with Aparajito (1956), and Apur Sansar (1959) form The Apu Trilogy. Ray did the scripting, casting, scoring, and editing, and designed his own credit titles and publicity material. Ray received many major awards in his career, including 32 Indian National Film Awards, a number of awards at international film festivals and award ceremonies, and an honorary Academy Award in 1992. The Government of India honoured him with the Bharat Ratna in 1992.
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