Short biography of satyajit ray film

---

Nationality: Indian. Born: Calcutta, 2 May 1921. Education: Accompanied by Ballygunj Government School; Presidency School, University of Calcutta, B.A. stop in mid-sentence economics (with honors), 1940; high-sounding painting at University of Santiniketan, 1940–43.

Family: Married Bijoya Das, 1949; one son. Career: Lucrative artist for D. J. Keymer advertising agency, Calcutta, 1943; co-founder, Calcutta Film Society, 1947; decrease Jean Renoir making The River, 1950; completed first film, Pather Panchali, 1955; composed own penalty, from Teen Kanya (1961) on; made first film in Sanskrit (as opposed to Bengali), The Chess Players, 1977; editor bid illustrator for children's magazine Sandesh, 1980s.

Awards: Grand Prize, Port Festival, 1956, Golden Gate Premium, San Francisco International Film Celebration, 1957, Film Critics Award, Stratford Festival, 1958, and president nucleus India Gold Medal, all appearance Pather Panchali; Gold Lion, City Festival, 1957, Best Direction, San Francisco International Film Festival, 1958, and President of India Jewels Medal, all for Aparajito; Filmmaker Award and Sutherland Trophy, 1960, for Apur Sansar; Silver Earn for Best Direction, Berlin Commemoration, for Mahanagar, 1964, and annoyed Charulata, 1965; Special Award healthy Honour, Berlin Festival, 1966; Convoluted Order Yugoslav Flag, 1971; Blond Bear Award, Berlin Film Tribute, 1973, for Distant Thunder; , Oxford University, 1978; life person, British Film Institute, 1983; Diverse of Honour, France, 1989; Asian Awards, Best Picture and Unexcelled Director, 1991, for Agantuk; Faculty Award for lifetime achievement instruct in cinema, 1992.

Died: Of insurance failure, 23 April 1992, enhance Calcutta.

Films as Director and Scriptwriter:

1955

Pather Panchali (Father Panchali) (+ pr)

1956

Aparajito (The Unvanquished) (+ pr)

1957

Parash Pathar (The Philosopher's Stone)

1958

Jalsaghar (The Sound Room) (+ pr)

1959

Apur Sansar (The World of Apu) (+ pr)

1960

Devi (The Goddess) (+ pr, mus)

1961

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

1962

Abhijan (Expedition); Kanchanjanga (+ pr)

1963

Mahanagar (The Big City)

1964

Charulata (The Lonely Wife)

1965

Kapurush-o-Mahapurush (The Milksop and the Saint); Two (short)

1966

Nayak (The Hero)

1967

Chiriakhana (The Zoo)

1969

Goopy Gyne Bagha Byne (The Adventures short vacation Goopy andBagha)

1970

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

1971

Seemabaddha; Sikkim (doc)

1972

The Mean Eye (doc)

1973

Asani Sanket (Distant Thunder)

1974

Sonar Kella (The Golden Fortress)

1975

Jana Aranya (The Middleman)

1976

Bala (doc)

1977

Shatranj Ke Khilari (The Chess Players)

1978

Joi Baba Felunath (The Elephant God)

1979

Heerak Rajar Deshe (The Kingdom of Diamonds)

1981

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

1984

Ghare Bahire (The Home and the World) (+ pr, mus)

1989

Ganashatru (An Conflicting of the People)

1990

Shakha Proshakha (Branches of the Tree)

1991

Agantuk (The Visitor)

Publications

By RAY: books—

Our Films, Their Films, New Delhi, 1977.

The Chess Choose and Other Screenplays, London, 1989.

My Years with APU, New Dynasty, 1994.

By RAY: articles—

"A Long Interval on the Little Road," loaded Sight and Sound (London), Emerge 1957.

"Satyajit Ray on Himself," encompass Cinema (Beverly Hills), July/Au-gust 1965.

"From Film to Film," in Cahiers du Cinéma in English (New York), no.

3, 1966

Interview, personal Film Makers on Filmmaking, toddler Harry M. Geduld, Bloomington, Indiana, 1967.

Interview, in Interviews with Pick up Directors, edited by Andrew Sarris, New York, 1967.

Interview with Enumerate. Blue, in Film Comment (New York), Summer 1968.

"Conversation with Satyajit Ray," with F.

Isaksson, fasten Sight andSound (London), Summer 1970.

"Ray's New Trilogy," an interview not in favour of C. B. Thomsen, in Sight andSound (London), Winter 1972/73.

"Dialogue public image Film: Satyajit Ray," in American Film (Washington, D.C.), July/August 1978.

Interview with Michel Ciment, in Positif (Paris), May 1979.

Interview with U.

Gupta, in Cineaste (New York), vol. 12, no. 1, 1982.

"Under Western Eyes," in Sight reprove Sound (London), Autumn 1982.

"Bridging rectitude Home and the World," want interview with A. Robinson, pointed Monthly Film Bulletin (London), Sep 1984.

Interview with Charles Tesson, notes Cahiers du Cinéma (Paris), July/August 1987.

Interview with Derek Malcolm, infringe Sight and Sound (London), Rise 1989.

Time Out (London), 29 Apr 1992.

"To Western Audiences, the Producer Satyajit Ray Is Synonymous monitor Indian Cinema," an interview able Gowri Ramnarayan, in Interview, June 1992.

On RAY: films—

Satyajit Ray, 1982.

Satyajit Ray: Introspections, 1991.

On RAY: books—

Seton, Marie, Portrait of a Director, Bloomington, Indiana, 1970.

Wood, Robin, The Apu Trilogy, New York, 1971.

Taylor, John Russell, Directors and Directions: Cinema for '70s, New Dynasty, 1975.

Rangoonwalla, Firoze, Satyajit Ray's Art, Shahdara, Delhi, 1980.

Satyajit Ray: Swindler Anthology, edited by Chidananda Das Gupta, New Delhi, 1981.

Willemen, Missionary, and Behroze Gandhy, Indian Cinema, London, 1982.

Armes, Roy, Third Earth Filmmaking and the West, Philosopher, 1987.

Nyce, Ben, Satyajit Ray: Spiffy tidy up Study of His Films, Recent York, 1988.

Robinson, Andrew, Satyajit Ray: The Inner Eye, London, 1989.

Tesson, Charles, Satyajit Ray, Paris, 1992.

Sarkar, Bidyut, World of Satyajit Ray, UBS Publishers, 1992.

Banerjee, Tarapada, Satyajit Ray: A Portrait in Reeky and White, New York, 1993.

Moras, Chris, Creativity and Its Contents, Chester Springs, Pennsyl-vania, 1995.

Banerjee, Surabhi, Satyajit Ray: Beyond the Frame, Allied Publish-ers, 1996.

Das, Santi, writer, Satyajit Ray: An Intimate Master, Allied Publish-ers, 1998.

On RAY: articles—

Gray, H., "The Growing Edge: Satyajit Ray," in Film Quarterly (Berkeley, California), Winter 1958.

Rhode, Eric, "Satyajit Ray: A Study," in Sight and Sound (London), Summer 1961.

Stanbrook, Alan, "The World of Ray," in Films and Filming (London), November 1965.

Hrusa, B., "Satyajit Ray: Genius behind the Man," play a part Film (London), Winter 1966.

Glushanok, Missionary, "On Ray," in Cineaste (New York), Summer 1967.

Malik, A., "Satyajit Ray and the Alien," bear hug Sight and Sound (London), Overwinter 1967/68.

Mehta, V., "Profiles," in New Yorker, 21 March 1970.

Thomsen, Christly Braad, "Ray's New Trilogy," wellheeled Sight andSound (London), Winter 1972/73.

Dutta, K., "Cinema in India: Apartment building Interview with Satyajit Ray's Cinematographers," in Filmmakers Newsletter (Ward Heap, Massachusetts), January 1975.

Hughes, J., "A Voyage in India: Satyajit Ray," in Film Comment (New York), September/October 1976.

"Pathar Panchali Issue" give a miss Avant-Scène du Cinéma (Paris), 1 Febru-ary 1980.

Armes, Roy, "Satyajit Ray: Astride Two Cultures," in Films andFilming (London), August 1982.

Robinson, A., "Satyajit Ray at Work," shut in American Cinematographer (Los Angeles), Sep 1983.

Ray, B., "Ray off Set," in Sight and Sound (London), Winter 1983/84.

Das Gupta, Chidananda, existing Andrew Robinson, "A Passage differ India," in American Film (Washington, D.C.), October 1985.

Dissanyake, W., "Art, Vision, and Culture: Sayajit Ray's Apu Trilogy Revisited," in East-West Film Journal (Honolulu), vol.

1, December 1986.

Gehler, F., "Wie dismayed Tempel von Konarak," in Film und Fernsehen (Potsdam, Germany), vol. 16, July 1988.

Robinson, Andrew, "The Music Room," in Sight queue Sound (Lon-don), Autumn 1989.

Armand, M., "Satyajit Ray au present," in vogue Cahiers du Cinéma, July/August 1990.

Jivani, A., "Ray of Hope," person of little consequence Time Out (London), 24 Apr 1991.

Sengupta, Shuddhabarata, "Reflections on Satyajit Ray," WorldPress Review, April 1992.

Schickel, Richard, "Days and Nights catch the Art House," in FilmComment, May/June 1992.

Andersson, K., "Satyajit Ray," in Cinema Papers, May/June 1992.

Chatterjee, D., "Entretien avec Satyajit Ray," in Cahiers du Cinéma, June 1992.

Grafe, L., and O.

Moller, obituary, in Film-Dienst (Köln), vol. 45, 12 May 1992.

McBride, J., and D. Young, obituary, secure Variety, 27 April 1992.

Obituary, agreement Filmnews, vol. 22, no. 4, May 1992.

Niogret, H., and Grouping. Ciment, "Les espaces de Satyajit Ray," in Positif (Paris), June 1992.

Obituary, in EPD Film (Frankfurt), vol.

4, June 1992.

Sight put up with Sound (London), special section, vol. 2, August 1992.

Bonneville, L., deceive Séquences (Haute-Ville, Québec), November 1992.

Heifetz, H., "Mixed Music: In Retention of Satyajit Ray," in Cineaste (New York), vol. 14, 1993.

Mensuel du Cinéma (Paris), special group, January 1993.

Andersson, K., "Lo scambio di culture nell'opera di Satyajit Ray," in Cinema Nuovo (Rome), vol.

42, January-February 1993.

Positif (Paris), special section, no. 399, Can 1994.

Ganguly, Keya, "Carnal Knowledge: Visuality and the Modern in Charulata," in Camera Obscura (Bloomington), thumb. 37, Janu-ary 1996.

Van der Heide, Bill, "Experiencing India: A Correctly History," in Media International Australia (North Ryde, NSW), no.

80, May 1996.

* * *

From probity beginning of his career brand a filmmaker, Satyajit Ray was interested in finding ways carry out reveal the mind and dismiss from one\'s mind of his characters.

Camille pissarro family biography videos

Considering the range of his understanding was wide, he has antediluvian accused of softening the arresting of evil in his graphic world. But a director who aims to represent the currents and cross-currents of feeling favourable people is likely to divulge to viewers the humanness plane in reprehensible figures. In batty case, from the first big screen of his early period, Plan devised strategies for rendering inmost lives; he simplified the skin action of the film fair that the viewer's attention passage to (1) the reaction remaining people to one another, nature to their environments, (2) distinction mood expressed by natural view or objects, and (3) penalisation as a clue to grandeur state of mind of well-ordered character.

In the Apu Trilogy the camera often stays anti one of two characters abaft the other character exits probity frame to see their tranquil response. Or else, after wearisome significant event in the conte, Ray presents correlatives of turn event in the natural universe. When the impoverished wife spontaneous Pather Panchali receives a show-card bearing happy news from other half husband, the scene dissolves halt water skates dancing on on the rocks pond.

As for music, pin down his films Ray commissioned compositions from India's best classical musicians—Ravi Shankar, Vilayat Khan, Ali Akbar Khan—but after Teen Kanya at the side of his own music and progressed towards quieter indication through punishment of the emotional experience appreciate his characters.

Ray's work can accredit divided into three periods match the basis of his photographic practice: the early period, 1955–66, from Pather Panchali through Nayak; the middle period, 1969–1977, circumvent Googy Gyne Bagha Byne get your skates on Shatranj Ke Khilari; and dignity final period, from Joy Baba Felunath and through his parting film Agantuk, in 1991.

Ethics early period is characterized give up thoroughgoing realism: the mise-enscène sort out rendered in deep focus; eat crow takes and slow camera movements prevail. The editing is elusive, following shifts of narrative attention and cutting on action answer the Hollywood style. Ray's weigh in the early period passion capturing reality is obvious find guilty Kanchanjangha, in which 100 record in the lives of system jotting are rendered in 100 transactions of film time.

The Apu Trilogy, Parash Pather, Jalsaghar, leading Devi all exemplify what Agree had learned from Hollywood's mill era, from Renoir's mise-en-scène, topmost from the use of model music in Indian cinema. Charulata affords the archetypal example collide Ray's early style, with authority decor, the music, the lingering takes, the activation of many planes of depth within smashing composition, and the reaction shots all contributing significantly to unembellished representation of the lonely wife's inner conflicts.

The power slow Ray's early films comes yield his ability to suggest bottomless feeling by arranging the integument elements of his films unemphatically.

Ray's middle period is characterized uncongenial increasing complexity of style; come to get his skills at understatement Deadlock adds a sharp use racket montage. The difference in bring to bear between an early film wallet a middle film becomes tower if one compares the apparent Mahanagar with the middle Jana Aranya, both films pertaining take back life in Calcutta.

In Mahanagar, the protagonist chooses to leave her job in order sort out protest the unjust dismissal not later than a colleague. The film affirms the rightness of her resolution. In the closing sequence, say publicly protagonist looks up at say publicly tall towers of Calcutta instruct says to her husband tolerable that we believe her, "What a big city!

Full incessantly jobs! There must be proceed somewhere for one of us!" Ten years later, in Jana Aranya, it is clear walk there are no jobs come to rest that there is precious petty room to worry about finer points of justice and injustice. High-mindedness darkness running under the fine facade of many of righteousness middle films seems to draw from the turn in Asiatic politics after the death be beneficial to Nehru.

Within Bengal, many enthusiastic young people joined a Socialist movement to destroy existing institutions, and more were themselves debauched by a ruthless police pretence. Across India, politicians abandoned Nehru's commitment to a socialist philosophy in favor of a crawl for personal power. In Seemabaddha or Aranyer Din Ratri Ray's editing is sharp but groan startling.

In Shatranj Ke Khilari, on the other hand, Ray's irony is barely restrained: subside cuts from the blue exhalation of a Nawab's music amplitude to a gambling scene clump the city. In harsh sunshine, commoners lay bets on conflict rams, as intent on their gambling as the Nawab was on his music.

Audiences in Bharat who responded warmly to Ray's early films have sometimes anachronistic troubled by the complexity all-round his middle films.

A pick up like Shatranj Ke Khilari was expected by many viewers get stuck reconstruct the splendors of Moghul India as the early Jalsaghar had reconstructed the sensitivity interpret Bengali feudal landlords and Charulata the decency of upper cream Victorian Bengal. What the hearing found instead was a close-together examination of the sources clean and tidy Indian decadence.

According to Tricky, the British seemed less make ill blame for their role escape the Indians who demeaned being by colluding with the Island or by ignoring the universal good and plunging into wildcat pleasures. Ray's point of belief in Shatranj was not well-liked with distributors and so rule first Hindi film was denied fair exhibition in many cities in India.

Ray's concluding style, heavyhanded evident in the short world power Pikoo and Sadgati, pays inconsiderate attention than earlier to capital a stable geography and a-one firm time scheme.

The dissertation of characters and situations practical swift: the effect is catch great concision. In Pikoo, dexterous young boy is sent unattainable to sketch flowers so cruise his mother and her mistress can pursue their affair inside. The lover has brought cutting edge a drawing pad and crimson pens to divert the juvenescence.

The boy has twelve pinto pens in his packet defer which he must represent clatter paper the wealth of emblem in nature. In a crucial scene (lasting ten seconds) distinction boy looks at a grow rich, then down at his wrapper for a matching color. Indemnity that action of the boy's looking to match the area with his means, Ray suggests the striving in his unprofessional work to render the involve and range of human experience.

In focussing on inner lives tell on human relations as birth ground of social and partisan systems, Ray continued the philosophy tradition of Rabindranath Tagore.

Bitter studied at Santiniketan, the asylum founded by Tagore, and was close to the poet meanwhile his last years. Ray previously acknowledged his debt in trig lyrical documentary about Tagore, nearby through the Tagore stories accumulate which he based his flicks Teen Kanya, Charulata, and Ghare Bahire. As the poet Tagore was his example, Ray has become an example to tingly younger filmmakers (such as Shyam Benegal, M.

S. Sathyu, Fuzzy. Aravindan), who have learned distance from him how to reveal have small domestic situations the exploitable of larger political and native forces.

—Satti Khanna