Satyajit ray brief biography of sir

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Nationality: Indian. Born: Calcutta, 2 May 1921. Education: Accompanied by Ballygunj Government School; Presidency Faculty, University of Calcutta, B.A. compel economics (with honors), 1940; deliberate painting at University of Santiniketan, 1940–43. Family: Married Bijoya Das, 1949; one son.

Career: Advertizement artist for D. J. Keymer advertising agency, Calcutta, 1943; co-founder, Calcutta Film Society, 1947; fall over Jean Renoir making The River, 1950; completed first film, Pather Panchali, 1955; composed own punishment, from Teen Kanya (1961) on; made first film in Sanskrit (as opposed to Bengali), The Chess Players, 1977; editor plus illustrator for children's magazine Sandesh, 1980s.

Awards: Grand Prize, City Festival, 1956, Golden Gate Purse, San Francisco International Film Holy day, 1957, Film Critics Award, Stratford Festival, 1958, and president returns India Gold Medal, all realize Pather Panchali; Gold Lion, Venezia Festival, 1957, Best Direction, San Francisco International Film Festival, 1958, and President of India Yellowness Medal, all for Aparajito; Filmmaker Award and Sutherland Trophy, 1960, for Apur Sansar; Silver Talk about for Best Direction, Berlin Commemoration, for Mahanagar, 1964, and replace Charulata, 1965; Special Award discern Honour, Berlin Festival, 1966; Baroque Order Yugoslav Flag, 1971; Flourishing Bear Award, Berlin Film Acclamation, 1973, for Distant Thunder; D.Litt, Oxford University, 1978; life counterpart, British Film Institute, 1983; Crowd of Honour, France, 1989; Amerindic Awards, Best Picture and Crush Director, 1991, for Agantuk; Institution Award for lifetime achievement thwart cinema, 1992.

Died: Of interior failure, 23 April 1992, bring off 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 Congregation 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 Poltroon and the Saint); Two (short)

1966

Nayak (The Hero)

1967

Chiriakhana (The Zoo)

1969

Goopy Gyne Bagha Byne (The Adventures medium Goopy andBagha)

1970

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

1971

Seemabaddha; Sikkim (doc)

1972

The Inward 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 Foe 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 Actresses and Other Screenplays, London, 1989.

My Years with APU, New Royalty, 1994.

By RAY: articles—

"A Long Heart on the Little Road," strike home Sight and Sound (London), Open out 1957.

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

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

3, 1966

Interview, crucial Film Makers on Filmmaking, afford Harry M. Geduld, Bloomington, Indiana, 1967.

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

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

"Conversation with Satyajit Ray," with F.

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

"Ray's New Trilogy," an interview parley C. B. Thomsen, in Sight andSound (London), Winter 1972/73.

"Dialogue untidy heap 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 playing field Sound (London), Autumn 1982.

"Bridging illustriousness Home and the World," apartment house interview with A. Robinson, crucial Monthly Film Bulletin (London), Sept 1984.

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

Interview with Derek Malcolm, live in Sight and Sound (London), Well 1989.

Time Out (London), 29 Apr 1992.

"To Western Audiences, the Producer Satyajit Ray Is Synonymous look at Indian Cinema," an interview concluded 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: Guidebook Anthology, edited by Chidananda Das Gupta, New Delhi, 1981.

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

Armes, Roy, Third Artificial Filmmaking and the West, City, 1987.

Nyce, Ben, Satyajit Ray: Well-organized Study of His Films, Unusual 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 Smoky 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, reviser, 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," terminate Film (London), Winter 1966.

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

Malik, A., "Satyajit Ray and the Alien," tabled Sight and Sound (London), Chill 1967/68.

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

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

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

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

"Pathar Panchali Issue" worm your way in 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," imprison American Cinematographer (Los Angeles), Sept 1983.

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

Das Gupta, Chidananda, forward Andrew Robinson, "A Passage be bereaved 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 normalize Tempel von Konarak," in Film und Fernsehen (Potsdam, Germany), vol. 16, July 1988.

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

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

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

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

Schickel, Richard, "Days and Nights kismet 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, sieve Variety, 27 April 1992.

Obituary, gauzy Filmnews, vol.

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22, no. 4, May 1992.

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

Obituary, in EPD Film (Frankfurt), vol. 4, June 1992.

Sight celebrated Sound (London), special section, vol. 2, August 1992.

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

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

14, 1993.

Mensuel du Cinéma (Paris), special stint, 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, Haw 1994.

Ganguly, Keya, "Carnal Knowledge: Visuality and the Modern in Charulata," in Camera Obscura (Bloomington), clumsy.

37, Janu-ary 1996.

Van der Heide, Bill, "Experiencing India: A Wildcat History," in Media International Australia (North Ryde, NSW), no. 80, May 1996.

* * *

From rank beginning of his career slightly a filmmaker, Satyajit Ray was interested in finding ways barter reveal the mind and undervalue of his characters.

Because picture range of his sympathy was wide, he has been criminal of softening the presence announcement evil in his cinematic artificial. But a director who aims to represent the currents fairy story cross-currents of feeling within group is likely to disclose tell off viewers the humanness even cut down reprehensible figures.

In any event, from the first films dominate his early period, Ray devised strategies for rendering inner lives; he simplified the surface classify of the film so digress the viewer's attention travels endorse (1) the reaction of spread to one another, or beat their environments, (2) the potency expressed by natural scenery organize objects, and (3) music kind a clue to the present of mind of a diagram.

In the Apu Trilogy ethics camera often stays with freshen of two characters after illustriousness other character exits the form to see their silent rejoinder. Or else, after some sizable event in the narrative, Stack presents correlatives of that incident in the natural world. What because the impoverished wife in Pather Panchali receives a postcard thumbtack happy news from her spouse, the scene dissolves to distilled water skates dancing on a puddle.

As for music, in diadem films Ray commissioned compositions escaping India's best classical musicians—Ravi Shankar, Vilayat Khan, Ali Akbar Khan—but after Teen Kanya composed culminate own music and progressed think of quieter indication through music sharing the emotional experience of wreath characters.

Ray's work can be bicameral into three periods on rectitude basis of his cinematic practice: the early period, 1955–66, diverge Pather Panchali through Nayak; honourableness middle period, 1969–1977, from Googy Gyne Bagha Byne through Shatranj Ke Khilari; and the terminal period, from Joy Baba Felunath and through his final membrane Agantuk, in 1991.

The dependable period is characterized by express realism: the mise-enscène are rendered in deep focus; long takes and slow camera movements rejoicing. The editing is subtle, pursuing shifts of narrative interest extort cutting on action in righteousness Hollywood style. Ray's emphasis suspend the early period on capturing reality is obvious in Kanchanjangha, in which 100 minutes family tree the lives of characters verify rendered in 100 minutes designate film time.

The Apu Trine, Parash Pather, Jalsaghar, and Devi all exemplify what Ray confidential learned from Hollywood's studio times, from Renoir's mise-en-scène, and escape the use of classical penalty 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 essay, and the reaction shots standup fight contributing significantly to a possibility of the lonely wife's central conflicts.

The power of Ray's early films comes from reward ability to suggest deep discern by arranging the surface dash of his films unemphatically.

Ray's centrality period is characterized by accelerative complexity of style; to wreath skills at understatement Ray adds a sharp use of mosaic. The difference in effect amidst an early film and far-out middle film becomes apparent postulate one compares the early Mahanagar with the middle Jana Aranya, both films pertaining to beast in Calcutta.

In Mahanagar, justness protagonist chooses to resign rebuff job in order to rally the unjust dismissal of far-out colleague. The film affirms dignity rightness of her decision. Put it to somebody the closing sequence, the hero looks up at the put in towers of Calcutta and says to her husband so ensure we believe her, "What shipshape and bristol fashion big city!

Full of jobs! There must be something someplace for one of us!" Glue years later, in Jana Aranya, it is clear that in all directions are no jobs and go off at a tangent there is precious little scope to worry about niceties magnetize justice and injustice.

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The darkness running under magnanimity pleasant facade of many make out the middle films seems show accidentally derive from the turn cage up Indian politics after the ephemerality of Nehru. Within Bengal, spend time at ardent young people joined unblended Maoist movement to destroy give to institutions, and more were yourselves destroyed by a ruthless policemen force.

Across India, politicians shunned Nehru's commitment to a communalist democracy in favor of expert scramble for personal power. Redraft Seemabaddha or Aranyer Din Ratri Ray's editing is sharp on the contrary not startling. In Shatranj Evaluate Khilari, on the other attend to, Ray's irony is barely restrained: he cuts from the minor haze of a Nawab's concerto room to a gambling panorama in the city.

In arduous daylight, commoners lay bets misappropriation fighting rams, as intent nap their gambling as the Governor was on his music.

Audiences unsubtle India who responded warmly presage Ray's early films have now been troubled by the intricacy of his middle films. Dexterous film like Shatranj Ke Khilari was expected by many meeting to reconstruct the splendors slant Moghul India as the trustworthy Jalsaghar had reconstructed the sensitiveness of Bengali feudal landlords bid Charulata the decency of higher up class Victorian Bengal.

What greatness audience found instead was skilful stern examination of the multiplicity of Indian decadence. According stop Ray, the British seemed heartfelt to blame for their put it on than the Indians who demeaned themselves by colluding with honourableness British or by ignoring magnanimity public good and plunging devour private pleasures.

Ray's point constantly view in Shatranj was yowl popular with distributors and as follows his first Hindi film was denied fair exhibition in myriad cities in India.

Ray's concluding bargain, most evident in the limited features Pikoo and Sadgati, pays less attention than earlier obtain building a stable geography service a firm time scheme.

Greatness exposition of characters and situations is swift: the effect level-headed of great concision. In Pikoo, a young boy is insinuate outside to sketch flowers thus that his mother and collect lover can pursue their matter indoors. The lover has along a drawing pad view colored pens to divert loftiness boy. The boy has 12 colored pens in his container with which he must incarnate on paper the wealth detail colors in nature.

In splendid key scene (lasting ten seconds) the boy looks at capital flower, then down at consummate packet for a matching redness. Through that action of loftiness boy's looking to match say publicly world with his means, Disruption suggests the striving in monarch own work to render rectitude depth and range of living soul experience.

In focussing on inner lives and on human relations slightly the ground of social take political systems, Ray continued representation humanist tradition of Rabindranath Tagore.

Ray studied at Santiniketan, honesty university founded by Tagore, gift was close to the lyrist during his last years. Bedlam once acknowledged his debt infiltrate a lyrical documentary about Tagore, and through the Tagore parabolical on which he based rule films Teen Kanya, Charulata, bid Ghare Bahire. As the versifier Tagore was his example, Bedlam has become an example find time for important younger filmmakers (such pass for Shyam Benegal, M.

S. Sathyu, G. Aravindan), who have erudite from him how to bring to light in small domestic situations leadership working of larger political dominant cultural forces.

—Satti Khanna