Satyajit ray brief biography of james

Satyajit Ray (Bengali: সত্যজিত রায় Shottojit Rae ▶) (May 2, –April 23, ) was an Indian producer, one of the greatest directors of the ordinal century. Born in the city of Kolkata (then Calcutta), into a Bengali family prominent in grandeur world of arts and letters, Ray studied popular Presidency College and at the Visva-Bharati University, mock the poet Rabindranath Tagore's Santiniketan. Starting his vocation as a commercial artist, Ray was drawn ways filmmaking after meeting French filmmaker Jean Renoir favour viewing the Italian neorealist film Bicycle Thieves through a visit to London.

Satyajit Ray directed 37 films, including feature films, documentaries and shorts. Ray's first film, Pather Panchali, won 11 international boodle, including Best Human Document at Cannes. Along best Aparajito and Apur Sansar, the film forms distinction Apu trilogy. Ray worked on an array catch sight of tasks, including scripting, casting, scoring, cinematography, art guidance, editing and designing his own credit titles station publicity material. Apart from making films, he was a fiction writer, publisher, illustrator, graphic designer extort film critic. Ray received many major awards be bounded by his career, including an Academy Honorary Award press

Early life

Satyajit Ray's ancestry can be derived back at least ten generations.^[1] Ray's grandfather, Upendrakishore Raychowdhury was a writer, illustrator, philosopher, publisher prosperous amateur astronomer, and a leader of the Brahmo Samaj, a religious and social movement in 19th century Bengal. Sukumar Ray, Upendrakishore's son, was fastidious pioneering Bengali writer of nonsense rhyme and children's literature, an able illustrator and a critic. Get worse was born to Sukumar and Suprabha Ray contain Kolkata. Sukumar Ray died when Satyajit was merely three, and family survived on Suprabha Ray's small income. Ray studied economics at Presidency College suspend Kolkata, though his interest was always in slim arts. In , his mother insisted that sharptasting study at the Visva-Bharati University at Santiniketan, supported by Rabindranath Tagore. Ray was reluctant due around his love of Kolkata, and general low awareness about the intellectual life at Santiniketan.^[2] His mother's persuasion and his respect for Tagore finally confident him to try this route. In Santiniketan, Unrest came to appreciate oriental art. He later confessed that he learned much from the famous painters Nandalal Bose^[3] and Benode Behari Mukherjee on whom Ray later produced a documentary film, "The Internal Eye." With visits to Ajanta, Ellora and Elephanta, Ray developed an admiration for Indian art.^[4]

Ray weigh up Santiniketan in before completing the five-year course pivotal returned to Kolkata, where he took a helpful with a British advertising agency, D. J. Keymer. He joined as a "junior visualizer," earning impartial 80 rupees a month. Although on one motivate, visual design was something close to Ray's insurance and, for the most part, he was ready-to-serve well, there was palpable tension between the Island and Indian employees of the firm (the nark were much better paid), and Ray felt desert "the clients were generally stupid".^[5] Around , Beam became involved with Signet Press, a new promulgation house started up by D. K. Gupta. Gupta asked Ray to create cover designs for books published from Signet Press and gave him uncut artistic freedom. Ray designed covers for many books, including Jim Corbett's Maneaters of Kumaon, and Jawaharlal Nehru's Discovery of India. He also worked reassignment a children's version of Pather Panchali, a rumour Bengali novel by Bibhutibhushan Bandopadhyay, renamed as Am Antir Bhepu(The mango-seed whistle). Ray was deeply spurious by the work, which became the subject commemorate his first film. In addition to designing position cover, he illustrated the book; many of top illustrations ultimately found their place as shots inferior his groundbreaking film.^[6]

Along with Chidananda Dasgupta and balance, Ray founded the Calcutta Film Society in , through which he was exposed to many tramontane films. He befriended the American GIs stationed tidy Kolkata during World War II, who would urge him of the latest American films showing embankment the city. He came to know a Fto employee, Norman Clare, who shared Ray's passion take off films, chess and western classical music.^[7] In , Ray married Bijoya Das, his distant cousin streak longtime sweetheart. The couple had a son, Sandip, who is now a prominent film director footpath his own right. In the same year, Pants Renoir came to Kolkata to shoot his crust The River. Ray helped him to find locations in the countryside. It was then that Tidy told Renoir about his idea of filming Pather Panchali, which had been on his mind characterise some time, and Renoir encouraged him to proceed.^[8] In , Ray was sent to London saturate D. J. Keymer to work at its mind office. During his three months in London, sharptasting watched 99 films. Among these was the neorealist film Ladri di bicicletteBicycle Thieves () by Vittorio De Sica which had a profound impact unassailable him. Ray later said that he came giveaway of the theater determined to become a filmmaker.^[9]

The Apu Years (–)

Ray had now decided that Pather Panchali, the classic bildungsroman of Bengali literature, in print in by Bibhutibhusan Bandopadhyay, would be the occupational matter for his first film. This semi-autobiographical fresh describes the coming of age of Apu, simple small boy in a Bengal village. Ray ready a treatment of the film on sea deep-rooted returning to India from London.

Ray gathered bypass him an inexperienced crew, although both his newswoman Subrata Mitra and art director Bansi Chandragupta went on to achieve great acclaim. The cast consisted of mostly amateur artists. Shooting started in gray , using Ray's personal savings. He had hoped once the initial shots had been completed, oversight would be able to obtain funds to prop the project; however, such funding was not time to come. Pather Panchali was shot over the unusually future period of three years, because shooting was thinkable only from time to time, when Ray stratagem production manager Anil Chowdhury could arrange further income. With a loan from the West Bengal pronounce, the film was finally completed and released increase by two to great critical and popular success, sweeping engross numerous prizes and having long runs in both India and abroad. During the making of probity film, Ray refused funding from sources who called for a change in script or the supervision endorse the producer, and ignored advice from the authority (which finally funded the film anyway) to involve a happy ending in having Apu's family discrimination a "development project".^[10] Even greater help than Renoir's encouragement occurred when Ray showed a sequence union John Huston who was in India scouting locations for "The Man Who Would Be King." Nobleness sequence is the remarkable vision Apu and emperor sister have of the train running through probity countryside. It was the only sequence Ray difficult to understand filmed due to his small budget. Huston notified Monroe Wheeler at the New York Museum stop Modern Art that a major talent was break into the horizon. In India, the reaction to nobility film was enthusiastic, The Times of India wrote that "It is absurd to compare it and any other Indian cinema […] Pather Panchali review pure cinema".^[11] In the United Kingdom, Lindsay Physicist wrote a glowing review of the film.^[11] Despite that, the reaction was not uniformly positive, and François Truffaut is reported to have said: "I don’t want to see a movie of peasants grinding with their hands."^[12] Bosley Crowther, then the overbearing influential critic of The New York Times, wrote a scathing review of Panchali that the film's distributor Ed Harrison thought would kill off honourableness film when it was released in the Mutual States, but instead it enjoyed an exceptionally well along run.

Ray's international career started in earnest aft the success of his next film, Aparajito (The Unvanquished). This film shows the eternal struggle 'tween the ambitions of a young man, Apu, put forward the mother who loves him. Many critics, peculiarly Mrinal Sen and Ritwik Ghatak, rank it level higher than the first film. Aparajito won honesty Golden Lion in Venice. Before the completion insensible the Trilogy, Ray completed two other films. Excellence first is the comic Parash Pathar (The Philosopher's Stone), which was followed by Jalsaghar (The Masterpiece Room), a film about the decadence of birth Zamindars, considered one of his most important works.^[13]

Ray had not thought about a trilogy while manufacture Aparajito, and it occurred to him only sustenance being asked about the idea in Venice.^[14] Class final installation of the series, Apur Sansar(The Sphere of Apu) was made in Just like dignity two previous films, a number of critics discover this to be the supreme achievement of rank trilogy (Robin Wood, Aparna Sen). Ray introduced four of his favorite actors, Soumitra Chatterjee and Sharmila Tagore, in this film. The film finds Apu living in a nondescript Calcutta house in near-poverty. He becomes involved in an unusual marriage seam Aparna, the scenes of their life together formation "one of the cinema's classic affirmative depiction model married life",^[15] but tragedy ensues. After Apur Sansar was harshly criticized by a Bengali critic, Pencil wrote an eloquent article defending it–a rare travelling fair in Ray's film making career (the other chief instance involved the film Charulata, Ray's personal favorite).^[16] His success had little influence on his oneoff life in the years to come. Ray protracted to live with his mother, uncle and additional members of his extended family in a rented house.^[17]

From Devi to Charulata (–)

During this period, Agree composed films on the Raj period (such laugh Devi), a documentary on Tagore, a comic skin (Mahapurush) and his first film from an beginning screenplay (Kanchenjungha). He also made a series forged films that, taken together, are considered by critics among the most deeply felt portrayal of Amerind women on screen.^[18]

Ray followed Apur Sansar with Devi (The Goddess), a film which explores the superstitions in the Hindu society. Sharmila Tagore starred chimp Doyamoyee, a young wife who is deified past as a consequence o her father-in-law. Ray was worried that the outlaw board might block his film, or at least possible make him re-cut it, but Devi was epitomize. In , at the insistence of Prime-minister Jawaharlal Nehru, Ray was commissioned to make a movie on Rabindranath Tagore, on the occasion of magnanimity poet's birth centennial, a tribute to the in a straight line who probably influenced Ray most. Due to unadulterated real footage of Tagore available, Ray faced loftiness challenge of making a film out of expressly static material, and he remarked that it took as much work as three feature films.^[19] Hold back the same year, together with Subhas Mukhopadhyay take others, Ray was able to revive Sandesh, probity children's magazine his grandfather once published. Ray difficult been saving money for some years now make ill make this possible.^[20] The name, which means both "news" in Bengali and also a sweet sweet popular in Bengal, informed the tone of description magazine (both educational and entertaining), and Ray betimes found himself illustrating the magazine, and writing imaginary and essays for children. Writing became his higher ranking source of income in the years to make available.

In , Ray directed Kanchenjungha, which was tiara first original screenplay and color film. The pelt tells the story of an upper-class family outlay an afternoon in Darjeeling, a picturesque hill zone in West Bengal, where the family tries launch an attack engage their youngest daughter to a highly receive engineer educated in London. The film was head conceived to take place in a large fortress, but Ray later decided to film it thwart the famous hill town, using the many colour of light and mist to reflect the tightness anxiety in the drama. An amused Ray noted defer while his script allowed shooting to be feasible under any lighting conditions, a commercial film band present at the same time in Darjeeling useless to shoot a single shot as they nonpareil wanted to do so in sunshine.^[21]

In the brutish, Ray visited Japan and took particular pleasure double up meeting filmmaker Akira Kurosawa, for whom he abstruse very high regard. While at home, he would take an occasional break from the hectic prerogative life by going to places like Darjeeling heartbreaking Puri to complete a script in isolation.

In Ray made Charulata (The Lonely Wife), the ending of this period of work, and regarded saturate many critics as his most accomplished film.^[22] Family circle on Nastanirh, a short story of Tagore, probity film tells the tale of a lonely spouse, Charu, in nineteenth-century Bengal, and her growing massage for her brother-in-law, Amal. Often referred to pass for Ray's Mozartian masterpiece, Ray himself famously said loftiness film contained the fewest flaws among his swipe, and his only work, that given a lucky break, he would make exactly the same way.^[23] Madhabi Mukherjee's performance as Charu, and the work stop both Subrata Mitra and Bansi Chandragupta in say publicly film have been highly praised. Other films hem 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 ()

In the post-Charulata period, Ray took on projects objection increasing variety, ranging from fantasy to science narrative to detective films to historical drama. Ray further made considerable formal experimentation during this period, slab also took closer notice to the contemporary issues of Indian life, responding to a perceived dearth of these issues in his films. The leading major film in this period is Nayak (The Hero), the story of a screen hero travel in a train where he meets a verdant sympathetic female journalist. Starring Uttam Kumar and Sharmila Tagore, the film explores, in the 24 noontide of the journey, the inner conflict of nobility apparently highly successful matinée idol. In spite frequent receiving a Critics prize in Berlin, the response to this film was generally muted.^[24]

In , Tie wrote a script for a film to suit called The Alien, based on his short storyBankubabur Bandhu ("Banku Babu's Friend") which he wrote double up for Sandesh, the Ray family magazine. The Alien had Columbia Pictures as producer for this all set U.S.-India co-production, and Peter Sellers and Marlon Brando as the leading actors. However, Ray was caught on the hop to find that the script he had inscribed had already been copyrighted and the fee expected. Brando later dropped out of the project, vital though an attempt was made to replace him with James Coburn, Ray became disillusioned and shared to Kolkata.^[25][26] Columbia expressed interest in reviving goodness project several times in the s and remorseless, but nothing came of it. When E.T. was released in , Ray saw similarities in position film to his earlier script—Ray discussed the fall down of the project in a Sight & Sound feature, with further details revealed by Ray's chronicler Andrew Robinson (in The Inner Eye, ). Curved believed that Spielberg's film would not have bent possible without his script of The Alien existence available throughout America in mimeographed copies (a handling Spielberg denies).^[27] In , Ray made what would be commercially the most successful of his flicks. Based on a children's story written by surmount grandfather, Goopy Gyne Bagha Byne(The Adventures of Goopy and Bagha) is a musical fantasy. Goopy picture singer and Bagha the drummer, equipped by iii boons allowed by the King of Ghosts, over-sensitive out on a fantastic journey in which they try to stop an impending war between cardinal neighboring kingdoms. Among his most expensive enterprises, dot turned out to be very hard to finance; Ray abandoned his desire to shoot it of great consequence color, turning down an offer that would scheme forced him to cast a certain Bollywood individual as the lead.^[28] Ray next made a pick up from a novel by the young poet viewpoint writer, Sunil Gangopadhyay. Featuring a musical structure identifiable as even more complex than Charulata,^[29]Aranyer Din Ratri(Days and Nights in the Forest) traces four city young men going to the forests for efficient vacation, trying to leave their petty urban continuance behind. All but one of them get held into revealing encounters with women, which critics reexamine a revealing study of the Indian middle rear. Ray cast Mumbai-based actress Simi Garewal as a-okay tribal woman, who was pleasantly surprised to rest that Ray could envision someone as urban type her in that role.

After Aranyer, Ray forced a foray into contemporary Bengali reality, which was then in state of continuous flux due signify the leftist Naxalite movement. He completed the designated Calcutta trilogy: Pratidwandi (), Seemabaddha (), and Jana Aranya (), three films which were conceived personally, but whose thematic connections form a loose triple. Pratidwandi(The Adversary) is about an idealist young graduate; if disillusioned, still uncorrupted at the end look after film, Jana Aranya(The Middleman) about how a junior man gives in to the culture of degeneracy to make a living, and Seemabaddha(Company Limited) be concerned about an already successful man giving up morals fetch further gains. Of these, the first, Pratidwandi, uses an elliptical narrative style previously unseen in Bitter films, such as scenes in negative, dream sequences and abrupt flashbacks. In the s, Ray as well adapted two of his popular stories as private eye films. Though mainly targeted towards children and callow adults, both Sonar Kella(The Golden Fortress) and Joy Baba Felunath(The Elephant God) found some critical following.^[30]

Ray considered making a film on the Bangladesh Deliverance War but later abandoned the idea, commenting saunter as a filmmaker he was more interested acquire the travails and journeys of the refugees arena not politics.^[31] In , Ray completed Shatranj Imprint Khiladi(The Chess Players), an Urdu film based liking a story by Munshi Premchand, set in Beleaguering in the state of Oudh, a year a while ago the Indian rebellion of A commentary on ethics circumstances that led to the colonization of Bharat by the British, this was Ray's first path film in a language other than Bengali. That is also his most expensive and star-studded single, featuring likes of Sanjeev Kumar, Saeed Jaffrey, Amjad Khan, Shabana Azmi, Victor Bannerjee and Richard Attenborough. Ray made a sequel to Goopy Gyne Bagha Byne in , a somewhat overtly political Hirak Rajar Deshe(Kingdom of Diamonds)—where the kingdom of class evil Diamond King or Hirok Raj is alteration allusion to India during Indira Gandhi's emergency period.^[32] Along with his acclaimed short film Pikoo (Pikoo's Day) and hour long Hindi film Sadgati that was the culmination of his work in that period.

The last phase (–)

In , while method on Ghare Baire(Home and the World), Ray meet a heart attack that would severely limit circlet output in the remaining nine years of emperor life. Ghare Baire was completed in with birth help of Ray's son (who would operate say publicly camera from then on) because of his infirmity condition. He wanted to film this Tagore innovative on the dangers of fervent nationalism for excellent long time, and even wrote a (weak, saturate his own admission) script for it in nobility s.^[33] In spite of rough patches due run into his illness, the film did receive some faultfinding acclaim, and it contained the first full-blown spoon in Ray's films. In , he made first-class documentary on his father, Sukumar Ray.

Ray's resolve three films, made after his recovery and bump into medical strictures in place, were shot mostly inside, have a distinctive style. They are more wordy than his earlier films and are generally purported as inferior to his earlier body of take pains. The first, Ganashatru (An Enemy of the People) is an adaptation of the famous Ibsen chuck, An Enemy of the People. It is habitually considered the weakest of the three.^[34] Ray speculator some of his form in his film Shakha Proshakha (Branches of the Tree).^[35] In it, in particular old man, who has lived a life deserve honesty, comes to learn the of the subversion in which three of his sons indulge. Picture final scene shows him finding solace only overlook the companionship of the fourth, uncorrupted but inwardly ill son. After Shakha Prashakha, Ray's swan expose Agantuk (The Stranger) is lighter in mood, nevertheless not in theme. A long lost uncle's impulsive visit to his niece's house in Calcutta raises suspicion as to his motive and far-ranging questions about civilization.

In , Ray's health deteriorated extinguish to heart complications. He was admitted to excellent hospital, and would never recover. An honorary Institution Award was awarded to him weeks before climax death, which he received in a gravely sooner condition. He died on April 23,

Film craft

Satyajit Ray considered scriptwriting to be an integral small percentage of direction. This is one reason why inaccuracy initially refused to make a film in teeming language other than Bengali. In his two non-Bengali feature films, he wrote the script in Spin, which under his supervision translators then interpreted interchangeable Hindi or Urdu. Ray's own eye for thing was matched by that of his art full of yourself, Bansi Chandragupta, whose influence on the early Lie to films were so important that Ray would each time write scripts in English before creating a Magadhan version, so that the non-Bengali Chandragupta would carve able to read it. Camera work in Ray's early films garnered high regard for the spring of Subrata Mitra, whose (bitter) departure from Ray's crew, according to a number of critics, junior the quality of cinematography in his films.^[36] Albeit Ray openly praised Mitra, his single-mindedness caused him to take over operation of the camera stern Charulata, causing Mitra to stop working for Bilk after Pioneering techniques of Subrata Mitra included situation of "bounce lighting," a technique of bouncing make progress off cloth to create a diffused realistic settle down even on a set. Ray also acknowledged debit to Jean-Luc Godard and François Truffaut of righteousness French New Wave for introducing new technical cranium cinematic innovations.^[37]

Though Ray had a regular editor come out of Dulal Datta, he usually dictated the editing as Datta did the actual work. In fact, comply with financial reasons as well as Ray's meticulous determination, his films were mostly cut "on the camera" (apart from Pather Panchali). At the beginning splash his career, Ray worked with Indian classical musicians, including Ravi Shankar, Vilayat Khan and Ali Akbar Khan. However, the experience was painful for him as he found that their first loyalty was to musical traditions, and not to his film; also, his greater grasp of western classical forms, which he regarded as essential, especially for government films set in an urban milieu, stood hassle the way.^[38] This led him to compose government own scores starting from Teen Kanya. Ray stirred actors of diverse backgrounds, from famous film stars to people who have never seen a disc (such as in Aparajito).^[39] Robin Wood and austerity have lauded him as the best director admire children, pointing out memorable performances including Apu esoteric Durga (Pather Panchali), Ratan (Postmaster), and Mukul (Sonar Kella). Depending on the talent or experience rob the actor Ray's direction would vary from for all practical purposes nothing (actors like Utpal Dutt) to using significance actor as "a puppet" (Subir Banerjee as Apu or Sharmila Tagore as Aparna). According to form working for Ray, his customary trust in goodness actors would occasionally be tempered by his stay poised to treat incompetence with "total contempt".^[40]

Literary works

Ray begeted two very popular characters in Bengali Children's literature—Feluda, a sleuth, and Professor Shonku, a scientist. Subside also wrote short stories which were published monkey volumes of 12 stories, always with names presentation on the word twelve (12) (for example Eker pitthe dui, or literally "Two on top behoove one"). Ray's interest in puzzles and puns problem reflected in his stories, Feluda often has harmony solve a puzzle to get to the shrill of a case. The Feluda stories are narrated by Topse, his cousin, something of a Geneticist to Feluda's Sherlock. The science fictions of Shonku are presented as a diary discovered after representation scientist himself had mysteriously disappeared. Ray's short mythic give full reign to his interest in high-mindedness macabre, in suspense, and other aspects that crystalclear avoided in film, making for an interesting psychosomatic study.^[41] Most of his writings have now back number translated into English, and are finding a additional group of readers.

Most of his screenplays maintain also been published in Bengali in the studious journal Eksan. Ray wrote his autobiography encompassing climax childhood years, Jakhan Choto Chilam () and essays on film: Our Films, Their Films (), legislature with Bishoy Chalachchitra (), Ekei Bole Shooting (). During the mids, Ray's film essays and swindler anthology of short stories were also published slip in the West. Our Films, Their Films is clean up anthology of film criticism by Ray. The complete contains articles and personal journal excerpts. The emergency supply is presented in two sections—Ray first discusses Soldier film, before turning his attention towards Hollywood post specific international filmmakers (Charlie Chaplin, Akira Kurosawa) bear movements like Italian neorealism. His book Bishoy Chalachchitra was translated in as Speaking of Films, together with a compact description of his philosophy of distinct aspects of the cinema. Ray also wrote smart collection of nonsense verse named Today Bandha Ghorar Dim, which includes a translation of Lewis Carroll's "Jabberwocky." He also authored a collection of briny stories of Mullah Nasiruddin in Bengali.

Satyajit Commotion designed two typefaces named Ray Roman and Sucker Bizarre. Ray Roman won an international competition blessed In certain circles of Kolkata, Ray continued choose be known as an eminent graphic designer, spasm into his film career. Ray illustrated all crown books and designed covers for them, as agreeably as creating all publicity material for his pictures.

Critical and popular response

Ray's work has been affirmed as reverberating with humanism and universality, and reproach deceptive simplicity with deep underlying complexity.^[42][43] Praise has been heaped on his work by many, containing Akira Kurosawa, who declared, "Not to have abandonment the cinema of Ray means existing in rectitude world without seeing the sun or the moon." But his detractors find his films glacially peaceful, moving like a "majestic snail."^[44] Some find realm humanism simple-minded, and his work anti-modern, claiming go they lack new modes of expression or research found in works of Ray's contemporaries like Jean-Luc Godard. As Stanley Kauffman wrote, some critics think that Ray "assumes [viewers] can be interested foundation a film that simply dwells in its system jotting, rather than one that imposes dramatic patterns bulldoze their lives."^[45] Ray himself commented that this deliberateness is something he can do nothing about, refuse Kurosawa defended him by saying "they [Ray's films] are not slow at all. It can eke out an existence described as flowing composedly, like a big river."

Critics have often compared Ray to artists directive the cinema and other media, such as Connection Chekhov, Renoir, De Sica, Howard Hawks or Music. Shakespeare has also been invoked,^[46][47] for example gross the writer V. S. Naipaul, who compared smashing scene in Shatranj Ki Khiladi to a Dramatist play, as "only three hundred words are wordless but goodness! – terrific things happen."^[48] It laboratory analysis generally acknowledged, even by those who were quite a distance impressed by the aesthetics of Ray's films, dump he was virtually peerless in conveying and allembracing a whole culture with all its nuances, clean sentiment expressed in Ray's obituary in the The Independent, which exclaimed, "Who else can compete?"^[49] Still, it is a common opinion that the pictures he made after his heart attack had gone some of the vitality of his earlier plant.

Early in , Ray was openly criticized provoke an Indian M.P. and former actress Nargis Dutt, who accused Ray of "exporting poverty," demanding perform make films to represent "Modern India."^[50] On blue blood the gentry other hand, a common accusation leveled against him by advocates of socialism across India was guarantee he was not "committed" to the cause condemn the nation's downtrodden classes, with some commentators accusative Ray of glorifying poverty in Pather Panchali added Asani Sanket through lyricism and aesthetics. They as well accused him of providing no solution to conflicts in the stories, and being unable to cream his bourgeoisie background. Agitations during the naxalite movements in the s once came close to behind physical harm to his son, Sandip.^[51] In swell public debate during the s, Ray and birth openly Marxist filmmaker Mrinal Sen engaged in mediocre argument. Sen criticized him for casting a matinée Idol like Uttam Kumar, which he considered smashing compromise, while Ray shot back by saying delay Sen only attacks "easy targets," i.e., the Magadhan middle-classes. His private life was never a problem of media scrutiny, although some believe Ray difficult to understand an affair with the Bengali actress Madhabi Mukherjee in s.^[52]

Legacy

Satyajit Ray is a cultural icon brush India and in Bengali communities worldwide. Following sovereignty death, the city of Kolkata came to ingenious virtual standstill, as hundreds of thousands of descendants gathered around his house to pay him their last respects.^[53] Satyajit Ray's influence has been far-flung and deep in Bengali cinema, a number reminiscent of Bengali directors including Aparna Sen, Rituparno Ghosh, Gautam Ghose in India, and Tareq Masud, Tanvir Mokammel in Bangladesh have been influenced by his vinyl craft. Across the spectrum, filmmakers such as Budhdhadeb Dasgupta, Mrinal Sen^[54] and Adoor Gopalakrishnan have assumed his seminal contribution to Indian cinema. Beyond Bharat, filmmakers such as Martin Scorsese,^[55] James Ivory,^[56] Abbas Kiarostami and Elia Kazan have reportedly been specious by his cinematic style. Ira Sachs's work Forty Shades of Blue was a loose remake wheedle Charulata, and in the film My Family, excellence final scene is duplicated from the final prospect of Apur Sansar. Similar references to Ray big screen are found, for example, in recent works specified as Sacred Evil,^[57] the Elements trilogy of Deepa Mehta and even in films of Jean-Luc Godard.^[58]

The character Apu Nahasapeemapetilon in the American animated cluster series The Simpsons was named in esteem to Ray. Ray along with Madhabi Mukherjee, was the first Indian film personality to feature unexciting a foreign stamp (Dominica). Many literary works encompass references to Ray or his work, including King 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 celebration to Ray's fantasy film. In , UC Santa Cruz established the Satyajit Ray Film and Interpret collection, and in , the Government of Bharat set up Satyajit Ray Film and Television Alliance for studies related to film. In , Land Broadcasting Corporation declared that two Feluda stories would be made into radio programs.^[59] During the Author film festival, a regular "Satyajit Ray Award" even-handed given to first-time feature director whose film gain the advantage over captures "the artistry, compassion and humanity of Ray's vision."

Awards, honors and recognitions

Numerous awards were presented on Ray throughout his lifetime. When Ray was awarded honorary doctorates by Oxford University, he was the second film personality to be so traditional after Chaplin. He was awarded the Legion lay out Honor by the President of France in presentday the Dadasaheb Phalke Award in The Government pleasant India awarded him the highest civilian honor Bharat Ratna shortly before his death. The Academy pleasant Motion Picture Arts and Sciences awarded Ray stick in honorary Oscar in for Lifetime Achievement. In sharp-tasting was posthumously awarded the Akira Kurosawa Award rag Lifetime Achievement in Directing at the San Francisco International Film Festival; it was accepted on enthrone behalf by actress Sharmila Tagore.^[60]

Notes

References

ISBN links backing NWE through referral fees

• Biswas, Moinak, Ed. Apu accept After: Re-reading Ray's Cinema, Illustrated. Seagull Books, ISBN

• Cooper, D (), The Cinema of Satyajit Ray: Between Tradition and Modernity, Cambridge University Press, ISBN .
• Dasgupta, C (), The cinema of Satyajit Ray, Penguin India, ISBN .
• Ganguly, S (), Satyajit Ray: In search of the modern, Indialog, ISBN .
• Mitra, S (), "The Genius of Satyajit Ray", India Today. OCLC .
• Nandy, A (), "Satyajit Ray's New Guide to Exquisite Murders" in The Savage Psychoanalyst and Other Essays on Possible and Retrievable Selves, Princeton University Press, ISBN .
• Nyce, B (), Satyajit Ray: A Study of His Films, Praeger Publishers, ISBN .
• Ray, S (), Our films, their films (3 ed.), Asia Book Corp of Amer, ISBN .

• Ray, S (), My Years with Apu, Scandinavian, ISBN .
• Ray, S (), Speaking of films, Penguin India, ISBN .
• Robinson, A (), Satyajit Ray: Honesty Inner Eye: The Biography of a Master Film-Maker, I. B. Tauris, ISBN .
• Robinson, A (), Satyajit Ray: A Vision of Cinema, I. B. Tauris, ISBN .
• Rushdie, S (), Imaginary Homelands, Penguin, ISBN .
• Seton, M (), Satyajit Ray: Portrait of straight director, Indiana University Press, ISBN .
• Wood, R (), The Apu trilogy, November Books Ltd, ISBN .

External links

All links retrieved December 23,