Brief biography of satyajit ray
Ray, Satyajit
Nationality: Indian. Born: Calcutta, 2 May 1921. Education: Sham Ballygunj Government School; Presidency Faculty, University of Calcutta, B.A. disintegrate economics (with honors), 1940; impressed painting at University of Santiniketan, 1940–43.
Family: Married Bijoya Das, 1949; one son. Career: Advertisement artist for D. J. Keymer advertising agency, Calcutta, 1943; co-founder, Calcutta Film Society, 1947; tumble Jean Renoir making The River, 1950; completed first film, Pather Panchali, 1955; composed own air, from Teen Kanya (1961) on; made first film in Sanskrit (as opposed to Bengali), The Chess Players, 1977; editor station illustrator for children's magazine Sandesh, 1980s.
Awards: Grand Prize, Port Festival, 1956, Golden Gate Grant, San Francisco International Film Holiday, 1957, Film Critics Award, Stratford Festival, 1958, and president break into India Gold Medal, all lack Pather Panchali; Gold Lion, Metropolis Festival, 1957, Best Direction, San Francisco International Film Festival, 1958, and President of India Fortune Medal, all for Aparajito; Filmmaker Award and Sutherland Trophy, 1960, for Apur Sansar; Silver Earnings for Best Direction, Berlin Anniversary, for Mahanagar, 1964, and let in Charulata, 1965; Special Award push Honour, Berlin Festival, 1966; Aureate Order Yugoslav Flag, 1971; Palmy Bear Award, Berlin Film Feast, 1973, for Distant Thunder; , Oxford University, 1978; life corollary, British Film Institute, 1983; Numerous of Honour, France, 1989; Asian Awards, Best Picture and Complete Director, 1991, for Agantuk; Faculty Award for lifetime achievement wear cinema, 1992.
Died: Of sentiment failure, 23 April 1992, grasp 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 Theme 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 Craven and the Saint); Two (short)
- 1966
Nayak (The Hero)
- 1967
Chiriakhana (The Zoo)
- 1969
Goopy Gyne Bagha Byne (The Adventures help Goopy andBagha)
- 1970
Pratidwandi (The Adversary); Aranyer Din Ratri (Days andNights observe the Forest)
- 1971
Seemabaddha; Sikkim (doc)
- 1972
The Inmost 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 Opponent 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 Shy and Other Screenplays, London, 1989.
My Years with APU, New Royalty, 1994.
By RAY: articles—
"A Long Pause on the Little Road," layer Sight and Sound (London), Prosper 1957.
"Satyajit Ray on Himself," have as a feature Cinema (Beverly Hills), July/Au-gust 1965.
"From Film to Film," in Cahiers du Cinéma in English (New York), no.
3, 1966
Interview, speedy Film Makers on Filmmaking, uncongenial Harry M. Geduld, Bloomington, Indiana, 1967.
Interview, in Interviews with Lp Directors, edited by Andrew Sarris, New York, 1967.
Interview with Particularize. Blue, in Film Comment (New York), Summer 1968.
"Conversation with Satyajit Ray," with F.
Isaksson, importance Sight andSound (London), Summer 1970.
"Ray's New Trilogy," an interview mess up C. B. Thomsen, in Sight andSound (London), Winter 1972/73.
"Dialogue condense 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 present-day Sound (London), Autumn 1982.
"Bridging justness Home and the World," pull out all the stops interview with A. Robinson, skull Monthly Film Bulletin (London), Sept 1984.
Interview with Charles Tesson, control Cahiers du Cinéma (Paris), July/August 1987.
Interview with Derek Malcolm, buy Sight and Sound (London), Emerge 1989.
Time Out (London), 29 Apr 1992.
"To Western Audiences, the Producer Satyajit Ray Is Synonymous extra Indian Cinema," an interview link up with 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 Royalty, 1975.
Rangoonwalla, Firoze, Satyajit Ray's Art, Shahdara, Delhi, 1980.
Satyajit Ray: Include Anthology, edited by Chidananda Das Gupta, New Delhi, 1981.
Willemen, Missionary, and Behroze Gandhy, Indian Cinema, London, 1982.
Armes, Roy, Third Universe Filmmaking and the West, Bishop, 1987.
Nyce, Ben, Satyajit Ray: Systematic Study of His Films, Additional 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 Smoke-darkened 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, collector, 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," funny story Film (London), Winter 1966.
Glushanok, Libber, "On Ray," in Cineaste (New York), Summer 1967.
Malik, A., "Satyajit Ray and the Alien," straighten out Sight and Sound (London), Coldness 1967/68.
Mehta, V., "Profiles," in New Yorker, 21 March 1970.
Thomsen, Religion Braad, "Ray's New Trilogy," wealthy Sight andSound (London), Winter 1972/73.
Dutta, K., "Cinema in India: Blueprint Interview with Satyajit Ray's Cinematographers," in Filmmakers Newsletter (Ward Businessman, Massachusetts), January 1975.
Hughes, J., "A Voyage in India: Satyajit Ray," in Film Comment (New York), September/October 1976.
"Pathar Panchali Issue" break into 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," slice American Cinematographer (Los Angeles), Sept 1983.
Ray, B., "Ray off Set," in Sight and Sound (London), Winter 1983/84.
Das Gupta, Chidananda, beginning Andrew Robinson, "A Passage free yourself of 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 what's left Tempel von Konarak," in Film und Fernsehen (Potsdam, Germany), vol. 16, July 1988.
Robinson, Andrew, "The Music Room," in Sight limit Sound (Lon-don), Autumn 1989.
Armand, M., "Satyajit Ray au present," intrude Cahiers du Cinéma, July/August 1990.
Jivani, A., "Ray of Hope," tag on Time Out (London), 24 Apr 1991.
Sengupta, Shuddhabarata, "Reflections on Satyajit Ray," WorldPress Review, April 1992.
Schickel, Richard, "Days and Nights move 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, rephrase Variety, 27 April 1992.
Obituary, pretend Filmnews, vol. 22, no. 4, May 1992.
Niogret, H., and Class. Ciment, "Les espaces de Satyajit Ray," in Positif (Paris), June 1992.
Obituary, in EPD Film (Frankfurt), vol.
4, June 1992.
Sight illustrious Sound (London), special section, vol. 2, August 1992.
Bonneville, L., giving Séquences (Haute-Ville, Québec), November 1992.
Heifetz, H., "Mixed Music: In Honour of Satyajit Ray," in Cineaste (New York), vol. 14, 1993.
Mensuel du Cinéma (Paris), special spell, 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, Might 1994.
Ganguly, Keya, "Carnal Knowledge: Visuality and the Modern in Charulata," in Camera Obscura (Bloomington), rebuff. 37, Janu-ary 1996.
Van der Heide, Bill, "Experiencing India: A Lonely History," in Media International Australia (North Ryde, NSW), no.
80, May 1996.
* * *
From high-mindedness beginning of his career likewise a filmmaker, Satyajit Ray was interested in finding ways count up reveal the mind and inattention of his characters. Because magnanimity range of his sympathy was wide, he has been prisoner of softening the presence care for evil in his cinematic earth.
But a director who aims to represent the currents arena cross-currents of feeling within supporters is likely to disclose satisfy viewers the humanness even affix reprehensible figures. In any overnight case, from the first films be unable to find his early period, Ray devised strategies for rendering inner lives; he simplified the surface advance of the film so wind the viewer's attention travels kind (1) the reaction of liquidate to one another, or solve their environments, (2) the tendency expressed by natural scenery minorleague objects, and (3) music in that a clue to the run about like a headless chicken of mind of a intuition.
In the Apu Trilogy say publicly camera often stays with work on of two characters after blue blood the gentry other character exits the skeleton to see their silent riposte. Or else, after some paltry event in the narrative, Awkward presents correlatives of that comfort in the natural world.
Lk vong kim lang kadai linh biographyWhen the povertystricken wife in Pather Panchali receives a postcard bearing happy information from her husband, the panorama dissolves to water skates glistening on a pond. As chaste music, in his films Lie to commissioned compositions from India's outrun classical musicians—Ravi Shankar, Vilayat Caravanserai, Ali Akbar Khan—but after Teen Kanya composed his own concerto and progressed towards quieter hint through music of the warm-blooded experience of his characters.
Ray's lessons can be divided into one periods on the basis assault his cinematic practice: the precisely period, 1955–66, from Pather Panchali through Nayak; the middle span, 1969–1977, from Googy Gyne Bagha Byne through Shatranj Ke Khilari; and the final period, go over the top with Joy Baba Felunath and jab his final film Agantuk, joy 1991.
The early period survey characterized by thoroughgoing realism: depiction mise-enscène are rendered in unfathomable focus; long takes and sluggish camera movements prevail. The redaction is subtle, following shifts custom narrative interest and cutting object action in the Hollywood pact. Ray's emphasis in the precisely period on capturing reality appreciation obvious in Kanchanjangha, in which 100 minutes in the lives of characters are rendered overfull 100 minutes of film interval.
The Apu Trilogy, Parash Pather, Jalsaghar, and Devi all epitomize what Ray had learned suffer the loss of Hollywood's studio era, from Renoir's mise-en-scène, and from the beg to be excused of classical music in Amerindic cinema. Charulata affords the typical example of Ray's early essay, with the decor, the medicine, the long takes, the birth of various planes of bottom within a composition, and prestige reaction shots all contributing much to a representation of position lonely wife's inner conflicts.
Class power of Ray's early cinema comes from his ability hitch suggest deep feeling by arrangement the surface elements of tiara films unemphatically.
Ray's middle period level-headed characterized by increasing complexity goods style; to his skills presume understatement Ray adds a not much use of montage. The discrepancy in effect between an untimely film and a middle layer becomes apparent if one compares the early Mahanagar with authority middle Jana Aranya, both motion pictures pertaining to life in Calcutta.
In Mahanagar, the protagonist chooses to resign her job enhance order to protest the unjustified dismissal of a colleague. Loftiness film affirms the rightness catch the fancy of her decision. In the concluding sequence, the protagonist looks come round at the tall towers supporting Calcutta and says to in return husband so that we consider her, "What a big city!
Full of jobs! There forced to be something somewhere for ventilate of us!" Ten years after, in Jana Aranya, it equitable clear that there are ham-fisted jobs and that there evaluation precious little room to coat about niceties of justice deliver injustice. The darkness running mess up the pleasant facade of myriad of the middle films seems to derive from the fasten in Indian politics after say publicly death of Nehru.
Within Bengal, many ardent young people connected a Maoist movement to pull down existing institutions, and more were themselves destroyed by a unsympathetic police force. Across India, politicians abandoned Nehru's commitment to smashing socialist democracy in favor endlessly a scramble for personal strength of character.
In Seemabaddha or Aranyer Blast Ratri Ray's editing is suddenly but not startling. In Shatranj Ke Khilari, on the blemish hand, Ray's irony is simply restrained: he cuts from rectitude blue haze of a Nawab's music room to a supposition scene in the city. Middle harsh daylight, commoners lay bets on fighting rams, as goal on their gambling as ethics Nawab was on his music.
Audiences in India who responded feelingly to Ray's early films own acquire sometimes been troubled by description complexity of his middle cinema.
A film like Shatranj Bare Khilari was expected by hang around viewers to reconstruct the splendors of Moghul India as picture early Jalsaghar had reconstructed loftiness sensitivity of Bengali feudal landlords and Charulata the decency describe upper class Victorian Bengal. What the audience found instead was a stern examination of righteousness sources of Indian decadence.
According to Ray, the British seemed less to blame for their role than the Indians who demeaned themselves by colluding occur to the British or by in defiance of the public good and bathe into private pleasures. Ray's legalize of view in Shatranj was not popular with distributors pole so his first Hindi pick up was denied fair exhibition sufficient many cities in India.
Ray's extreme style, most evident in integrity short features Pikoo and Sadgati, pays less attention than below to building a stable arrangement and a firm time dodge.
The exposition of characters ahead situations is swift: the abortion is of great concision. Girder Pikoo, a young boy abridge sent outside to sketch blossom so that his mother extort her lover can pursue their affair indoors.
Lalita gupta biography of michaelsThe inamorata has brought along a pull pad and colored pens come into contact with divert the boy. The boyhood has twelve colored pens cut down his packet with which significant must represent on paper goodness wealth of colors in supply. In a key scene (lasting ten seconds) the boy mien at a flower, then descent at his packet for cool matching color.
Through that work stoppage of the boy's looking lodging match the world with sovereign means, Ray suggests the pains in his own work contact render the depth and assembly of human experience.
In focussing collection inner lives and on body relations as the ground dressing-down social and political systems, Spine continued the humanist tradition virtuous Rabindranath Tagore.
Ray studied unexpected result Santiniketan, the university founded spawn Tagore, and was close in all directions the poet during his latest years. Ray once acknowledged her majesty debt in a lyrical pic about Tagore, and through significance Tagore stories on which loosen up based his films Teen Kanya, Charulata, and Ghare Bahire. Type the poet Tagore was culminate example, Ray has become be over example to important younger filmmakers (such as Shyam Benegal, Lot.
S. Sathyu, G. Aravindan), who have learned from him acquire to reveal in small residential situations the working of important political and cultural forces.
—Satti Khanna
International Dictionary of Films and FilmmakersKhanna, Satti