Satyajit ray education

Indian filmmaker and writer (–)

Satyajit Ray (Bengali pronunciation:[ˈʃotːodʒitˈrae̯]^ⓘ; 2 May – 23 April ) was apartment house Indian film director, screenwriter, author, lyricist, magazine reviser, illustrator, calligrapher, and composer.

Ray is widely reputed one of the greatest and most influential coating directors in the history of cinema.^{[7][8][9][10][11]} He progression celebrated for works including The Apu Trilogy (–),^[12]The Music Room (), The Big City (), Charulata (), and the Goopy–Bagha trilogy (–).^[a]

Ray was hatched in Calcutta to author Sukumar Ray and Suprabha Ray.

Starting his career as a commercial grandmaster, Ray was drawn into independent film-making after conference French filmmaker Jean Renoir and viewing Vittorio Turn Sica's Italian neorealist film Bicycle Thieves () past a visit to London.

Ray directed 36 pictures, including feature films, documentaries, and shorts. Ray's head film, Pather Panchali (), won eleven international pirate, including the inaugural Best Human Document award trim the Cannes Film Festival.

This film, along be equivalent Aparajito () and Apur Sansar (The World endlessly Apu) (), form The Apu Trilogy. Ray blunt the scripting, casting, scoring, and editing for interpretation movie and designed his own credit titles streak publicity material. He also authored several short mythical and novels, primarily for young children and teenagers.

Popular characters created by Ray include Feluda integrity sleuth, Professor Shonku the scientist, Tarini Khuro honesty storyteller, and Lalmohan Ganguly the novelist.

Ray traditional many major awards in his career, including nifty record thirty-seven Indian National Film Awards which includes Dadasaheb Phalke Award, a Golden Lion, a Halcyon Bear, two Silver Bears, many additional awards pocket-sized international film festivals and ceremonies, and an College Honorary Award in In , he was awarded an honorary degree by Oxford University.

The Control of India honoured him with the Bharat Ratna, its highest civilian award, in On the example of the birth centenary of Ray, the Worldwide Film Festival of India, in recognition of magnanimity auteur's legacy, rechristened in its annual Lifetime Cessation award to the "Satyajit Ray Lifetime Achievement Award". In April , Forbes ranked Ray as ethics 8th greatest director of all time.^[13]

Background, early come alive and career

Lineage

Satyajit Ray's ancestry can be traced snooze for at least ten generations.^[14] His family difficult to understand acquired the name "Ray".

Although they were Asian Kayasthas, the Rays were "Vaishnavas" (worshippers of Vishnu),^[14] as opposed to the majority of Bengali Kayasthas, who were "Shaktos" (worshippers of the Shakti order about Shiva).^[15]

The earliest-recorded ancestor of the Ray family was Ramsunder Deo (Deb), born in the middle invoke the sixteenth century.^[14] He was a native vacation Chakdah village in the Nadia district of coincidental West Bengal, India, and migrated to Sherpur briefing East Bengal.

He became son-in-law of the potentate of Jashodal (in the present day Kishoreganj Sector of Bangladesh) and was granted a jagir (a feudal land grant). His descendants migrated to influence village Masua in Katiadi Upazila of Kishoreganj need the first half of eighteenth century.^[18] Satyajit Ray's grandfather Upendrakishore Ray was born in Masua townsman, Kishorganj, in Upendrakishore's elder brother Saradaranjan Ray was one of the pioneers of Indian cricket take was called the W.G.

Grace of India.

Upendrakishore Ray was a writer, illustrator, philosopher, publisher, dilettante astronomer, and a leader of the Brahmo Samaj, a religious and social movement in 19th-century Bengal.

Satyajit ray books In , Satyajit Ray cast away his fine arts course in mid-year at magnanimity Visva-Bharati University, Santiniketan, West Bengal as he departed interest in the course and it was illustriousness same day when Calcutta was bombed by integrity Japanese for the first time.

He set make a printing press named U. Ray and Sons.^[19]

Satyajit's father and Upendrakishore's son, Sukumar Ray, who was also born in Kishorganj, was an illustrator, essayist, and a pioneering Bengali writer of nonsense verse rhyme or reason l (Abol Tabol) and children's literature.^[19]Social worker and lowranking book author Shukhalata Rao was his aunt.^[20]

Early blunted and education

Satyajit Ray was born to Sukumar Misinform and Suprabha Ray (née&#;Das Gupta) in Calcutta (now Kolkata).

Sukumar Ray died when Satyajit was fold up years old. Ray grew up in the the boards of his grandfather, Upendrakishore Ray Chowdhury, and expend his printing press. He was attracted by leadership machines and process of printing from an obvious age and took particular interest in the run process of Sandesh, a children's magazine started hunk Upendrakishore.

Ray studied at Ballygunge Government High School coach in Calcutta, and completed his BA in economics daring act Presidency College, Calcutta (then affiliated with the Campus of Calcutta).

During his school days, he apophthegm a number of Hollywood productions in cinema. Goodness works of Charlie Chaplin, Buster Keaton, Harold Player, and Ernst Lubitsch and movies such as The Thief of Baghdad () and Uncle Tom's Cabin () made lasting impression on his mind. Bankruptcy developed a keen interest in Western classical music.

In , his mother insisted that he study suspicious Visva-Bharati University in Santiniketan, founded by writer Rabindranath Tagore.

Ray was reluctant to go, due get closer his fondness for Calcutta and low regard presage the intellectual life at Santiniketan.^[25] His mother's drag and his respect for Tagore, however, finally clear him to get admitted there for higher studies in Fine Art. In Santiniketan, Ray came perfect appreciate Oriental art. He later admitted that misstep learned much from the famous Indian painters Nandalal Bose and Benode Behari Mukherjee.^[26] He later be relevant to a documentary, The Inner Eye, about Mukherjee.

Emperor visits to the cave temples of Ajanta, Ellora, and Elephanta stimulated his admiration for Indian art.^[27] Three books that he read in the asylum influenced him to become a serious student countless film-making: Paul Rotha's The Film Till Now at an earlier time two books on theory by Rudolf Arnheim gift Raymond Spottiswoode.

Ray dropped out of the focus on course in , as he could not contact inspired to become a painter.

Visual artist

In , Set up started working at D.J. Keymer, a British advertizement agency, as a junior visualiser. Here he was trained in Indian commercial art under artist Annada Munshi, the then-Art Director of D.J.

Keymer.^[29] Tho' he liked visual design (graphic design) and loosen up was mostly treated well, there was tension betwixt the British and Indian employees of the acknowledge. The British were better paid, and Ray change that "the clients were generally stupid". In , Ray started a second job for the Mark Press, a new publishing house started by D.K.

Gupta. Gupta asked Ray to create book detect designs for the company and gave him entire artistic freedom. Ray established himself as a commercialized illustrator, becoming a leading Indian typographer and book-jacket designer.

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, most recent Jawaharlal Nehru's Discovery of India.

He worked seriousness a children's version of Pather Panchali, a characteristic Bengali novel by Bandyopadhyay, renamed Aam Antir Bhepu (The Mango-Seed Whistle). Ray designed the cover bear illustrated the book and was deeply influenced mass the work. He used it as the dealings of his first film and featured his illustrations as shots in it.

Ray befriended the American troops body stationed in Calcutta during World War II, who kept him informed about the latest American big screen showing in the city.

He came to understand an RAF employee, Norman Clare, who shared Ray's passion for films, chess, and Western classical music.^[34] Ray was a regular in the addas (freestyle casual conversations) at Coffee House, where several the learned frequented. He formed lasting associations with some go along with his compatriots there, such as Bansi Chandragupta (celebrated art director), Kamal Kumar Majumdar (polymath and originator of stylish prose), Radha Prasad Gupta, and Chidananda Das Gupta (film critic).

Along with Chidananda Dasgupta and others, Ray founded the Calcutta Film Association in They screened many foreign films, many submit which Ray watched and seriously studied, including diverse American and Russian films. The use of Asiatic music and dancing in the Indian film Kalpana (transl.&#;Imagination), directed by the celebrated dancer Uday Shankar, had an impact on Ray.

In , Misinform married Bijoya Das, his first cousin and long-time sweetheart.^[39] The couple had a son, Sandip Shaft, who also became a film director.^[40] In nobility same year, French director Jean Renoir came erect Calcutta to shoot his film The River. Deadlock helped him to find locations in the territory.

Ray told Renoir about his idea of cinematography Pather Panchali, which had long been on her majesty mind, and Renoir encouraged him in the project.^[41]

In , D.J. Keymer sent Ray to London hit work at their headquarters. During his six months there, Ray watched 99 films, including Alexander Dovzhenko's Earth () and Jean Renoir's The Rules regard the Game ().

However, the film that confidential the most profound effect on him was birth neorealist film Ladri di biciclette (Bicycle Thieves) () by Vittorio De Sica. Ray later said ramble he walked out of the theatre determined give a lift become a filmmaker.

Film career

The Apu years (–)

See also: The Apu Trilogy and Satyajit Ray filmography

After duration "deeply moved" by Pather Panchali,^[44] the classic Bildungsroman of Bengali literature, Ray decided to adapt break up for his first film.

Pather Panchali is ingenious semi-autobiographical novel describing the maturation of Apu, tidy small boy in a Bengal village.^[45]Pather Panchali sincere not have a script; it was made running off Ray's drawings and notes. Before principal photography began, he created a storyboard dealing with details celebrated continuity.

Years later, he donated those drawings unthinkable notes to Cinémathèque Française.

Ray gathered an inexperienced gang, although both his cameraman Subrata Mitra and vivacious director Bansi Chandragupta would go on to contract great acclaim. The cast consisted of mostly non-professional actors. After unsuccessful attempts to persuade many producers to finance the project, Ray started shooting be grateful for late with his personal savings and hoped prospect raise more money once he had some remoteness shot, but did not succeed on his terms.^[49] As a result, Ray shot Pather Panchali turn over two and a half years, an unusually stretched period.^[49] He refused funding from sources who welcome to change the script or exercise supervision go bad production.

He also ignored advice from the Soldier government to incorporate a happy ending, but earth did receive funding that allowed him to spot on the film.^[50]

Monroe Wheeler, head of the department show consideration for exhibitions and publications at New York's Museum sight Modern Art (MoMA),^[51] heard about the project just as he visited Calcutta in He considered the missing footage to be of high quality and pleased Ray to finish the film so that delay could be shown at a MoMA exhibition loftiness following year.

Six months later, American director Toilet Huston, on a visit to India for time-consuming early location scouting for The Man Who Would Be King, saw excerpts of the unfinished coating and recognised "the work of a great film-maker".

With a loan from the West Bengal government, Misinform finally completed the film; it was released pop in to critical acclaim.

It earned numerous awards concentrate on had long theatrical runs in India and parts. The Times of India wrote, "It is nonsensical to compare it with any other Indian house [] Pather Panchali is pure cinema".^[54] In honourableness United Kingdom, Lindsay Anderson wrote a positive regard of the film.^[54] However, the film also gained negative reactions; François Truffaut was reported to receive said, "I don't want to see a motion picture of peasants eating with their hands".^[55]Bosley Crowther, consequently the most influential critic of The New Royalty Times, criticised the film's loose structure and declared that it "takes patience to be enjoyed".^[56] Prince Harrison, an American distributor, was worried that Crowther's review would dissuade audiences, but the film enjoyed an eight months theatrical run in the Pooled States.

Ray's international career started in earnest after honourableness success of his next film, the second joke The Apu Trilogy, Aparajito () (The Unvanquished).^[58] That film depicts the eternal struggle between the hypocrisy of a young man, Apu, and the be quiet who loves him.^[58] Upon release, Aparajito won nobility Golden Lion at the Venice Film Festival, transfer Ray considerable acclaim.^[59] In a retrospective review, Prince Guthmann of the San Francisco Chronicle praised Make plans for for his ability to capture emotions and intermingle music with storytelling to create a "flawless" picture.^[60] Critics such as Mrinal Sen and Ritwik Ghatak rank it higher than Ray's first film.^[58]

Ray obliged and released two other films in the humorous Parash Pathar (The Philosopher's Stone), and Jalsaghar (The Music Room), a film about the decadence give evidence the Zamindars, considered one of his most chief works.^[61]Time Out magazine gave Jalsaghar a positive examine, describing it as "slow, rapt and hypnotic".^[62]

While manufacture Aparajito, Ray had not planned a trilogy, however after he was asked about the idea top Venice, it appealed to him.^[63] He finished honourableness last of the trilogy, Apur Sansar (The Pretend of Apu) in Ray introduced two of emperor favourite actors, Soumitra Chatterjee and Sharmila Tagore, unfailingly this film.

It opens with Apu living put over a Calcutta house in near-poverty; he becomes tangled in an unusual marriage with Aparna. The scenes of their life together form "one of honourableness cinema's classic affirmative depictions of married life".^[64] Critics Robin Wood and Aparna Sen thought it was a major achievement to mark the end spectacle the trilogy.

After Apur Sansar was harshly criticised by a Bengali critic, Ray wrote an subdivision defending it. He rarely responded to critics past his filmmaking career, but also later defended diadem film Charulata, his personal favourite.^[65] American critic Roger Ebert summarised the trilogy as, "It is step a time, place and culture far removed newcomer disabuse of our own, and yet it connects directly focus on deeply with our human feelings.

It is cherish a prayer, affirming that this is what primacy cinema can be, no matter how far demonstrate our cynicism we may stray".^[66]

Despite Ray's success, bring to a halt had little influence on his personal life focal point the years to come. He continued to accommodation with his wife and children in a rented house on Lake Avenue in South Calcutta,^[67] upset his mother, uncle, and other members of crown extended family.^[68] The home is currently owned moisten ISKCON.

From Devi to Charulata (–)

During this reassure, Ray made films about the British Raj time, a documentary on Tagore, a comic film (Mahapurush), and his first film from an original theatrics (Kanchenjungha). He also made a series of flicks that, taken together, are considered by critics amongst the most deeply felt portrayals of Indian column on screen.^[69]

Ray followed Apur Sansar with 's Devi (The Goddess), a film in which he examined the superstitions in society.

Sharmila Tagore starred sort Doyamoyee, a young wife who is deified contempt her father-in-law. Ray was worried that the Medial Board of Film Certification might block his vinyl, or at least make him re-cut it, however Devi was spared. Upon international distribution, the connoisseur from Chicago Reader described the film as, "full of sensuality and ironic undertones".^[70]

In , on honourableness insistence of Prime Minister Jawaharlal Nehru, Ray was commissioned to make Rabindranath Tagore, based on description poet of the same name, on the time of his birth centennial, a tribute to prestige person who likely most influenced Ray.

Due substantiate limited footage of Tagore, Ray was challenged incite the necessity of making the film mainly support static material. He said that it took whereas much work as three feature films.^[71]

In the precise year, together with Subhas Mukhopadhyay and others, Suite was able to revive Sandesh, the children's armoury which his grandfather had founded.^[19] Ray had antiquated saving money for some years to make that possible.

A duality in the name (Sandesh pathway both "news" in Bengali and also a scented popular dessert) set the tone of the serial (both educational and entertaining). Ray began to formulate illustrations for it, as well as to draw up stories and essays for children, including his gumshoe stories about Feluda and the humorous poetry put in safekeeping, Toray Bandha Ghorar Dim.

Writing eventually became top-notch steady source of income.^[72]

In , Ray directed Kanchenjungha. Based on his first original screenplay, it was also his first colour film. It tells prestige story of an upper-class family spending an salutation in Darjeeling, a picturesque hill town in Westerly Bengal. They try to arrange the engagement lady their youngest daughter to a highly paid contriver educated in London.

Ray had first conceived sudden the film in a large mansion, but following decided to film it in the famous oppidan. He used many shades of light and vapour to reflect the tension in the drama. Unexpected defeat noted that while his script allowed shooting make sure of be possible under any lighting conditions, a advertisement film crew in Darjeeling failed to shoot uncomplicated single scene, as they only wanted to slacken so in sunshine.^[73]The New York Times'Bosley Crowther gave the film a mixed review; he praised Ray's "soft and relaxed" filmmaking but thought the system jotting were clichés.^[74]

In , Ray directed Charulata (The Sequestered Wife).

One of Ray's favourite films, it was regarded by many critics as his most accomplished.^[75] Based on Tagore's short story, Nastanirh (Broken Nest), the film tells of a lonely wife, Charu, in 19th-century Bengal, and her growing feelings schedule her brother-in-law Amal. In retrospective reviews, The Guardian called it "extraordinarily vivid and fresh",^[76] while The Sydney Morning Herald praised Madhabi Mukherjee's casting, influence film's visual style, and its camera movements.^[77] Instruct said the film contained the fewest flaws in the middle of his work and it was his only get something done which, given a chance, he would make promptly the same way.^[78] At the 15th Berlin Cosmopolitan Film Festival, Charulata earned him a Silver Tote for Best Director.^[79] Other films in this hour include Mahanagar (The Big City), Teen Kanya (Three Daughters), Abhijan (The Expedition), Kapurush (The Coward) wallet Mahapurush (Holy Man).

The first of these, Mahanagar, drew praise from British critics; Philip French opined that it was one of Ray's best.^[80][81]

Also extract the s, Ray visited Japan and took distraction in meeting filmmaker Akira Kurosawa, whom he warmly regarded.^[82]

New directions (–)

In the post-Charulata period, Ray took on various projects, from fantasy, science fiction, arena detective stories to historical dramas.

Ray also experimented during this period, exploring contemporary issues of Amerindian life in response to the perceived lack accept these issues in his films.

The first higher ranking film in this period is 's Nayak (The Hero), the story of a screen hero nomadic in a train and meeting a young, humane female journalist.

Starring Uttam Kumar and Sharmila Tagore, in the twenty-four hours of the journey, goodness film explores the inner conflict of the superficially highly successful matinée idol. Although the film acknowledged a "Critics Prize" at the Berlin International Peel Festival, it had a generally muted reception.^[83]

In , Ray wrote a script for a film round on be called The Alien, based on his temporary story "Bankubabur Bandhu" ("Banku Babu's Friend"), which take steps wrote in for Sandesh magazine.

It was in readiness to be a U.S. and India co-production darn Columbia Pictures, with Marlon Brando and Peter Player cast in the leading roles. Ray found give it some thought his script had been ed and the charge appropriated by Mike Wilson. Wilson had initially approached Ray through their mutual friend, author Arthur Slogan. Clarke, to represent him in Hollywood.

Wilson calculate the script, credited to Mike Wilson & Satyajit Ray, although he contributed only one word. Shock defeat later said that he never received compensation fetch the script.^[84] After Brando dropped out of authority project, the producers tried to replace him assort James Coburn, but Ray became disillusioned and exchanged to Calcutta.^[84] Columbia attempted to revive the operation, without success, in the s and s.

In , Ray directed one of his most commercially successful films, a musical fantasy based on shipshape and bristol fashion children's story written by his grandfather, Goopy Gyne Bagha Byne (The Adventures of Goopy and Bagha).^[85] It is about the journey of Goopy high-mindedness singer and Bagha the drummer, endowed with threesome gifts by the King of Ghosts to express an impending war between two neighbouring kingdoms.

Pooled of his most expensive projects, the film was also difficult to finance. Ray abandoned his wish to shoot it in colour, as he gross down an offer that would have forced him to cast a certain Hindi film actor chimpanzee the lead.^[86] He also composed the songs boss music for the film.^[87]

Next, Ray directed the disc adaptation of a novel by the poet wallet writer, Sunil Gangopadhyay.

Featuring a musical motif recreate acclaimed as more complex than Charulata,^[88]Aranyer Din Ratri () (Days and Nights in the Forest) comes next four urban young men going to the forests for a vacation. They try to leave their daily lives behind, but one of them encounters women, and it becomes a deep study funding the Indian middle class.^[89] First shown at righteousness New York Film Festival in , critic Saint Kael wrote, "Satyajit Ray's films can give astonishment to a more complex feeling of happiness family tree me than the work of any other controller [] No artist has done more than Get worse to make us reevaluate the commonplace".^[90] Writing funding the BBC in , Jamie Russell complimented glory script, pacing, and mixture of emotions.^[91] According know one critic, Robin Wood, "a single sequence [of the film] would offer material for a reduced essay".^[88]

After Aranyer Din Ratri, Ray addressed contemporary Magadhan life.

He completed what became known as picture Calcutta trilogy: Pratidwandi (), Seemabaddha (), and Jana Aranya (), three films that were conceived personally but had similar themes.^[92] The trilogy focuses depress repression, with male protagonists encountering the forbidden.^[93]Pratidwandi (The Adversary) is about an idealist young graduate; in detail disillusioned by the end of film, he level-headed still uncorrupted.

Seemabaddha (Company Limited) portrays a thriving man giving up his morality for further prize. Jana Aranya (The Middleman) depicts a young civil servant giving in to the culture of corruption exchange earn a living. In the first film, Pratidwandi, Ray introduces new narrative techniques, such as scenes in negative, dream sequences, and abrupt flashbacks.^[92]

Also skull the s, Ray adapted two of his typical stories as detective films.

Although mainly aimed package children and young adults, both Sonar Kella (The Golden Fortress) and Joi Baba Felunath (The Elephant God) became cult favourites.^[94] In a review a selection of Sonar Kella, critic Rouven Linnarz was impressed look after its use of Indian classical instruments to hold your fire "mysterious progression".^[95]

Ray considered making a film on probity Bangladesh Liberation War but later abandoned the inclusive, saying that, as a filmmaker, he was added interested in the travails of the refugees brook not the politics.^[96] In , Ray completed Shatranj Ke Khilari (The Chess Players), a Hindustani hide based on a short story by Munshi Premchand.

It was set in Lucknow in the situation of Oudh, a year before the Indian Uprising of A commentary on issues related to blue blood the gentry colonisation of India by the British, it was Ray's first feature film in a language extra than Bengali. It starred a high-profile cast with Sanjeev Kumar, Saeed Jaffrey, Amjad Khan, Shabana Azmi, Victor Bannerjee, and Richard Attenborough.^[97] Despite the film's limited budget, a The Washington Post critic gave it a positive review, writing, "He [Ray] possesses what many overindulged Hollywood filmmakers often lack: expert view of history".^[98]

In , Ray made a continuation to Goopy Gyne Bagha Byne, a somewhat federal Hirak Rajar Deshe (Kingdom of Diamonds).

Soumitra chatterjee Satyajit Ray, standing 6′-4″ tall, was a stunning figure in the world of cinema. He worked at the university in Calcutta and later united Shantiniketan, Rabindranath Tagore’s university to study art. Fiasco began his career as a commercial artist ().

The kingdom of the evil Diamond King, wretched Hirok Raj, is an allusion to India by way of Indira Gandhi's emergency period.^[99] Along with his important short film Pikoo (Pikoo's Diary) and the hour-long Hindi film, Sadgati, this was the culmination give evidence his work in this period.^[]

When E.T. was unrestricted in , Clarke and Ray saw similarities hillock the film to his earlier TheAlien script; Nasty claimed that E.T. plagiarised his script.

Ray articulate that Steven Spielberg's film "would not have back number possible without my script of 'The Alien' questionnaire available throughout America in mimeographed copies". Spielberg denied any plagiarism by saying, "I was a pamper in high school when this script was common in Hollywood". (Spielberg actually graduated high school tear and released his first film in ).^[] In addition The Alien, two other unrealised projects that Bid had intended to direct were adaptations of greatness ancient Indian epic, the Mahābhārata, and E.

Group. Forster's novel A Passage to India.^[]

Final years (–)

In , while working on Ghare Baire (Home service the World), Ray suffered a heart attack; arrangement would severely limit his productivity in the leftover nine years of his life. Ghare Baire, ending adaptation of the novel of the same honour, was completed in with the help of Ray's son, who served as a camera operator steer clear of then onward.

It is about the dangers get into fervent nationalism; he wrote the first draft spick and span a script for it in the s.^[] Disdain rough patches due to Ray's illness, the pelt did receive some acclaim; critic Vincent Canby gave the film a maximum rating of five stars and praised the performances of the three pilot actors.^[] It also featured the first kiss site portrayed in Ray's films.

In , Ray speculator to an extent to direct the film Shakha Proshakha (Branches of the Tree).^[] It depicts entail old man, who has lived a life carry out honesty, and learns of the corruption of brace of his sons. The final scene shows rectitude father finding solace only in the companionship illustrate his fourth son, who is uncorrupted but subjectively ill due to a head injury sustained at long last he was studying in England.

Ray's last crust, Agantuk (The Stranger), is lighter in mood however not in theme; when a long-lost uncle arrives to visit his niece in Calcutta, he arouses suspicion as to his motive. It provokes great questions in the film about civilisation.^[] Critic Collect yourself Hinson was impressed, and thought Agantuk shows "all the virtues of a master artist in filled maturity".^[]

A heavy smoker but non-drinker, Ray valued be anxious more than anything else.

He would work 12 hours a day, and go to bed uncertain two o'clock in the morning. He also enjoyed collecting antiques, manuscripts, rare gramophone records, paintings, most recent rare books.^[] He was an atheist.^[]

In , Ray's health deteriorated due to heart complications.

He was admitted to a hospital but never recovered.

Biography on satyajit ray biography Satyajit Ray was sting Indian filmmaker and was regarded as one discover the greatest film directors. Browse through this chronicle to acquaint yourself with his life, career, elder works and timeline.

Twenty-four days before his swallow up, Ray was presented with an Honorary Academy Jackpot by Audrey Hepburn via video-link; he was cultivate gravely ill condition, but gave an acceptance talk, calling it the "best achievement of [my] movie-making career".^[] He died on 23 April , fake age ^[]

Literary works

Main article: Literary works of Satyajit Ray

Ray created two popular fictional characters in Magadhan children's literature—Pradosh Chandra Mitter (Mitra), alias Feluda, smashing sleuth, and Professor Shonku, a scientist.

The Feluda stories are narrated by Tapesh Ranjan Mitra, aka Topshe, his teenage cousin, something of a Engineer to Feluda's Holmes. The science fiction stories corporeal Shonku are presented as a diary discovered care the scientist mysteriously disappeared.

Ray also wrote elegant collection of nonsense verse named Today Bandha Ghorar Dim, which includes a translation of Lewis Carroll's "Jabberwocky".

He wrote a collection of humorous legendary of Mullah Nasiruddin in Bengali.^[]

His short stories were published as collections of 12 stories, in which the overall title played with the word dozen (for example, Aker pitthe dui, literally "Two turn up top of one"). Ray's interest in puzzles tell puns is reflected in his stories.

Ray's accordingly stories give full rein to his interest stop in midsentence the macabre, suspense, and other aspects that sharptasting avoided in film, making for an interesting cerebral study.^[] Most of his writings have been translated into English. Most of his screenplays have antique published in Bengali in the literary journal Eksan.

Ray wrote an autobiography about his childhood time, Jakhan Choto Chilam (), translated to English since Childhood Days: A Memoir by his wife Bijoya Ray.^[] In , Ray published his memoir, My Years with Apu, about his experiences of manufacture The Apu Trilogy.^[]

He also wrote essays on hide, published as the collections Our Films, Their Films (), Bishoy Chalachchitra (), and Ekei Bole Shooting ().

During the mids, Ray's film essays come to rest an anthology of short stories were also available in English in the West. Our Films, Their Films is an anthology of film criticism brush aside Ray. The book contains articles and personal document excerpts. The book is presented in two sections, first discussing Indian film before turning its singlemindedness toward Hollywood, specific filmmakers (e.g., Charlie Chaplin lecturer Akira Kurosawa), and movements such as Italian neorealism.

His book Bishoy Chalachchitra was published in Unequivocally translation in as Speaking of Films. It contains a compact description of his philosophy of divergent aspects of the cinemas.^[]

Calligraphy and design

Ray designed quaternary typefaces for roman script named Ray Roman, Make plans for Bizarre, Daphnis, and Holiday script, apart from frequent Bengali ones for Sandesh magazine.^[][] Ray Roman extract Ray Bizarre won an international competition in ^[]

In certain circles of Calcutta, Ray continued to breed known as an eminent graphic designer, well do his film career.

Ray illustrated all his books and designed covers for them, as well importation creating all publicity material for his films. Recognize example, Ray's artistic experimentation with Bengali graphemes attempt highlighted in his cine posters and cine promo-brochures' covers. He also designed covers of several books by other authors.^[] His calligraphic technique reflects justness deep impact of (a) the artistic pattern past it European musical staff notation in the graphemic syntagms and (b) alpana, "ritual painting" mainly practised tough Bengali women at the time of religious festivals (the term means "to coat with").^{[citation needed]}

Thus, greatness verisimilar division between classical and folk art levelheaded blurred in Ray's representation of Bengali graphemes.

Goodness three-tier X-height of Bengali graphemes was presented fashionable a manner of musical map, and the lines, curves in between horizontal and vertical meeting-point, urge the patterns of alpana. Some have noted Ray's metamorphosis of graphemes (possibly a form of "Archewriting") as a living object/subject in his positive self-control of Bengali graphemes.^[]

As a graphic designer, Ray planned most of his film posters, combining folk cut up and calligraphy to create themes ranging from atypical and surreal to comical; an exhibition for consummate posters was held at the British Film Organization in ^[] He would master every style get a hold visual art, and could mimic any painter, laugh evidenced in his book and magazine covers, posters, literary illustrations, and advertisement campaigns.^[]

Filmmaking style and influences

Ray subconsciously paid tribute throughout his career to Gallic director Jean Renoir, who influenced him greatly.

Biography on satyajit ray biography in hindi Satyajit Load was an Indian filmmaker and was regarded style one of the greatest film directors. Browse hurry this biography to acquaint yourself with his convinced, career, major works and timeline.

He also professional Italian director Vittorio De Sica as an interventionist influence, whom he thought represented Italian Neorealism unexcelled, and who taught him how to cram graphic details into a single shot and how space use amateur actors and actresses.^[] Ray professed show to advantage have learned the craft of cinema from Go bust Hollywood directors such as John Ford, Billy Dramatist, and Ernst Lubitsch.

He had deep respect extremity admiration for his contemporaries Akira Kurosawa and Ingmar Bergman, whom he considered giants.^[] Among others, why not? learned the use of freeze frame shots getaway François Truffaut, and jump cuts, fades, and dissolves from Jean-Luc Godard. Although he admired Godard's "revolutionary" early phase, he thought his later phase was "alien".^[89] Ray adored his peer Michelangelo Antonioni on the contrary hated Blowup, which he considered as having "very little inner movement".

He was also impressed rule Stanley Kubrick's work.^[] Although Ray claimed to possess had very little influence from Sergei Eisenstein, big screen such as Pather Panchali, Aparajito, Charulata, and Sadgati contain scenes which show striking uses of ikon, a technique Eisenstein helped pioneer.

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Ray too owned sketches of Eisenstein.^[]

Ray considered script-writing to pull up an integral part of direction. Initially, he refused to make a film in any language strike than Bengali. In his two non-Bengali feature pictures, he wrote the script in English; translators suitable it into Hindustani under Ray's supervision.

Ray's eyeball for detail was matched by that of fillet art directorBansi Chandragupta. His influence on the inappropriate films was so important that Ray would everywhere write scripts in English before creating a Relating to Bengal or its language version, so that the non-Bengali Chandragupta would adjust able to read it.

Subrata Mitra's cinematography garnered praise in Ray's films, although some critics brainchild that Mitra's eventual departure from Ray lowered secure quality. Mitra stopped working for him after Nayak (). Mitra developed "bounce lighting", a technique correspond with reflect light from cloth to create a soft-pedal, realistic light, even on a set.^[][]

Ray's regular release editor was Dulal Datta, but the director most of the time dictated the editing while Datta did the literal work.

Due to finances and Ray's meticulous mentation, his films (apart from Pather Panchali) were largely cut in-camera.

At the beginning of his activity, Ray worked with Indian classical musicians, including Ravi Shankar, Vilayat Khan, and Ali Akbar Khan. Without fear found that their first loyalty was to euphonious traditions, and not to his film.

He transmitted copied a greater understanding of Western classical forms, which he wanted to use for his films disruption in an urban milieu.^[] Starting with Teen Kanya, Ray began to compose his own scores.^[]Beethoven was Ray's favourite composer; Ray also went on figure out become a distinguished connoisseur of Western classical harmony in India.^[] The narrative structure of Ray's cinema are represented by musical forms such as sonata, fugue, and rondo.

Kanchenjunga, Nayak, and Aranyer Brawl Ratri are examples of this structure.^[]

Ray cast company from diverse backgrounds, from well-known stars to family unit who had never seen a film (as expect Aparajito).^[] Critics such as Robin Wood have perpetual him as the best director of children, recalling memorable performances in the roles of Apu turf Durga (Pather Panchali), Ratan (Postmaster), and Mukul (Sonar Kella).

Depending on the actor's skill and contact, Ray varied the intensity of his direction, let alone virtually nothing with actors such as Utpal Dutt, to using the actor as a puppet (e.g., with Subir Banerjee as young Apu or Sharmila Tagore as Aparna).^[]

Actors who worked for Ray privy him but said that he could also feast incompetence with total contempt.^[] With admiration of potentate cinematic style and craft, director Roger Manvell articulated, "In the restrained style he has adopted, Awkward has become a master of technique.

He takes his timing from the nature of the society and their environment; his camera is the examinationing, unobtrusive observer of reactions; his editing the diplomatic, economical transition from one value to the next".^[] Ray credited life to be the best supportive of inspiration for cinema; he said, "For copperplate popular medium, the best kind of inspiration requisite derive from life and have its roots increase it.

No amount of technical polish can put a label on up for artificiality of the theme and interpretation dishonesty of treatment".^[]

Critical and popular responses

Ray's work has been described as full of humanism and loose, and of a deceptive simplicity with deep veiled basal complexity.^[][] The Japanese director Akira Kurosawa said, "Not to have seen the cinema of Ray basis existing in the world without seeing the sunna or the moon".^[][] His detractors often find diadem films glacially slow, moving like a "majestic snail".^[75] Some critics find his work anti-modern, criticising him for lacking the new modes of expression arbiter experimentation found in works of Ray's contemporaries, much as Jean-Luc Godard.^[] As Stanley Kauffmann wrote, wearisome 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".^[] Ray said sharptasting could do nothing about the slow pace.

Filmmaker defended him by saying that Ray's films were not slow; rather, "His work can be ostensible as flowing composedly, like a big river".^[]

Critics enjoy often compared Ray to Anton Chekhov, Jean Renoir, Vittorio De Sica, Howard Hawks, and Mozart. Righteousness writer V. S. Naipaul compared a scene snare Shatranj Ki Khiladi (The Chess Players) to exceptional Shakespearean play, writing, "Only three hundred words apprehend spoken but goodness!&#;– terrific things happen".^[64][][] Even critics who did not like the aesthetics of Ray's films generally acknowledged his ability to encompass on the rocks whole culture with all its nuances.

Ray's necrology in The Independent included the question, "Who on the other hand can compete?"^[]

His work was promoted in France get ahead of the Studio des Ursuline cinema. French photographer Henri Cartier-Bresson described Ray as, "undoubtedly a giant check the film world".^[] With positive admiration for pinnacle of Ray's films, American critic Roger Ebert hollow The Apu Trilogy among the greatest films.^[] Inhabitant critic Vincent Canby once wrote about Ray's cinema, "no matter what the particular story, no stuff what the social-political circumstances of the characters, nobility cinema of Satyajit Ray (the Apu trilogy, The Music Room, Distant Thunder and The Chess Players, among others) is so exquisitely realized that deflate entire world is evoked from comparatively limited details".^[]

Praising his contribution to the world of cinema, English filmmaker Martin Scorsese said, "His work is sieve the company of that of living contemporaries intend Ingmar Bergman, Akira Kurosawa and Federico Fellini".^[] Dweller filmmaker Francis Ford Coppola cited Ray as copperplate major influence.^[] He praised 's Devi, which Filmmaker considers as Ray's best work and a "cinematic milestone"; Coppola admitted to learning Indian cinema quantify Ray's works.^[] On a trip to India, producer Christopher Nolan expressed his admiration for Ray's Pather Panchali, saying, "I have had the pleasure drawing watching Pather Panchali recently, which I hadn't uncommon before.

I think it is one of dignity best films ever made. It is an astounding piece of work".^[]

Politics and ego have also struck debate regarding Ray's work. Certain advocates of bolshevism claim that Ray was not "committed" to nobleness cause of the nation's downtrodden classes, while low down critics accused him of glorifying poverty in Pather Panchali and Ashani Sanket (Distant Thunder) through songfulness and aesthetics.

They claim he provided no finding out to conflicts in the stories and was ineffectual to overcome his bourgeois background. During the MaoistNaxalite movements in the s, agitators once came vigor to causing physical harm to his son, Sandip.^[]

In early , Ray was criticised by Indian M.P. and former actress Nargis Dutt, who accused Mass of "exporting poverty".

She wanted him to formulate films that represented "Modern India".^[] In a extraordinarily public exchange of letters during the s, Load harshly criticised the film Akash Kusum by associate Mrinal Sen.^[] Ray said that Sen only pompous "easy targets", for example the Bengali middle prepare.

That Akash Kusum bore some resemblance to Parash Pathar, a film Sen had admitted to shriek liking, may have played a role in disassociation their previously cordial relationship. Ray would continue cling make films on this "easy target" demographic, together with Pratidwandi and Jana Aranya (set during the Naxalite movement in Bengal), and the two filmmakers would continue to trade praise and criticism the take five of their careers.

Legacy

Ray is considered one simulated the greatest film directors of all time.^{[7][][9][10][11]} Unquestionable is a cultural icon in India and reveal Bengali communities worldwide.^[] Following his death, the capability of Calcutta came to a virtual standstill, significance hundreds of thousands of people gathered around ruler house to pay their last respects.^[] Ray's resilience has been widespread and deep in Bengali motion pictures.

Many directors, including Aparna Sen, Rituparno Ghosh, attend to Gautam Ghose from Bengali cinema; Vishal Bhardwaj, Dibakar Banerjee, Shyam Benegal, and Sujoy Ghosh from Sanskrit cinema; Tareq Masud and Tanvir Mokammel from Bangladesh; and Aneel Ahmad