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Satyajit Ray (Bengali: সত뷍িজৎ রায়, listen ; 2 May Sukumar Ray died when Satyajit was barely three, and 1921 – 23 April 1992) was a Bengali Indian filmmaker. the family survived on Suprabha Ray’s meager income. He is considered as one of the greatest filmmakers of Ray studied at Government High School, Cal- the 20th century.[1][2][3][4][5][6] Ray was born in the city cutta, and completed his BA in economics at Presidency of Calcutta into a Bengali family prominent in the world College, Calcutta then affiliated with the University of of arts and literature. Starting his career as a commer- Calcutta, though his interest was always in fine arts. cial artist, Ray was drawn into independent filmmaking In 1940, his mother insisted that he studied at the after meeting French filmmaker and view- Visva-Bharati University at Santiniketan, founded by ing Vittorio De Sica's Italian neorealist 1948 film Bicycle . Ray was reluctant due to his love Thieves during a visit to London. of Calcutta, and the low opinion of the intellectual life [8] Ray directed 36 films, including feature films, documen- at Santiniketan His mother’s persuasion and his respect taries and shorts. He was also a fiction writer, pub- for Tagore finally convinced him to try. In Santiniketan, lisher, illustrator, calligrapher, music composer, graphic Ray came to appreciate Oriental art. He later admitted that he learned much from the famous painters Nandalal designer and film critic. He authored several short stories [9] and novels, primarily aimed at children and adolescents. Bose and . Later he pro- , the sleuth, and , the scientist in duced a documentary film, , about Mukher- jee. His visits to Ajanta, Ellora and Elephanta stimulated his science fiction stories, are popular fictional characters [10] created by him. He was awarded an honorary degree by his admiration for Indian art. Oxford University. In 1943, Ray started work at D.J. Keymer, a British- Ray’s first film, (1955), won eleven in- run advertising agency, as a “junior visualiser,” earning ternational prizes, including Best Human Documentary at eighty rupees a month. Although he liked visual design (graphic design) and he was mostly treated well, there was the . This film, (1956), and Apur Sansar (1959) form . Ray did tension between the British and Indian employees of the firm. The British were better paid, and Ray felt that “the the scripting, casting, scoring, and editing, and designed [11] his own credit titles and publicity material. Ray received clients were generally stupid.” Later, Ray also worked for Signet Press, a new publishing house started by D. K. many major awards in his career, including 32 Indian , a number of awards at interna- Gupta. Gupta asked Ray to create cover designs for books to be published by Signet Press and gave him complete tional film festivals and award ceremonies, and an hon- orary Academy Award in 1992. The Government of In- artistic freedom. Ray designed covers for many books, dia honoured him with the Bharat Ratna in 1992. including 's Banalata Sen, and Rupasi Bangla, Bibhutibhushan Bandyopadhyay's Chander Pa- har, Jim Corbett's Maneaters of Kumaon, and Jawaharlal Nehru's Discovery of . He worked on a children’s 1 Life and career version of Pather Panchali, a classic Bengali novel by Bibhutibhushan Bandyopadhyay, renamed as Aam An- tir Bhepu (The mango-seed whistle). Designing the cover 1.1 Early life and background and illustrating the book, Ray was deeply influenced by the work. He used it as the subject of his first film, and Satyajit Ray’s ancestry can be traced back for at least ten featured his illustrations as shots in his ground-breaking generations.[7] Ray’s grandfather, Upendrakishore Ray film.[12] Chowdhury was a writer, illustrator, philosopher, pub- Along with and others, Ray lisher, amateur astronomer and a leader of the founded the in 1947. They Samaj, a religious and social movement in nineteenth screened many foreign films, many of which Ray watched century . He also set up a printing press by the and seriously studied. He befriended the American GIs name of U. Ray and Sons, which formed a crucial back- stationed in Calcutta during World War II, who kept him drop to Satyajit’s life. Sukumar Ray, Upendrakishore’s informed about the latest American films showing in the son and father of Satyajit, was a pioneering Bengali writer city. He came to know a RAF employee, Norman Clare, of nonsense rhyme and children’s literature, an illustrator who shared Ray’s passion for films, chess and western and a critic. Ray was born to Sukumar and Suprabha Ray classical music.[13] in Calcutta.

1 2 1 LIFE AND CAREER

In 1949, Ray married Bijoya Das, his first cousin and ants eating with their hands.”[20] , then long-time sweetheart.[14] The couple had a son, Sandip, the most influential critic of The New York Times, wrote who is now a film director. In the same year, French di- a scathing review of the film. Its American distributor rector Jean Renoir came to Calcutta to shoot his film The Ed Harrison was worried Crowther’s review would dis- River. Ray helped him to find locations in the countryside. suade audiences, but the film had an exceptionally long Ray told Renoir about his idea of filming Pather Panchali, run when released in the United States. which had long been on his mind, and Renoir encouraged [15] Ray’s international career started in earnest after the suc- him in the project. In 1950, D.J. Keymer sent Ray to cess of his next film, Aparajito (The Unvanquished).[21] London to work at its headquarters office. During his This film shows the eternal struggle between the ambi- three months in London, Ray watched 99 films. Among tions of a young man, Apu, and the mother who loves these was the neorealist film Ladri di biciclette (Bicycle him.[21] Critics such as and Thief) (1948) by Vittorio De Sica, which had a profound rank it higher than Ray’s first film.[21] Aparajito won impact on him. Ray later said that he came out of the [16] the at the , bring- theatre determined to become a film-maker. ing Ray considerable acclaim. Before completing The Apu Trilogy, Ray directed and released two other films: the comic Parash Pathar (The Philosopher’s Stone), and 1.2 The Apu years (1950–59) (The Music Room), a film about the decadence of the Zamindars, considered one of his most important See also: The Apu Trilogy and Satyajit Ray filmography works.[22] While making Aparajito, Ray had not planned a trilogy, Ray decided to use Pather Panchali (1928), the classic but after he was asked about the idea in Venice, it ap- of , as the basis for his pealed to him.[23] He finished the last of the trilogy, Apur first film. The semi-autobiographical novel describes the Sansar () in 1959. Critics maturation of Apu, a small boy in a Bengal village. and found this to be the supreme achieve- Ray gathered an inexperienced crew, although both his ment of the trilogy. Ray introduced two of his favourite cameraman and art director Bansi Chan- actors, and , in this dragupta went on to achieve great acclaim. The cast con- film. It opens with Apu living in a Calcutta house in near- sisted of mostly amateur actors. He started shooting in poverty. He becomes involved in an unusual marriage late 1952 with his personal savings and hoped to raise with Aparna. The scenes of their life together form “one more money once he had some passages shot, but did not of the cinema’s classic affirmative depictions of married [24] succeed on his terms.[17] As a result, Ray shot Pather Pan- life.” They suffer tragedy. After Apur Sansar was chali over three years, an unusually long period, based harshly criticised by a Bengali critic, Ray wrote an ar- on when he or his production manager Anil Chowdhury ticle defending it. He rarely responded to critics during could raise additional funds.[17] He refused funding from his filmmaking career, but also later defended his film [25] sources who wanted a change in script or supervision over , his personal favourite. production. He also ignored advice from the government Ray’s film successes had little influence on his personal to incorporate a happy ending, but he did receive funding life in the years to come. He continued to live with his that allowed him to complete the film.[18] Ray showed an wife and children in a rented house, with his mother, un- early film passage to the American director , cle and other members of his extended family.[26] who was in India scouting locations for The Man Who Would Be King. The passage was of the vision which Apu and his sister have of the train running through the coun- 1.3 From Devi to Charulata (1959–64) tryside, the only sequence which Ray had yet filmed due to his small budget. Huston notified Monroe Wheeler at the New York (MOMA) that a See also: Satyajit Ray filmography major talent was on the horizon. With a loan from the government, Ray fi- During this period, Ray composed films on the British nally completed the film. It was released in 1955 to great Raj period (such as Devi), a documentary on Tagore, a critical and popular success. It earned numerous prizes comic film () and his first film from an orig- and had long runs in both India and abroad. In India, the inal screenplay (Kanchenjungha). He also made a series reaction to the film was enthusiastic; The Times of India of films that, taken together, are considered by critics among the most deeply felt portrayals of Indian women wrote that “It is absurd to compare it with any other In- [27] dian cinema [...] Pather Panchali is pure cinema.”[19] In on screen. the United Kingdom, wrote a glowing Ray followed Apur Sansar with Devi (The Goddess), a review of the film.[19] But, the reaction was not uniformly film in which he examined the superstitions in Hindu so- positive. After watching the movie, François Truffaut is ciety. Sharmila Tagore starred as Doyamoyee, a young reported to have said, “I don't want to see a movie of peas- wife who is deified by her father-in-law. Ray was wor- 1.4 New directions (1965–82) 3

ried that the censor board might block his film, or at least 1.4 New directions (1965–82) make him re-cut it, but Devi was spared. In 1961, on the insistence of Prime minister Jawaharlal Nehru, Ray was See also: Satyajit Ray filmography commissioned to make a documentary on Rabindranath Tagore, on the occasion of the poet’s birth centennial, a tribute to the person who likely most influenced Ray. Due In the post-Charulata period, Ray took on projects of in- to limited footage of Tagore, Ray faced the challenge of creasing variety, ranging from fantasy to science fiction to making a film out of mainly static material. He said that detective films to historical drama. Ray also made con- it took as much work as three feature films.[28] siderable formal experimentation during this period. He expressed contemporary issues of Indian life, respond- In the same year, together with Subhas Mukhopadhyay ing to a perceived lack of these issues in his films. The and others, Ray was able to revive Sandesh, the chil- first major film in this period is Nayak (The Hero), the dren’s magazine which his grandfather once published. story of a screen hero travelling in a train and meeting Ray had been saving money for some years to make this a young, sympathetic female journalist. Starring Uttam [29] possible. A duality in the name (Sandesh means both Kumar and Sharmila Tagore, in the twenty-four hours of “news” in Bengali and also a sweet popular dessert) set the journey, the film explores the inner conflict of the ap- the tone of the magazine (both educational and entertain- parently highly successful matinée idol. In spite of the ing). Ray began to make illustrations for it, as well as to film’s receiving a “Critics prize” at the Berlin Festival, it write stories and essays for children. Writing became his had a generally muted reception.[33] major source of income in the years to come. In 1967, Ray wrote a script for a film to be called The In 1962, Ray directed Kanchenjungha. Based on his first Alien, based on his “Bankubabur Bandhu” original screenplay, it was his first film in colour. The film (“Banku Babu’s Friend”) which he wrote in 1962 for tells of an upper-class family spending an afternoon in Sandesh, the Ray family magazine. Columbia Pictures , a picturesque hill town in West Bengal. They was the producer for what was a planned US-India co- try to arrange the engagement of their youngest daughter production, and Peter Sellers and were to a highly paid engineer educated in London. He had first cast as the leading actors. Ray found that his script conceived shooting the film in a large mansion, but later had been copyrighted and the fee appropriated by Mike decided to film it in the famous hill town. He used the Wilson. Wilson had initially approached Ray through many shades of light and mist to reflect the tension in the their mutual friend, Arthur C. Clarke, to represent him drama. Ray noted that while his script allowed shooting in Hollywood. Wilson copyrighted the script credited to be possible under any lighting conditions, a commer- to Mike Wilson & Satyajit Ray, although he contributed cial film contingent present at the same time in Darjeeling only one word. Ray later said that he never received failed to shoot a single scene, as they only wanted to do a penny for the script.[34] After Brando dropped out of [30] so in sunshine. the project, the project tried to replace him with James In the sixties, Ray visited Japan and took particular plea- Coburn, but Ray became disillusioned and returned to sure in meeting the filmmaker , for whom Calcutta.[34] Columbia expressed interest in reviving the he had very high regard. While at home, he would take project several times in the 1970s and 1980s, but noth- an occasional break from the hectic city life by going to ing came of it. When E.T. was released in 1982, Clarke places such as Darjeeling or to complete a script in and Ray saw similarities in the film to his earlier Alien isolation. script. The Indian director Satyajit Ray claimed that this film plagiarized his script. Ray said that Steven Spiel- In 1964 Ray made Charulata (The Lonely Wife); it was berg’s movie “would not have been possible without my the culmination of this period of work, and regarded by script of 'The Alien' being available throughout Amer- many critics as his most accomplished film.[31] Based on ica in mimeographed copies.” Spielberg denied any pla- "", a short story of Tagore, the film tells of a giarism by saying, “I was a kid in high school when this lonely wife, Charu, in 19th-century Bengal, and her grow- script was circulating in Hollywood.” (Spielberg actually ing feelings for her brother-in-law Amal. Critics have re- graduated high school in 1965 and released his first film in ferred to this as Ray’s Mozartian masterpiece. He said 1968.[35] Besides The Alien, two other unrealised projects the film contained the fewest flaws among his work, and it which Ray had intended to direct were adaptations of the was his only work which, given a chance, he would make ancient Indian epic, the Mahābhārata, and E. M. Forster's exactly the same way.[32] 's perfor- 1924 novel A Passage to India.[36] mance as Charu, and the work of both Subrata Mitra and Bansi Chandragupta in the film, have been highly praised. In 1969, Ray released what would be commercially the Other films in this period include (The Big most successful of his films. Based on a children’s story City), (Three Daughters), (The Ex- written by his grandfather, (The pedition) and o Mahapurush (The Coward and Adventures of Goopy and Bagha), it is a musical fantasy. the Holy Man). Goopy the singer and Bagha the drummer, endowed with three gifts by the King of Ghosts, set out on a fantastic journey. They try to stop an impending war between two 4 1 LIFE AND CAREER

neighbouring kingdoms. Among his most expensive en- 1.5 The last phase (1983–92) terprises, the film project was difficult to finance. Ray abandoned his desire to shoot it in colour, as he turned See also: Satyajit Ray filmography down an offer that would have forced him to cast a cer- In 1983, while working on Ghare Baire (Home and the tain Hindi film actor as the lead.[37] Ray made a film from a novel by the young poet and writer, Sunil Gangopadhyay. Featuring a musical motif structure acclaimed as more complex than Charulata,[38] (Days and Nights in the Forest) traces four urban young men going to the forests for a vacation. They try to leave their daily lives behind. All but one of them become involved in encounters with women, which becomes a deep study of the Indian middle class. Ac- cording to Robin Wood, “a single sequence [of the film] ... would offer material for a short essay”.[38] After Aranyer, Ray addressed contemporary Bengali life. He completed what became known as the Calcutta tril- ogy: (1970), (1971), and (1975), three films that were conceived separately but had thematic connections.[39] Pratidwandi (The Ad- Satyajit Ray became the first Indian to receive an Honorary versary) is about an idealist young graduate; if disillu- Academy Award in 1992. sioned at the end of film, he is still uncorrupted. Jana Aranya (The Middleman) showed a young man giving in World), Ray suffered a heart attack; it would severely to the culture of corruption to make a living. Seemabad- limit his productivity in the remaining 9 years of his life. dha (Company Limited) portrayed an already successful Ghare Baire was completed in 1984 with the help of man giving up his morality for further gains. In the first Ray’s son (who operated the camera from then on) be- film, Pratidwandi, Ray introduces a new, elliptical narra- cause of his health condition. He had wanted to film this tive style, such as scenes in negative, dream sequences, Tagore novel on the dangers of fervent nationalism for a and abrupt flashbacks.[39] In the 1970s, Ray adapted two long time, and wrote a first draft of a script for it in the of his popular stories as detective films. Though mainly 1940s.[43] In spite of rough patches due to Ray’s illness, addressed to children and young adults, both the film did receive some critical acclaim. It had the first (The Golden Fortress) and Joy Baba Felunath (The Ele- kiss fully portrayed in Ray’s films. In 1987, he made a phant God) found some critical following.[40] documentary on his father, Sukumar Ray. Ray considered making a film on the Libera- Ray’s last three films, made after his recovery and with tion War but later abandoned the idea. He said that, as medical strictures in place, were shot mostly indoors, and a filmmaker, he was more interested in the travails of have a distinctive style. They have more dialogue than his the refugees and not the politics.[41] In 1977, Ray com- earlier films and are often regarded as inferior to his ear- pleted Shatranj Ke Khiladi (The Chess Players), a Hindi lier body of work.[44] The first, (An Enemy film based on a story by Munshi Premchand. It was of the People) is an adaptation of the famous Ibsen play, set in in the state of Oudh, a year before the and considered the weakest of the three.[45] Ray recov- Indian rebellion of 1857. A commentary on issues re- ered some of his form in his 1990 film Shakha Proshakha lated to the colonisation of India by the British, this was (Branches of the Tree).[46] In it, an old man, who has lived Ray’s first feature film in a language other than Bengali. a life of honesty, comes to learn of the corruption of three It is his most expensive and star-studded film, featuring of his sons. The final scene shows the father finding so- Sanjeev Kumar, Saeed Jaffrey, Amjad Khan, Shabana lace only in the companionship of his fourth son, who Azmi, Victor Bannerjee and . is uncorrupted but mentally ill. Ray’s last film, (The Stranger), is lighter in mood but not in theme. When In 1980, Ray made a sequel to Goopy Gyne Bagha Byne, a long-lost uncle arrives to visit his niece in Calcutta, he a somewhat political (Kingdom of Di- arouses suspicion as to his motive. This provokes far- amonds). The kingdom of the evil Diamond King, or ranging questions in the film about civilisation.[47] Hirok Raj, is an allusion to India during Indira Gandhi's emergency period.[42] Along with his acclaimed short film In 1992, Ray’s health deteriorated due to heart compli- (Pikoo’s Diary) and hour-long Hindi film, , cations. He was admitted to a hospital, but never re- this was the culmination of his work in this period. covered. The Academy of Motion Picture Arts and Sci- ences awarded him an Honorary Academy Award. Ray became the first and the only Indian yet to receive the honor. Twenty-four days before his death, Ray accepted the award in a gravely ill condition, saying that it is the 5

“Best achievement of [his] movie-making career.”[48] He 3 Literary works died on 23 April 1992 at the age of 70. Main article: Literary creations of Satyajit Ray

Ray created two popular fictional characters in Bengali children’s literature—Feluda, a detective, and Professor Shonku, a scientist. The Feluda stories are narrated by 2 Film craft Topshe, his teenage cousin, something of a Watson to Feluda’s Holmes. The science fictions of Shonku are presented as a diary discovered after the scientist had Satyajit Ray considered script-writing to be an integral mysteriously disappeared. Ray also wrote a collection of part of direction. Initially he refused to make a film in nonsense verse named Today Bandha Ghorar Dim, which any language other than Bengali. In his two non-Bengali includes a translation of Lewis Carroll's "Jabberwocky". feature films, he wrote the script in English; translators He wrote a collection of humorous stories of Mullah interpreted it in Hindi or Urdu under Ray’s supervision. Nasiruddin in Bengali. Ray’s eye for detail was matched by that of his art direc- His short stories were published as collections of 12 sto- tor Bansi Chandragupta. His influence on the early films ries, in which the overall title played with the word twelve was so important that Ray would always write scripts (for example Aker pitthe dui, or literally “Two on top of in English before creating a Bengali version, so that the one”). Ray’s interest in puzzles and puns is reflected in non-Bengali Chandragupta would be able to read it. The his stories. Ray’s short stories give full rein to his inter- craft of Subrata Mitra garnered praise for the cinematog- est in the macabre, in suspense and other aspects that he raphy of Ray’s films. A number of critics thought that avoided in film, making for an interesting psychological his departure from Ray’s crew lowered the quality of study.[54] Most of his writings have been translated into cinematography in the following films.[33] Though Ray English. Most of his screenplays have been published openly praised Mitra, his single-mindedness in taking in Bengali in the literary journal Eksan. Ray wrote an over operation of the camera after Charulata caused Mi- autobiography about his childhood years, Jakhan Choto tra to stop working for him after 1966. Mitra developed Chilam (1982). “bounce lighting”, a technique to reflect light from cloth to create a diffused, realistic light even on a set. Ray ac- He also wrote essays on film, published as the collec- knowledged his debts to Jean-Luc Godard and François tions: Our Films, Their Films (1976), Bishoy Chalach- Truffaut of the French New Wave for introducing new (1976), and Ekei Bole Shooting (1979). During the technical and cinematic innovations.[49] mid-1990s, Ray’s film essays and an anthology of short stories were also published in English in the West. Our Ray’s regular film editor was Dulal Datta, but the direc- Films, Their Films is an anthology of film criticism by tor usually dictated the editing while Datta did the ac- Ray. The book contains articles and personal journal tual work. Because of financial reasons and Ray’s metic- excerpts. The book is presented in two sections: Ray ulous planning, his films were mostly cut “on the camera” first discusses Indian film, before turning his attention (apart from Pather Panchali). At the beginning of his ca- toward Hollywood, specific filmmakers (Charlie Chaplin reer, Ray worked with Indian classical musicians, includ- and Akira Kurosawa), and movements such as Italian ne- ing Shankar, Vilayat Khan and Ali Akbar Khan. He orealism. His book Bishoy Chalachchitra was published found that their first loyalty was to musical traditions, and in translation in 2006 as Speaking of Films. It contains not to his film. He had a greater understanding of west- a compact description of his philosophy of different as- ern classical forms, which he wanted to use for his films pects of the cinemas. set in an urban milieu.[50] Starting with Teen Kanya, Ray began to compose his own scores. He used actors of diverse backgrounds, from famous film stars to people who had never seen a film (as in Apara- 4 Ray as Calligrapher jito).[51] Robin Wood and others have lauded him as the best director of children, pointing out memorable perfor- Satyajit Ray designed four typefaces for roman script mances in the roles of Apu and Durga (Pather Panchali), named Ray Roman, Ray Bizarre, Daphnis, and Holiday Ratan (Postmaster) and Mukul (Sonar Kella). Depending Script, apart from numerous Bengali ones for the Sandesh on the talent or experience of the actor, Ray varied the in- magazine.[55][56] Ray Roman and Ray Bizarre won an tensity of his direction, from virtually nothing with actors international competition in 1971.[57] In certain circles such as , to using the actor as “a puppet”[52] of Calcutta, Ray continued to be known as an eminent ( as young Apu or Sharmila Tagore as graphic designer, well into his film career. Ray illustrated Aparna). Actors who had worked for Ray praised his all his books and designed covers for them, as well as cre- customary trust but said he could also treat incompetence ating all publicity material for his films, i.e., Ray’s artistic with “total contempt”.[53] playing with the Bangla graphemes was also revealed in 6 6 LEGACY

the cine posters and cine promo-brochures’ covers. He mar, whom he considered a compromise.[69] Ray said also designed covers of several books by other authors.[58] that Sen only attacked “easy targets”, i.e. the Bengali In his calligraphic technique there are deep impacts of: middle-classes. However Ray himself has made movies (a) Artistic pattern of European musical staff notation on Bengali middle class in films like Pratidwandi and in the graphemic syntagms; (b) alpana (“ritual painting” Jana Aranya set during the period of the naxalite move- mainly practised by Bengali women at the time of reli- ment in Bengal. Advocates of socialism said that Ray gious festival; the term denotes 'to coat with'. Generally was not “committed” to the cause of the nation’s down- categorised as “Folk"-Art cf. in Ray’s graphemic repre- trodden classes; some critics accused him of glorifying sentations. poverty in Pather Panchali and Ashani Sanket (Distant Thus, so-called division between classical and folk art Thunder) through lyricism and aesthetics. They said he provided no solution to conflicts in the stories, and was is blurred in Ray’s representation of Bangla graphemes. The three-tier X-height of Bangla graphemes was pre- unable to overcome his bourgeois background. During the naxalite movements in the 1970s, agitators once came sented in a manner of musical map and the contours, [70] curves in between horizontal and vertical meeting-point, close to causing physical harm to his son, Sandip. Early in 1980, Ray was criticised by an Indian M.P. and follow the patterns of alpana. It is also noticed that the metamorphosis of graphemes (This might be designated former actress Dutt, who accused Ray of “export- ing poverty.” She wanted him to make films to represent as “Archewriting”) as a living object/subject in Ray’s pos- [71] itive manipulation of Bangla graphemes.[59] “Modern India.”

6 Legacy 5 Critical and popular response Satyajit Ray is a cultural icon in India and in Bengali com- Ray’s work has been described as full of humanism and munities worldwide.[72] Following his death, the city of universality, and of a deceptive simplicity with deep un- Calcutta came to a virtual standstill, as hundreds of thou- derlying complexity.[60][61] The Japanese director Akira sands of people gathered around his house to pay their last Kurosawa said, “Not to have seen the cinema of Ray respects.[73] Satyajit Ray’s influence has been widespread means existing in the world without seeing the sun or and deep in Bengali cinema; a number of Bengali di- the moon.”[62] But his detractors find his films glacially rectors, including Aparna Sen, and slow, moving like a “majestic snail.”[31] Some find his hu- Gautam Ghose as well as Vishal Bhardwaj, Dibakar manism simple-minded, and his work anti-modern; they Banerjee, and from Hindi criticize him for lacking the new modes of expression cinema in India, Tareq Masud and Tanvir Mokammel in or experimentation found in works of Ray’s contempo- Bangladesh, and Aneel Ahmad in England, have been in- raries, such as Jean-Luc Godard.[63] As Stanley Kauffman fluenced by his film craft. Across the spectrum, filmmak- wrote, some critics believe that Ray assumes that viewers ers such as Budhdhadeb Dasgupta, Mrinal Sen[74] and “can be interested in a film that simply dwells in its char- have acknowledged his seminal acters, rather than one that imposes dramatic patterns on contribution to Indian cinema. Beyond India, filmmak- their lives.”[64] Ray said he could do nothing about the ers such as ,[75][76] Francis Ford Coppola, slow pace. Kurosawa defended him by saying that Ray’s ,[77] , , François films were not slow, “His work can be described as flow- Truffaut,[78] ,[79] ,[80] Wes An- ing composedly, like a big river”.[65] derson,[81] [82] and any many other noted filmmakers from all over the world have been influenced Critics have often compared Ray to artists in the cin- by his cinematic style, with many others such as Akira ema and other media, such as Chekhov, Renoir, De Kurosawa praising his work.[62] 's 1995 Sica, Hawks or Mozart. The writer V. S. Naipaul com- film My Family had a final scene that repeated that of pared a scene in Shatranj Ki Khiladi (The Chess Play- Apur Sansar. Ira Sachs's 2005 work Forty Shades of ers) to a Shakespearean play; he wrote, “only three hun- Blue was a loose remake of Charulata. Other references dred words are spoken but goodness! – terrific things [24][66][67] to Ray films are found, for example, in recent works happen.” Even critics who did not like the such as Sacred Evil,[83] the Elements trilogy of Deepa aesthetics of Ray’s films generally acknowledged his abil- Mehta.[84] According to Michael Sragow of The Atlantic ity to encompass a whole culture with all its nuances. Monthly, the “youthful coming-of-age dramas that have Ray’s obituary in The Independent included the question, [68] flooded art houses since the mid-fifties owe a tremen- “Who else can compete?" His work was promoted in dous debt to the Apu trilogy".[85] The trilogy also intro- France by The Studio des Ursulines cinema. duced the bounce lighting technique.[86] Kanchenjungha Political ideologues took issue with Ray’s work. In a pub- (1962) introduced a narrative structure that resembles lic debate during the 1960s, Ray and the Marxist film- later hyperlink cinema.[87] Pratidwandi (1972) helped maker Mrinal Sen engaged in an argument. Sen criti- pioneer photo-negative flashback and X-ray digression cised him for casting a matinée idol such as Uttam Ku- techniques.[88] Together with Madhabi Mukherjee, Ray 7 was the first Indian film figure to be featured on a foreign via live video feed from the hospital bed. In 1992 he stamp (Dominica). was posthumously awarded the Akira Kurosawa Award Many literary works include references to Ray or his for Lifetime Achievement in Directing at the San Francisco International Film Festival; it was accepted on his behalf work, including Saul Bellow's Herzog and J. M. Coet- [96] zee's Youth. Salman Rushdie's Haroun and the Sea of by actress Sharmila Tagore. Stories contains fish characters named Goopy and Bagha, In 1992, the Sight & Sound Critics’ Top Ten Poll ranked a tribute to Ray’s fantasy film. In 1993, UC Santa Cruz Ray at No. 7 in its list of “Top 10 Directors” of all time, established the Satyajit Ray Film and Study collection, making him the highest-ranking Asian filmmaker in the and in 1995, the Government of India set up Satyajit Ray poll.[97] In 2002, the Sight & Sound critics’ and directors’ Film and Television Institute for studies related to film. In poll ranked Ray at No. 22 in its list of all-time greatest 2007, the BBC declared that two Feluda stories would be directors,[98] thus making him the fourth highest-ranking made into radio programs.[89] During the London Film Asian filmmaker in the poll.[98] In 1996, Entertainment Festival, a regular “Satyajit Ray Award” is given to a Weekly magazine ranked Ray at No. 25 in its “50 Greatest first-time feature director whose film best captures “the Directors” list.[99] In 2007, Total Film magazine included artistry, compassion and humanity of Ray’s vision”. Wes Ray in its “100 Greatest Film Directors Ever” list.[100] Anderson has claimed Ray as an influence on his work; his 2007 film, The Darjeeling Limited, set in India, is ded- icated to Ray. Ray also a graphic designer, designed most 8 The Ray family of his film posters, combining folk-art and calligraphy to create themes ranging from mysterious, surreal to com- ical; an exhibition his posters was held at British Film 9 Filmography Institute in 2013.[90] Main article: Satyajit Ray filmography 7 Awards, honours and recogni- tions 10 See also Further information: List of awards conferred on Satyajit • Cinema of West Bengal Ray • Ray received many awards, including 32 National Film Awards by the Government of India, and awards at in- ternational film festivals. At the 11th Moscow Interna- 11 Notes tional Film Festival in 1979, he was awarded with the [91] Honorable Prize for the contribution to cinema. At the [1] http://www.britannica.com/EBchecked/topic/492404/ Berlin Film Festival, he was one of only three filmmak- Satyajit-Ray ers to win the Silver Bear for Best Director more than once[92] and holds the record for the most number of [2] http://www.theguardian.com/commentisfree/2013/jul/ nominations, with seven. At the Venice Film 22/satyajit-ray-artifice-honesty-film Festival, where he had previously won a Golden Lion for [3] http://www.bampfa.berkeley.edu/filmseries/ray Aparajito (1956), he was awarded the Golden Lion Hon- orary Award in 1982. That same year, he received an [4] http://satyajitray.ucsc.edu/critics.html honorary “Hommage à Satyajit Ray” award at the 1982 [5] http://cup.columbia.edu/book/satyajit-ray-on-cinema/ [93] Cannes Film Festival. 9780231164948 Ray is the second film personality after Chaplin to have [6] http://www.bfi.org.uk/news-opinion/news-bfi/lists/ been awarded an honorary doctorate by Oxford Univer- satyajit-ray-five-essential-films sity.[94] He was awarded the Dadasaheb Phalke Award in 1985 and the Legion of Honor by the President of France [7] Seton 1971, p. 36 in 1987.[95] The Government of India awarded him the highest civilian honour, Bharat Ratna shortly before his [8] Robinson 2003, p. 46 [95] death. The Academy of Motion Picture Arts and Sci- [9] Seton 1971, p. 70 ences awarded Ray an Honorary Oscar in 1992 for Life- time Achievement. It was one of his favourite actresses, [10] Seton 1971, pp. 71–72 Audrey Hepburn, who represented the Academy on that [11] Robinson 2003, pp. 56–58 day in Calcutta. Ray, unable to attend the ceremony due to his illness, gave his acceptance speech to the Academy [12] Robinson 2005, p. 38 8 11 NOTES

[13] Robinson 2005, pp. 40–43 [40] Rushdie 1992

[14] Arup Kr De, “Ties that Bind” by The Statesman, Calcutta, [41] Robinson 2003, p. 206 27 April 2008. Quote: “Satyajit Ray had an unconven- tional marriage. He married Bijoya (born 1917), youngest [42] Robinson 2003, pp. 188–189 daughter of his eldest maternal uncle, Charuchandra Das, [43] Robinson 2003, pp. 66–67 in 1948 in a secret ceremony in Bombay after a long ro- mantic relationship that had begun around the time he left [44] Robinson 2003, pp. 339–364 college in 1940. The marriage was reconfirmed in Cal- cutta the next year at a traditional religious ceremony.” [45] Dasgupta 1996, p. 134

[15] Robinson 2005, pp. 42–44 [46] Robinson 2003, p. 353

[16] Robinson 2005, p. 48 [47] Robinson 2003, pp. 353–364

[17] Robinson 2003, pp. 74–90 [48] “Acceptance Speeches: Satyajit Ray”. Academy of Mo- tion Picture Arts and Sciences. Retrieved 22 April 2013. [18] Seton 1971, p. 95 [49] Sen A. “Western Influences on Satyajit Ray”. Parabaas. [19] Seton 1971, pp. 112–15 Retrieved 29 April 2006. [20] “Filmi Funda Pather Panchali (1955)". (Calcutta, India). 20 April 2005. Retrieved 29 April [50] Robinson 2003, pp. 315–318 2006. [51] Ray 1994, p. 100 [21] Robinson 2003, pp. 91–106 [52] Robinson 2003, p. 78 [22] Malcolm D (19 March 1999). “Satyajit Ray: The Mu- [53] Robinson 2003, p. 307 sic Room”. The Guardian (London). Retrieved 19 June 2006. [54] Nandy 1995

[23] Wood 1972, p. 61 [55] Datta, Sudipta (19 January 2008). “The Ray show goes on”. The Financial Express (Indian Express Newspapers [24] Wood 1972 () Ltd). Retrieved 10 April 2008. [25] Ray 1993, p. 13 [56] “Ray Typography”. Retrieved 24 July 2014. [26] Robinson 2003, p. 5 [57] Robinson 2003, p. 57 [27] Palopoli S. “Ghost 'World'". metroactive.com. Retrieved 19 June 2006. [58] Robinson 2003, pp. 57–59

[28] Robinson 2003, p. 277 [59] “Chobi Lekhen Sottojit (Satyajit Ray Writes Paintings)". academia.edu. [29] Seton 1971, p. 189 [60] Malcolm D (2 May 2002). “The universe in his backyard”. [30] Robinson 2003, p. 142 The Guardian (London). Retrieved 15 February 2007.

[31] Robinson 2003, p. 157 [61] Swagrow M. “An Art Wedded to Truth”. The Atlantic Monthly. Retrieved 15 February 2007. [32] Antani J. “Charulata”. Slant magazine. Retrieved 19 June 2006. [62] Robinson 2003, p. 96

[33] Dasgupta 1996, p. 91 [63] Robinson 2003, pp. 306–318

[34] Ray, Satyajit. “Ordeals of the Alien”. The Unmade Ray. [64] Robinson 2003, pp. 352–353 Satyajit Ray Society. Archived from the original on 27 April 2008. Retrieved 21 April 2008. [65] Robinson 2003, pp. 314–315

[35] Newman J (17 September 2001). “Satyajit Ray Collec- [66] Ebert R. “The Music Room (1958)". Chicago Sun-Times. tion receives Packard grant and lecture endowment”. UC Retrieved 29 April 2006. Santa Cruz Currents online. Retrieved 29 April 2006. [67] Robinson 2003, p. 246 [36] C. J. Wallia (1996). “Book review: Satyajit Ray by Surabhi Banerjee”. India Star. Retrieved 31 May 2009. [68] Robinson 2005, pp. 13–14

[37] Seton 1971, pp. 291–297 [69] Robinson 2003, p. 177

[38] Wood 1972, p. 13 [70] Robinson 2003, p. 205

[39] Robinson 2003, pp. 200–220 [71] Robinson 2003, pp. 327–328 9

[72] Tankha, Madhur (1 December 2007). “Returning to the [92] “Silver Bear winners (directors)". listal. 24 November classics of Ray”. The Hindu (, India). Retrieved 2008. Retrieved 19 April 2009. 1 May 2008. [93] “Personal Awards”. Satyajit Ray official site. Retrieved [73] Amitav Ghosh. “Satyajit Ray”. Doom Online. Retrieved 19 April 2009. 19 June 2006. [94] Robinson 2003, p. 1 [74] Mrinal Sen. “Our lives, their lives”. Little Magazine. Re- trieved 29 June 2006. [95] “Personal Awards”. Awards. satyajitray.org. Retrieved 9 April 2008. [75] Chris Ingui. “Martin Scorsese hits DC, hangs with the Hachet”. Hatchet. Retrieved 6 June 2009. [96] “Awards and Tributes: Satyajit Ray”. San Francisco In- ternational Film Festival: The First to Fifty. San Francisco [76] Jay Antani (2004). “Raging Bull: A film review”. Film Society. Retrieved 8 April 2008. Filmcritic.com. Retrieved 4 May 2009. [97] “Sight and Sound Poll 1992: Critics”. California Institute [77] Sheldon Hall. “Ivory, James (1928–)". Screen Online. of Technology. Retrieved 29 May 2009. Retrieved 12 February 2007. [98] Kevin Lee (5 September 2002). “A Slanted Canon”. [78] Dave Kehr (5 May 1995). “THE 'WORLD' OF SATYA- Asian American Film Commentary. Retrieved 24 April JIT RAY: LEGACY OF INDIA'S PREMIER FILM 2009. MAKER ON DISPLAY”. Daily News. Retrieved 6 June 2009. [99] “Greatest Film Directors and Their Best Films”. Filmsite.org. Retrieved 19 April 2009. [79] Suchetana Ray (11 March 2008). “Satyajit Ray is this Spanish director’s inspiration”. CNN-IBN. Retrieved 6 [100] “The Greatest Directors Ever by Total Film Magazine”. June 2009. Filmsite.org. Retrieved 19 April 2009. [80] Daniel Thomas (20 January 2003). “Film Reviews: Grave of the Fireflies (Hotaru no Haka)". Retrieved 30 May 2009. 12 References [81] “a review of ’s the darjeeling limited”. 28 October 2007. Retrieved 2007-12-24. • Biswas, M, ed. (2006). Apu and after: Revisiting Ray’s cinema. Seagull Books. ISBN 978-1-905422- [82] Alkarim Jivani (February 2009). “Mumbai rising”. Sight 25-8. & Sound. Retrieved 1 February 2009. • Cooper, D (2000). The Cinema of Satyajit Ray: Be- [83] SK Jha (9 June 2006). “Sacred Ray”. Calcutta, India: Telegraph India. Retrieved 29 June 2006. tween Tradition and Modernity. Cambridge Univer- sity Press. ISBN 0-521-62980-2. [84] André Habib. “Before and After: Origins and Death in the Work of Jean-Luc Godard”. Senses of Cinema. Archived • Dasgupta, C (1996). The cinema of Satyajit Ray. from the original on 14 June 2006. Retrieved 29 June Penguin India. ISBN 0-14-024780-7. 2006. • Ganguly, S (2001). Satyajit Ray: In search of the [85] Sragow, Michael (1994). “An Art Wedded to Truth”. The modern. Indialog. ISBN 81-87981-04-0. Atlantic Monthly (University of California, Santa Cruz). Retrieved 11 May 2009. • Y, Ishaghpour (2002). Satyajit Ray, l'Orient et l'Occident. Volume 24 of Les essais. Différence. [86] “Subrata Mitra”. Internet Encyclopedia of Cinematogra- ISBN 2-7291-1401-7. phers. Retrieved 22 May 2009. • [87] “An Interview with Satyajit Ray”. 1982. Retrieved 24 Mitra, S (1983). “The Genius of Satyajit Ray”. In- May 2009. dia Today.

[88] Nick Pinkerton (14 April 2009). “First Light: Satyajit • Nandy, A (1995). “Satyajit Ray’s Secret Guide to Ray From the Apu Trilogy to the Calcutta Trilogy”. The Exquisite Murders”. The Savage Freud and Other Village Voice. Retrieved 9 July 2009. Essays on Possible and Retrievable Selves. Princeton University Press. ISBN 0-691-04410-4. [89] Datta S. “Feluda goes global, via radio”. The Financial Express. Retrieved 12 February 2007. • Nyce, B (1988). Satyajit Ray: A Study of His Films. [90] Isabel Stevens (13 August 2013). “Satyajit Ray’s film Praeger Publishers. ISBN 0-275-92666-4. posters: in pictures”. The Guardian. Retrieved 6 June • 2014. Ray, S (1993). Our films, their films (3 ed.). Asia Book Corp of Amer. ISBN 0-86311-317-6. [91] “11th Moscow International Film Festival (1979)". Moscow International Film Festival. Retrieved 20 Jan- • Ray, S (1994). My Years with Apu. Viking. ISBN uary 2013. 0-670-86215-0. 10 13 EXTERNAL LINKS

• Ray, S (2005). Speaking of films. Penguin India. ISBN 0-14-400026-1. • Robinson, A (2003). Satyajit Ray: The Inner Eye: The Biography of a Master Film-Maker. I. B. Tauris. ISBN 1-86064-965-3.

• Robinson (2005). Satyajit Ray: A Vision of Cinema. I. B. Tauris. ISBN 1-84511-074-9.

• Rushdie, S (199). Imaginary Homelands. Penguin. ISBN 0-14-014036-0.

• Santas, Constantin (2002). Responding to film: A Text Guide for Students of Cinema Art. Rowman & Littlefield. ISBN 0-8304-1580-7.

• Seton, Marie (1971). Satyajit Ray: Portrait of a director. Indiana University Press. ISBN 0-253- 16815-5. • Wood, R (1972). The Apu trilogy. November Books Ltd. ISBN 0-85631-003-4.

13 External links

• Experiencing Ray’s “The Apu Trilogy”

• Satyajit Ray Foundation • SatyajitRay.org

• Satyajit Ray at the Internet Movie Database • “Satyajit Ray: A Vision of Cinema”. Archived from the original on 4 January 2006. article by W. An- drew Robinson 11

14 Text and image sources, contributors, and licenses

14.1 Text

• Satyajit Ray Source: http://en.wikipedia.org/wiki/Satyajit%20Ray?oldid=645067570 Contributors: Robert Merkel, Koyaanis Qatsi, Danny, Olivier, Sray, Jeandré du Toit, Kaysov, Technopilgrim, Tovarish, Jay, Tpbradbury, Maximus Rex, Schutz, RedWolf, Naddy, Babbage, Stewartadcock, Timrollpickering, Italo, JackofOz, Asparagus, Nichalp, David Johnson, BigHaz, AlistairMcMillan, Edcolins, Ragib, Tipiac, LordSimonofShropshire, R. fiend, Sonjaaa, Quadell, Ravikiran r, Huaiwei, TJSwoboda, Kevyn, Zro, D6, Erc, Zaheen, Rich Farmbrough, Guanabot, Paulo Oliveira, YUL89YYZ, JPX7, Ashwatham, Sc147, LordGulliverofGalben, CanisRufus, Alren, Are- Jay, Nicke Lilltroll, Nk, Pazouzou, Idleguy, HasharBot, Interiot, Philip Cross, Riana, Fritz Saalfeld, Goldom, Balster neb, Gautam3, Grenavitar, Zntrip, Evolve75, Mel Etitis, Woohookitty, Pradeepj251, Ganeshk, Urnonav, Shmitra, Anindya, Tutmosis, Mikaelbook, Graham87, BD2412, Dwaipayanc, Ketiltrout, Rjwilmsi, Gamesmasterg9, Koavf, Vegaswikian, Ligulem, Brighterorange, Bhadani, Mar- netteD, Tbone, Aveekbh, FlaBot, Jovinjoy, RobertG, Crazycomputers, Nige111, Mskadu, Gurubrahma, Gareth E Kegg, DaGizza, Bg- white, YurikBot, Wavelength, Jishnubhattacharyya, Wthrw, Hornplease, Loom91, Gaius Cornelius, Rsrikanth05, Cryptic, NawlinWiki, Badagnani, Astorknlam, Jpbowen, Tony1, Zwobot, Supten, SameerKhan, MaxVeers, Priyanath, Hirak 99, Tanet, CapitalLetterBeginning, BorgQueen, Davidals, Fram, Shyam, Curpsbot-unicodify, Harthacnut, Sardanaphalus, SmackBot, YellowMonkey, Brandon39, Classic- films, Saravask, F, Jagged 85, BiT, Commander Keane bot, Aksi great, Ohnoitsjamie, ERcheck, Nymph, Schmiteye, Aparajito, Persian Poet Gal, MK8, B00P, MalafayaBot, UdayanBanerjee, Sadads, Colonies Chris, Rama’s Arrow, Mainak, Liontooth, Zvar, Hariharan91, Cribananda, Stevenmitchell, Krich, Nakon, Anoopkn, Dreadstar, DMacks, Johnor, Ohconfucius, Amartyabag, Vuttaa, Ser Amantio di Nicolao, Wildtornado, JzG, Žiga, Victoria15, JoshuaZ, Merchbow, Tarikur, Pramanick, Chezhiyan, Rishiraj Sahoo, Violncello, Aadas, Hu12, Norm mit, Kaushik feluda, Iridescent, JoeBot, Inigo75, Bharatveer, Marysunshine, Malickfan86, BengalRenaissanceEccentrica, CmdrObot, Randhirreddy, Irwangatot, Drinibot, MarsRover, Anil1956, Haphar, Besidesamiracle, Cydebot, Fl, Dylanjsather, Otto4711, Lugnuts, Pascal.Tesson, Ameliorate!, Sumande, Chris Henniker, Medvedenko, Kozuch, Jguard18, Vinay h, Suvobroto, Aditya Kabir, Thijs!bot, Biruitorul, Daniel, Rakz, PerfectStorm, ThatGuamGuy, J. 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• File:Bharat_Ratna.jpg Source: http://upload.wikimedia.org/wikipedia/commons/f/f6/Bharat_Ratna.jpg License: Public domain Con- tributors: Transferred from en.wikipedia; transferred to Commons by User:Hekerui using CommonsHelper. Original artist: Kumar Rajen- dran • File:Commons-logo.svg Source: http://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: ? Contributors: ? Original artist: ? • File:Cscr-featured.svg Source: http://upload.wikimedia.org/wikipedia/en/e/e7/Cscr-featured.svg License: ? Contributors: ? Original artist: ? • File:Example.of.complex.text.rendering.svg Source: http://upload.wikimedia.org/wikipedia/commons/3/39/Example.of.complex.text. rendering.svg License: Public domain Contributors: ? Original artist: ? • File:Loudspeaker.svg Source: http://upload.wikimedia.org/wikipedia/commons/8/8a/Loudspeaker.svg License: Public domain Contrib- utors: ? Original artist: ? • File:Satyajit-ray-oscar-180.jpg Source: http://upload.wikimedia.org/wikipedia/en/5/59/Satyajit-ray-oscar-180.jpg License: Fair use Contributors: ? Original artist: ? 12 14 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

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