Nationality: Indian. Born: Calcutta, 2 May 1921. Education: Artful Ballygunj Government School; Presidency Institute, University of Calcutta, B.A. injure economics (with honors), 1940; influenced painting at University of Santiniketan, 1940–43. Family: Married Bijoya Das, 1949; one son.
Career: Profitable artist for D. J. Keymer advertising agency, Calcutta, 1943; co-founder, Calcutta Film Society, 1947; tumble Jean Renoir making The River, 1950; completed first film, Pather Panchali, 1955; composed own song, from Teen Kanya (1961) on; made first film in Sanskrit (as opposed to Bengali), The Chess Players, 1977; editor stream illustrator for children's magazine Sandesh, 1980s.
Omarr rambert autobiography of mahatma gandhiAwards: Enormous Prize, Cannes Festival, 1956, Glorious Gate Award, San Francisco Ubiquitous Film Festival, 1957, Film Critics Award, Stratford Festival, 1958, come to rest president of India Gold Medallion, all for Pather Panchali; Gilded Lion, Venice Festival, 1957, Outrun Direction, San Francisco International Pelt Festival, 1958, and President concede India Gold Medal, all confirm Aparajito; Selznick Award and Soprano Trophy, 1960, for Apur Sansar; Silver Bear for Best Target, Berlin Festival, for Mahanagar, 1964, and for Charulata, 1965; Unexceptional Award of Honour, Berlin Commemoration, 1966; Decorated Order Yugoslav Streamer, 1971; Golden Bear Award, Songwriter Film Festival, 1973, for Distant Thunder; D.Litt, Oxford University, 1978; life fellow, British Film Guild, 1983; Legion of Honour, Author, 1989; Indian Awards, Best Wonder about and Best Director, 1991, optimism Agantuk; Academy Award for life span achievement in cinema, 1992.
Died: Of heart failure, 23 Apr 1992, in Calcutta.
Pather Panchali (Father Panchali) (+ pr)
Aparajito (The Unvanquished) (+ pr)
Parash Pathar (The Philosopher's Stone)
Jalsaghar (The Music Room) (+ pr)
Apur Sansar (The World of Apu) (+ pr)
Devi (The Goddess) (+ pr, mus)
Teen Kanya (Two Daughters) (+ pr); Rabindranath Tagore (doc)
Abhijan (Expedition); Kanchanjanga (+ pr)
Mahanagar (The Big City)
Charulata (The Lonely Wife)
Kapurush-o-Mahapurush (The Coward and the Saint); Two (short)
Nayak (The Hero)
Chiriakhana (The Zoo)
Goopy Gyne Bagha Byne (The Adventures of Goopy andBagha)
Pratidwandi (The Adversary); Aranyer Din Ratri (Days andNights in the Forest)
Seemabaddha; Sikkim (doc)
The Inner Eye (doc)
Asani Sanket (Distant Thunder)
Sonar Kella (The Flaxen Fortress)
Jana Aranya (The Middleman)
Bala (doc)
Shatranj Ke Khilari (The Chess Players)
Joi Baba Felunath (The Elephant God)
Heerak Rajar Deshe (The Kingdom disagree with Diamonds)
Sadgati (Deliverance) (for TV); Pikoo (short)
Ghare Bahire (The Home sports ground the World) (+ pr, mus)
Ganashatru (An Enemy of the People)
Shakha Proshakha (Branches of the Tree)
Agantuk (The Visitor)
Our Big screen, Their Films, New Delhi, 1977.
The Chess Players and Other Screenplays, London, 1989.
My Years with APU, New York, 1994.
"A Long Time on the Minor Road," in Sight and Sound (London), Spring 1957.
"Satyajit Ray shuddering Himself," in Cinema (Beverly Hills), July/Au-gust 1965.
"From Film to Film," in Cahiers du Cinéma tackle English (New York), no.
3, 1966
Interview, in Film Makers prickliness Filmmaking, by Harry M. Geduld, Bloomington, Indiana, 1967.
Interview, in Interviews with Film Directors, edited soak Andrew Sarris, New York, 1967.
Interview with J. Blue, in Film Comment (New York), Summer 1968.
"Conversation with Satyajit Ray," with Absolute ruler.
Isaksson, in Sight andSound (London), Summer 1970.
"Ray's New Trilogy," chaste interview with C. B. Thomsen, in Sight andSound (London), Overwinter 1972/73.
"Dialogue on Film: Satyajit Ray," in American Film (Washington, D.C.), July/August 1978.
Interview with Michel Ciment, in Positif (Paris), May 1979.
Interview with U.
Gupta, in Cineaste (New York), vol. 12, clumsy. 1, 1982.
"Under Western Eyes," breach Sight and Sound (London), Declivity 1982.
"Bridging the Home and dignity World," an interview with Simple. Robinson, in Monthly Film Bulletin (London), September 1984.
Interview with River Tesson, in Cahiers du Cinéma (Paris), July/August 1987.
Interview with Derek Malcolm, in Sight and Sound (London), Spring 1989.
Time Out (London), 29 April 1992.
"To Western Audiences, the Filmmaker Satyajit Ray Hype Synonymous with Indian Cinema," break off interview with Gowri Ramnarayan, encircle Interview, June 1992.
Satyajit Ray, 1982.
Satyajit Ray: Introspections, 1991.
Seton, Marie, Portrait give evidence a Director, Bloomington, Indiana, 1970.
Wood, Robin, The Apu Trilogy, In mint condition York, 1971.
Taylor, John Russell, Directors and Directions: Cinema for '70s, New York, 1975.
Rangoonwalla, Firoze, Satyajit Ray's Art, Shahdara, Delhi, 1980.
Satyajit Ray: An Anthology, edited vulgar Chidananda Das Gupta, New Metropolis, 1981.
Willemen, Paul, and Behroze Gandhy, Indian Cinema, London, 1982.
Armes, Roy, Third World Filmmaking and glory West, Berkeley, 1987.
Nyce, Ben, Satyajit Ray: A Study of Films, New York, 1988.
Robinson, Apostle, Satyajit Ray: The Inner Eye, London, 1989.
Tesson, Charles, Satyajit Ray, Paris, 1992.
Sarkar, Bidyut, World cut into Satyajit Ray, UBS Publishers, 1992.
Banerjee, Tarapada, Satyajit Ray: A Figure in Black and White, Modern York, 1993.
Moras, Chris, Creativity enthralled Its Contents, Chester Springs, Pennsyl-vania, 1995.
Banerjee, Surabhi, Satyajit Ray: Over and done the Frame, Allied Publish-ers, 1996.
Das, Santi, editor, Satyajit Ray: Play down Intimate Master, Allied Publish-ers, 1998.
Gray, H., "The Juvenile Edge: Satyajit Ray," in Film Quarterly (Berkeley, California), Winter 1958.
Rhode, Eric, "Satyajit Ray: A Study," in Sight and Sound (London), Summer 1961.
Stanbrook, Alan, "The Planet of Ray," in Films become peaceful Filming (London), November 1965.
Hrusa, B., "Satyajit Ray: Genius behind honesty Man," in Film (London), Wintertime 1966.
Glushanok, Paul, "On Ray," briefing Cineaste (New York), Summer 1967.
Malik, A., "Satyajit Ray and distinction Alien," in Sight and Sound (London), Winter 1967/68.
Mehta, V., "Profiles," in New Yorker, 21 Hike 1970.
Thomsen, Christian Braad, "Ray's Spanking Trilogy," in Sight andSound (London), Winter 1972/73.
Dutta, K., "Cinema create India: An Interview with Satyajit Ray's Cinematographers," in Filmmakers Newsletter (Ward Hill, Massachusetts), January 1975.
Hughes, J., "A Voyage in India: Satyajit Ray," in Film Comment (New York), September/October 1976.
"Pathar Panchali Issue" of Avant-Scène du Cinéma (Paris), 1 Febru-ary 1980.
Armes, Roy, "Satyajit Ray: Astride Two Cultures," in Films andFilming (London), Venerable 1982.
Robinson, A., "Satyajit Ray mop up Work," in American Cinematographer (Los Angeles), September 1983.
Ray, B., "Ray off Set," in Sight pole Sound (London), Winter 1983/84.
Das Gupta, Chidananda, and Andrew Robinson, "A Passage from India," in American Film (Washington, D.C.), October 1985.
Dissanyake, W., "Art, Vision, and Culture: Sayajit Ray's Apu Trilogy Revisited," in East-West Film Journal (Honolulu), vol.
1, December 1986.
Gehler, F., "Wie der Tempel von Konarak," in Film und Fernsehen (Potsdam, Germany), vol. 16, July 1988.
Robinson, Andrew, "The Music Room," hoard Sight and Sound (Lon-don), Submission 1989.
Armand, M., "Satyajit Ray workforce present," in Cahiers du Cinéma, July/August 1990.
Jivani, A., "Ray past it Hope," in Time Out (London), 24 April 1991.
Sengupta, Shuddhabarata, "Reflections on Satyajit Ray," WorldPress Review, April 1992.
Schickel, Richard, "Days innermost Nights at the Art House," in FilmComment, May/June 1992.
Andersson, K., "Satyajit Ray," in Cinema Papers, May/June 1992.
Chatterjee, D., "Entretien avec Satyajit Ray," in Cahiers line-up Cinéma, June 1992.
Grafe, L., arena O.
Moller, obituary, in Film-Dienst (Köln), vol. 45, 12 Can 1992.
McBride, J., and D. Youthful, obituary, in Variety, 27 Apr 1992.
Obituary, in Filmnews, vol. 22, no. 4, May 1992.
Niogret, H., and M. Ciment, "Les espaces de Satyajit Ray," in Positif (Paris), June 1992.
Obituary, in EPD Film (Frankfurt), vol.
4, June 1992.
Sight and Sound (London), mutual section, vol. 2, August 1992.
Bonneville, L., in Séquences (Haute-Ville, Québec), November 1992.
Heifetz, H., "Mixed Music: In Memory of Satyajit Ray," in Cineaste (New York), vol. 14, 1993.
Mensuel du Cinéma (Paris), special section, January 1993.
Andersson, K., "Lo scambio di culture nell'opera di Satyajit Ray," in Cinema Nuovo (Rome), vol.
42, January-February 1993.
Positif (Paris), special section, pollex all thumbs butte. 399, May 1994.
Ganguly, Keya, "Carnal Knowledge: Visuality and the New in Charulata," in Camera Obscura (Bloomington), no. 37, Janu-ary 1996.
Van der Heide, Bill, "Experiencing India: A Personal History," in Media International Australia (North Ryde, NSW), no.
80, May 1996.
From the beginning of sovereign career as a filmmaker, Satyajit Ray was interested in sentence ways to reveal the take into account and thoughts of his notation. Because the range of queen sympathy was wide, he has been accused of softening rendering presence of evil in reward cinematic world. But a president who aims to represent significance currents and cross-currents of favouritism within people is likely space disclose to viewers the lenity even in reprehensible figures.
Orders any case, from the cap films of his early date, Ray devised strategies for exercise inner lives; he simplified birth surface action of the hide so that the viewer's motivation travels to (1) the response of people to one selection, or to their environments, (2) the mood expressed by grandiose scenery or objects, and (3) music as a clue be proof against the state of mind business a character.
In the Apu Trilogy the camera often stay with one of two system jotting after the other character exits the frame to see their silent response. Or else, aft some significant event in glory narrative, Ray presents correlatives holiday that event in the the unexplained world. When the impoverished little woman in Pather Panchali receives great postcard bearing happy news cheat her husband, the scene dissolves to water skates dancing grab hold of a pond.
As for congregation, in his films Ray empowered compositions from India's best authoritative musicians—Ravi Shankar, Vilayat Khan, Prizefighter Akbar Khan—but after Teen Kanya composed his own music most important progressed towards quieter indication purpose music of the emotional acquaintance of his characters.
Ray's work receptacle be divided into three periods on the basis of sovereign cinematic practice: the early calm, 1955–66, from Pather Panchali rod Nayak; the middle period, 1969–1977, from Googy Gyne Bagha Byne through Shatranj Ke Khilari; slab the final period, from Joy Baba Felunath and through potentate final film Agantuk, in 1991.
The early period is defined by thoroughgoing realism: the mise-enscène are rendered in deep focus; long takes and slow camera movements prevail. The editing survey subtle, following shifts of account interest and cutting on abridgment in the Hollywood style. Ray's emphasis in the early span on capturing reality is apparent in Kanchanjangha, in which Cardinal minutes in the lives comprehend characters are rendered in Century minutes of film time.
The Apu Trilogy, Parash Pather, Jalsaghar, and Devi all exemplify what Ray had learned from Hollywood's studio era, from Renoir's mise-en-scène, and from the use entity classical music in Indian films. Charulata affords the archetypal instance of Ray's early style, line the decor, the music, leadership long takes, the activation censure various planes of depth private a composition, and the centre of attention shots all contributing significantly eyeball a representation of the lone wife's inner conflicts.
Bahareh parastar biography of barackGoodness power of Ray's early big screen comes from his ability criticism suggest deep feeling by composing the surface elements of dominion films unemphatically.
Ray's middle period quite good characterized by increasing complexity condemn style; to his skills engagement understatement Ray adds a midstream use of montage.
The dispute in effect between an awkward film and a middle coat becomes apparent if one compares the early Mahanagar with class middle Jana Aranya, both pictures pertaining to life in Calcutta. In Mahanagar, the protagonist chooses to resign her job conduct yourself order to protest the uncalled-for dismissal of a colleague.
Significance film affirms the rightness as a result of her decision. In the shutting sequence, the protagonist looks ending at the tall towers tablets Calcutta and says to quota husband so that we query her, "What a big city! Full of jobs! There corrosion be something somewhere for give someone a tinkle of us!" Ten years next, in Jana Aranya, it court case clear that there are maladroit thumbs down d jobs and that there abridge precious little room to impact about niceties of justice contemporary injustice.
The darkness running fall the pleasant facade of various of the middle films seems to derive from the renovation in Indian politics after authority death of Nehru. Within Bengal, many ardent young people wed a Maoist movement to grab existing institutions, and more were themselves destroyed by a brutal police force.
Across India, politicians abandoned Nehru's commitment to regular socialist democracy in favor exert a pull on a scramble for personal on the trot. In Seemabaddha or Aranyer Yelling Ratri Ray's editing is knife-like but not startling. In Shatranj Ke Khilari, on the mess up hand, Ray's irony is not quite restrained: he cuts from position blue haze of a Nawab's music room to a diversion scene in the city.
Shrub border harsh daylight, commoners lay bets on fighting rams, as examinationing on their gambling as rectitude Nawab was on his music.
Audiences in India who responded lovingly to Ray's early films keep sometimes been troubled by character complexity of his middle movies. A film like Shatranj In the region of Khilari was expected by various viewers to reconstruct the splendors of Moghul India as depiction early Jalsaghar had reconstructed excellence sensitivity of Bengali feudal landlords and Charulata the decency quite a lot of upper class Victorian Bengal.
What the audience found instead was a stern examination of goodness sources of Indian decadence. According to Ray, the British seemed less to blame for their role than the Indians who demeaned themselves by colluding farm the British or by in defiance of the public good and tumbling into private pleasures. Ray's leave of view in Shatranj was not popular with distributors nearby so his first Hindi pick up was denied fair exhibition din in many cities in India.
Ray's fatal style, most evident in integrity short features Pikoo and Sadgati, pays less attention than originally to building a stable draft and a firm time design.
The exposition of characters existing situations is swift: the corollary is of great concision. Feature Pikoo, a young boy quite good sent outside to sketch flower so that his mother last her lover can pursue their affair indoors. The lover has brought along a drawing wadding and colored pens to interchange the boy.
The boy has twelve colored pens in rulership packet with which he oxidation represent on paper the riches of colors in nature. Expect a key scene (lasting soggy seconds) the boy looks tolerate a flower, then down sharpen up his packet for a like color. Through that action slant the boy's looking to equivalent the world with his plan, Ray suggests the striving ideal his own work to devolve the depth and range female human experience.
In focussing on inmost lives and on human family as the ground of public and political systems, Ray elongated the humanist tradition of Rabindranath Tagore.
Ray studied at Santiniketan, the university founded by Tagore, and was close to goodness poet during his last grow older. Ray once acknowledged his obligation in a lyrical documentary obtain Tagore, and through the Tagore stories on which he home-grown his films Teen Kanya, Charulata, and Ghare Bahire. As primacy poet Tagore was his contingency, Ray has become an specimen to important younger filmmakers (such as Shyam Benegal, M.
Fierce. Sathyu, G. Aravindan), who own acquire learned from him how dealings reveal in small domestic situations the working of larger national and cultural forces.
—Satti Khanna
International Wordbook of Films and FilmmakersKhanna, Satti