• Rabindranath Tagore Documentary By Satyajit Ray Full
• Rabindranath Tagore Documentary By Satyajit Ray

( m. 1949⁠–⁠1992)Children(son)Parent(s)(father)Suprabha Ray (mother)Relatives(grandfather)AwardsHonours(1992)SignatureThis article contains. Without proper, you may see, misplaced vowels or missing conjuncts instead of Indic text.Satyajit Ray ( pronunciation: ( ); 2 May 1921 – 23 April 1992) was an Indian filmmaker, screenwriter, music composer, graphic artist, lyricist and author, widely regarded as one of the greatest filmmakers of all time. Ray was born in into a family which was prominent in the field of arts and literature. Starting his career as a commercial artist, Ray was drawn into after meeting French filmmaker and viewing 's film (1948) during a visit to London.Ray directed 36 films, including feature films, documentaries. He was also a fiction writer, publisher, illustrator, calligrapher, music composer, graphic designer and film critic.

He authored several short stories and novels, meant primarily for young children and teenagers., the sleuth, and, the scientist in his science fiction stories, are popular fictional characters created by him. He was awarded an honorary degree by.Ray's first film, (1955), won eleven international prizes, including the inaugural Best Human Document award at the. This film, along with (1956) and ( The World of Apu) (1959), form.

Ray did the, casting, and editing, and designed his own credit titles and publicity material. Ray received many in his career, including 32 Indian, a, a, 2, a number of additional awards at international film festivals and award ceremonies, and an in 1992. The Government of India honored him with the, its highest civilian award, in 1992. Ray had received many noticeable awards and gained a prestigious position over his life time.In 2004, Ray was ranked number 13 in BBC's poll of the. Contents.Family history From the history of the Ray family, it is known that one of their earlier ancestors Shri Ramsunder Deo (Deb) was a native of Chakdah, Bengal (now in, India). From there he migrated to Sherpur in East Bengal in search of fate. The Zamindar of Jashodal, Raja Gunichandra met him in the Zamindar House of Sherpur and was immediately impressed by him.

He took Ramsunder with him to his estate in Jashodal, gave him a part of his Zamindari and made him his son-in-law. Early life and background. The exterior of Satyajit Ray's house in KolkataSatyajit Ray's ancestry can be traced back for at least ten generations.

Ray's grandfather, was a writer, illustrator, philosopher, publisher, and a leader of the, a religious and social movement in nineteenth century. He also set up a printing press by the name of, which formed a crucial backdrop to Satyajit's life., Upendrakishore's son and father of Satyajit, was a pioneering writer of and children's literature, an illustrator and a critic. Ray was born to Sukumar and Suprabha Ray in Calcutta.Satyajit Ray's family had acquired the name 'Ray'(originally 'Rai') from the Mughals.Although they were, the Rays were 'Vaishnavas' (worshippers of Vishnu) as against majority who were 'Shaktos' (worshippers of the Shakti).died when Satyajit was barely three, and the family survived on Suprabha Ray's meager income.

Ray studied at, and completed his BA in economics at then affiliated with the,(now Kolkata)though his interest was always in fine arts. In 1940, his mother insisted that he studied at the at, founded. Ray was reluctant due to his love of Calcutta, and the low opinion of the intellectual life at Santiniketan. His mother's persuasion and his respect for Tagore finally convinced him to try. In Santiniketan, Ray came to appreciate.

He later admitted that he learned much from the famous painters. Later he produced a documentary film, The Inner Eye, about Mukherjee. His visits to, and stimulated his admiration for. Sukumar Ray and Suprabha Ray, parents of Satyajit Ray (1914)In 1943, Ray started work at D.J. Keymer, a British-run advertising agency, as a 'junior visualiser,' earning eighty a month. Although he liked (graphic design) and he was mostly treated well, there was tension between the British and Indian employees of the firm.

The British were better paid, and Ray felt that 'the clients were generally stupid.' Later, Ray also worked for, a new publishing house started by D. Gupta asked Ray to create cover designs for books to be published by Signet Press and gave him complete artistic freedom. Ray designed covers for many books, including 's, and, 's, 's, and 's. He worked on a children's version of Pather Panchali, a classic Bengali novel by, renamed as Aam Antir Bhepu ( The mango-seed whistle). Designing the cover and illustrating the book, Ray was deeply influenced by the work.

He used it as the subject of his first film, and featured his illustrations as shots in his ground-breaking film.Along with and others, Ray founded the in 1947. They screened many foreign films, many of which Ray watched and seriously studied.

He befriended the American stationed in Calcutta during World War II, who kept him informed about the latest American films showing in the city. He came to know a employee, Norman Clare, who shared Ray's passion for films, and western classical music.In 1949, Ray married, his first cousin and long-time sweetheart. The couple had a son, who is now a film director.

In the same year, French director came to Calcutta to shoot his film. Ray helped him to find locations in the countryside. Ray told Renoir about his idea of filming Pather Panchali, which had long been on his mind, and Renoir encouraged him in the project.

In 1950, D.J. Keymer sent Ray to London to work at its headquarters office. During his six months in London, Ray watched 99 films.

Among these was the film Ladri di biciclette ( ) (1948) by, which had a profound impact on him. Ray later said that he came out of the theatre determined to become a film-maker. Career The Apu years (1950–59). 22 years old Ray atRay decided to use (1928), the classic of, as the basis for his first film. The semi-autobiographical novel describes the maturation of Apu, a small boy in a Bengal village.Ray gathered an inexperienced crew, although both his cameraman and art director went on to achieve great acclaim.

The cast consisted of mostly amateur actors. After unsuccessful attempts to persuade many producers to put up the money needed for the project, Ray started shooting in late 1952 with his personal savings and hoped to raise more money once he had some passages shot, but did not succeed on his terms. As a result, Ray shot Pather Panchali over two and a half years, an unusually long period, based on when he or his production manager could raise additional funds. He refused funding from sources who wanted a change in script or supervision over production.

He also ignored advice from the government to incorporate a happy ending, but he did receive funding that allowed him to complete the film. Ray showed an early film passage to the American director, who was in India scouting locations for. The passage was of the vision which Apu and his sister have of the train running through the countryside, the only sequence which Ray had yet filmed due to his small budget. Huston notified at the (MOMA) that a major talent was on the horizon.With a loan from the, Ray finally completed the film. It was released in 1955 to great critical and popular success.

It earned numerous prizes and had long runs in both India and abroad. In India, the reaction to the film was enthusiastic; wrote that 'It is absurd to compare it with any other Indian cinema. Pather Panchali is pure cinema.'

In the United Kingdom, wrote a glowing review of the film. But, the reaction was not uniformly positive. After watching the movie, is reported to have said, 'I don't want to see a movie of peasants eating with their hands.' , then the most influential critic of, wrote a scathing review of the film. Its American distributor Ed Harrison was worried Crowther's review would dissuade audiences, but the film had an exceptionally long run when released in the United States.

A film still used on the original poster for the movie featured in, the exhibition that was seen by 9 million visitors. It is a low-angle shot of the hero Apu having his hair brushed by his sister Durga and adoring mother Sarbojaya.

Of the thirteen images the exhibition depicting India it was the only one made by an Indian photographer. Curator credited it to Ray, but because Ray was not known to be a photographer, it is likely the author of this photograph, of a scene directed by Ray, was the film's cinematographer, Subrata Mitra.Ray's international career started in earnest after the success of his next film, ( The Unvanquished). This film shows the eternal struggle between the ambitions of a young man, Apu, and the mother who loves him. Critics such as and rank it higher than Ray's first film. Aparajito won the at the, bringing Ray considerable acclaim. Before completing The Apu Trilogy, Ray directed and released two other films: the comic ( The Philosopher's Stone), and ( The Music Room), a film about the decadence of the, considered one of his most important works.While making Aparajito, Ray had not planned a trilogy, but after he was asked about the idea in Venice, it appealed to him. He finished the last of the trilogy, ( The World of Apu) in 1959.

Critics and found this to be the supreme achievement of the trilogy. Ray introduced two of his favourite actors, and, in this film.

It opens with Apu living in a Calcutta house in near-poverty. He becomes involved in an unusual marriage with Aparna.

The scenes of their life together form 'one of the cinema's classic affirmative depictions of married life.' They suffer tragedy. After Apur Sansar was harshly criticised by a Bengali critic, Ray wrote an article defending it. He rarely responded to critics during his filmmaking career, but also later defended his film Charulata, his personal favourite.Ray wrote his memoirs during his filming of the Apu Trilogy which has been published as.Ray's film successes had little influence on his personal life in the years to come. He continued to live with his wife and children in a rented house, with his mother, uncle and other members of his extended family. From Devi to Charulata (1959–64). At a discussion with Ray for the sounds in Pather Panchali (1955)During this period, Ray composed films on the period (such as ), a documentary on Tagore, a comic film ( Mahapurush) and his first film from an original screenplay ( Kanchenjungha).

He also made a series of films that, taken together, are considered by critics among the most deeply felt portrayals of Indian women on screen.Ray followed Apur Sansar with Devi ( The Goddess), a film in which he examined the superstitions in society. Sharmila Tagore starred as Doyamoyee, a young wife who is by her father-in-law. Ray was worried that the censor board might block his film, or at least make him re-cut it, but Devi was spared.

In 1961, on the insistence of Prime minister, Ray was commissioned to make on, on the occasion of the poet's birth centennial, a tribute to the person who likely most influenced Ray. Due to limited footage of Tagore, Ray faced the challenge of making a film out of mainly static material. He said that it took as much work as three feature films.In the same year, together with and others, Ray was able to revive, the children's magazine which his grandfather had founded. Ray had been saving money for some years to make this possible. A duality in the name ( Sandesh means both 'news' in Bengali and also a sweet popular dessert) set the tone of the magazine (both educational and entertaining). Ray began to make illustrations for it, as well as to write stories and essays for children. Writing became his major source of income.In 1962, Ray directed.

Based on his first original screenplay, it was his first film in colour. The film tells of an upper-class family spending an afternoon in, a picturesque hill town in West Bengal. They try to arrange the engagement of their youngest daughter to a highly paid engineer educated in London. He had first conceived shooting the film in a large mansion, but later decided to film it in the famous hill town. He used the many shades of light and mist to reflect the tension in the drama. Ray noted that while his script allowed shooting to be possible under any lighting conditions, a commercial film contingent present at the same time in Darjeeling failed to shoot a single scene, as they only wanted to do so in sunshine.In the sixties, Ray visited Japan and took particular pleasure in meeting the filmmaker, for whom he had very high regard. While at home, he would take an occasional break from the hectic city life by going to places such as Darjeeling or to complete a script in isolation.In 1964 Ray made ( The Lonely Wife); it was the culmination of this period of work, and regarded by many critics as his most accomplished film.

Based on ' (Broken Nest), a short story of Tagore, the film tells of a lonely wife, Charu, in 19th-century Bengal, and her growing feelings for her brother-in-law Amal. Critics have referred to this as Ray's masterpiece. He said the film contained the fewest flaws among his work, and it was his only work which, given a chance, he would make exactly the same way.

Charulata won him the Best Director prize at the. 's performance as Charu, and the work of both Subrata Mitra and Bansi Chandragupta in the film, have been highly praised. Other films in this period include ( The Big City), ( Three Daughters), ( The Expedition), ( The Coward) and ( Holy Man).New directions (1965–82). A painting of RayIn the post- Charulata period, Ray took on projects of increasing variety, ranging from fantasy to science fiction to to. Ray also made considerable formal experimentation during this period. He expressed contemporary issues of Indian life, responding to a perceived lack of these issues in his films. The first major film in this period is ( The Hero), the story of a screen hero travelling in a train and meeting a young, sympathetic female journalist.

Starring and Sharmila Tagore, in the twenty-four hours of the journey, the film explores the inner conflict of the apparently highly successful. In spite of the film's receiving a 'Critics prize' at the, it had a generally muted reception.In 1967, Ray wrote a script for a film to be called, based on his short story 'Bankubabur Bandhu' ('Banku Babu's Friend'), which he wrote in 1962 for, the Ray family magazine. Was the producer for what was a planned US-India co-production, and and were cast as the leading actors. Ray found that his script had been copyrighted and the fee appropriated. Wilson had initially approached Ray through their mutual friend, to represent him in Hollywood. Wilson copyrighted the script credited to Mike Wilson & Satyajit Ray, although he contributed only one word.

Ray later said that he never received a penny for the script. After Brando dropped out of the project, the project tried to replace him with, but Ray became disillusioned and returned to Calcutta. Columbia expressed interest in reviving the project several times in the 1970s and 1980s, but nothing came of it. When was released in 1982, Clarke and Ray saw similarities in the film to his earlier Alien script.

Ray claimed that this film plagiarized his script. Ray said that Steven Spielberg's movie 'would not have been possible without my script of 'The Alien' being available throughout America in mimeographed copies.'

Spielberg denied any plagiarism by saying, 'I was a kid in high school when this script was circulating in Hollywood.' (Spielberg actually graduated high school in 1965 and released his first film in 1968). Besides The Alien, two other unrealised projects that Ray had intended to direct were adaptations of the ancient, the, and 's 1924 novel.In 1969, Ray released what would be commercially the most successful of his films. Based on a children's story written by his grandfather, ( The Adventures of Goopy and Bagha), it is a fantasy.

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 neighboring kingdoms. Among his most expensive enterprises, the film project was difficult to finance.

Ray abandoned his desire to shoot it in color, as he turned down an offer that would have forced him to cast a certain actor as the lead.Ray made a film from a novel by the young poet and writer,. Featuring a musical motif structure acclaimed as more complex than Charulata, ( 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. According to Robin Wood, 'a single sequence of the film. Would offer material for a short essay'.After Aranyer Din Ratri, Ray addressed contemporary Bengali life. He completed what became known as the: (1970), (1971), and (1975), three films that were conceived separately but had thematic connections.

Rabindranath Tagore Documentary By Satyajit Ray Full

Pratidwandi ( The Adversary) is about an idealist young graduate; if disillusioned at the end of film, he is still uncorrupted. Jana Aranya ( The Middleman) showed a young man giving in to the culture of corruption to make a living. Seemabaddha ( Company Limited) portrayed an already successful man giving up his morality for further gains. In the first film, Pratidwandi, Ray introduces a new, elliptical narrative style, such as scenes in negative, dream sequences, and abrupt flashbacks. In the 1970s, Ray adapted two of his popular stories as detective films. Though mainly addressed to children and young adults, both ( The Golden Fortress) and ( The Elephant God) found some critical following.Ray considered making a film on the but later abandoned the idea.

He said that, as a filmmaker, he was more interested in the travails of the refugees and not the politics. In 1977, Ray completed ( The Chess Players), a film based on a short story. It was set in in the state of, a year before the. A commentary on issues related to the colonisation of India by the British, this was Ray's first feature film in a language other than Bengali.

It is his most expensive and star-studded film, featuring, and.In 1980, Ray made a sequel to Goopy Gyne Bagha Byne, a somewhat political ( Kingdom of Diamonds). The kingdom of the evil Diamond King, or Hirok Raj, is an allusion to India during 's.

Along with his acclaimed short film ( Pikoo's Diary) and hour-long film, Sadgati, this was the culmination of his work in this period.The last phase (1983–92). Satyajit Ray became the first Indian to receive an in.In 1983, while working on ( Home and the World), Ray suffered a heart attack; it would severely limit his productivity in the remaining 9 years of his life. Ghare Baire was completed in 1984 with the help of Ray's son (who operated the camera from then on) because of his health condition. He had wanted to film this on the dangers of fervent nationalism for a long time, and wrote a first draft of a script for it in the 1940s. In spite of rough patches due to Ray's illness, the film did receive some critical acclaim. It had the first kiss fully portrayed in Ray's films. In 1987, he made on his father,.Ray's last three films, made after his recovery and with medical strictures in place, were shot mostly indoors, and have a distinctive style.

They have more dialogue than his earlier films and are often regarded as inferior to his earlier body of work. The first, ( An Enemy of the People) is an adaptation of the, and considered the weakest of the three. Ray recovered some of his form in his 1990 film ( Branches of the Tree). In it, an old man, who has lived a life of honesty, comes to learn of the corruption of three of his sons. The final scene shows the father finding solace only in the companionship of his fourth son, who is uncorrupted but mentally ill due to a head injury sustained while he was away studying in England.

Ray's last film, ( The Stranger), is lighter in mood but not in theme. When a long-lost uncle arrives to visit his niece in Calcutta, he arouses suspicion as to his motive. This provokes far-ranging questions in the film about civilisation.In 1992, Ray's health deteriorated due to heart complications. He was admitted to a hospital, but never recovered.

The awarded him an. Ray is 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, calling it the 'Best achievement of his movie-making career.' He died on 23 April 1992. Filmmaking style and influences Ray, in his own words, had been subconsciously paying a tribute to throughout his whole creative career, who had influenced him the most.

He had also acknowledged, whom he thought to have represented best, having taught him the cramming of cinematic details into a single shot, and utilizing amateur actors and actresses. He has admitted to have learnt the craft of cinema from Old Hollywood Masters such as,. He had a deep respect and admiration for his contemporaries and, whom he considered giants. Among others, he learnt the use of from and from, which he used occasionally to underline specific moments. Although he admired Godard's early phase, the later phase totally felt like 'alien' to him. He deeply admired his peer, but hated his, which he considered having 'very little inner movement'.

He also considered a 'superb technician'.Although Ray has stated to have had very little influence from, according to film-theorist Sanjay Mukhopaddhay, he has used the style of editing in several of his films, whenever he felt it's need. This is seen in films like,. He even kept a picture of him in his drawing room.The of Ray's films are arranged almost in a musical pattern. Such as, and had a deep impact on the narrative structure of films like,.

This has confused both the audience and critics of his time.He seemed to have an almost obsessive fascination with the device, which became a stylistic visual signature of his later films.Ray considered script-writing to be an integral part of direction. Initially he refused to make a film in any language other than.

In his two non-Bengali feature films, he wrote the script in English; translators interpreted it in Hindi or Urdu under Ray's supervision. Ray's eye for detail was matched by that of his art director. His influence on the early films was so important that Ray would always write scripts in English before creating a Bengali version, so that the non-Bengali Chandragupta would be able to read it. The craft of garnered praise for the cinematography of Ray's films. A number of critics thought that his departure from Ray's crew lowered the quality of in the following films. Mitra stopped working for him after.

Mitra developed 'bounce lighting', a technique to reflect light from cloth to create a diffused, realistic light even on a set.Ray's regular film editor was, but the director usually dictated the editing while Datta did the actual work. Because of financial reasons and Ray's meticulous planning, his films were mostly cut in-camera (apart from Pather Panchali). At the beginning of his career, Ray worked with, including,. He found that their first loyalty was to musical traditions, and not to his film. He had a greater understanding of Western classical forms, which he wanted to use for his films set in an urban milieu. 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 Aparajito).

And others have lauded him as the best director of children, pointing out memorable performances in the roles of Apu and Durga ( Pather Panchali), Ratan ( Postmaster) and Mukul ( Sonar Kella). Depending on the talent or experience of the actor, Ray varied the intensity of his direction, from virtually nothing with actors such as, to using the actor as a puppet ( as young Apu or Sharmila Tagore as Aparna). Actors who had worked for Ray praised his customary trust but said he could also treat incompetence with total contempt.With full of admiration of his cinematic style and impeccable craft, British Film Academy Director Roger Manvell had said, “In the restrained style he has adopted, Ray has become a master of technique. He takes his timing from the nature of the people and their environment; his camera is the intent, unobtrusive observer of reactions; his editing the discreet, economical transition from one value to the next.' Though a master technician and a superb craftsman, Ray always credited life to be the best kind of inspiration for a popular medium like cinema. In his own words, 'For a popular medium, the best kind of inspiration should derive from life and have its roots in it.

No amount of technical polish can make up for artificiality of the theme and the dishonesty of treatment.' Literary works. / (1928). (1932). (1934).

(1935). / and (1936). / / / (1937). / / and /, Devereaux Jennings, Irmin Roberts, Art Smith, Harry D.

Rabindranath Tagore Documentary By Satyajit Ray

Mills, Walter Oberst / and Allen Davey / (1938). / / / (, )/ (1939). / (1940)., John N. Hawkins, and the / and his associates / Rey Scott / (1941). / / (1942). (1943).

/ (1944). Republic Studio, and the Republic Studio Sound Department / / / (1945). / / / (1946). /, and / / (1947). / / / (1948). / / / (1949). / / (1950)1951–1975.

Annaswami Bhagavathar (1962). (1962).

(1962). Swami Prajnanananda (1963). (1963).

(1963). Mama Warerkar (1963). T. Venkatarama Aiyar (1964). C. Saraswathi Bai (1964). Birendra Kishore Roy Choudhury (1964).

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(1967). Kali Charan Patnaik (1968). K. Brahaspati (1970). (1970). Dilip Chandra Vedi (1970). (1972).

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Vijayaraghavachariar (1975). (1976). (1976). Hirjibhai Rustomji Doctor (1977). Tinuvengadu Subramania Pillai (1978). (1978). (1979).

D. Joshi (1979). (1979). T. Kuppiah Pillai (1979). (1980)1981–2000.