Satyajit Ray
Satyajit Ray | |
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Calcutta, West Bengal, India | |
Alma mater |
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Occupations |
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Years active | 1950–1992 |
Works | |
Spouse | |
Children | Sandip Ray |
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Relatives |
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Awards | Full list |
Honors |
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Signature | |
Satyajit Ray (Bengali pronunciation:
Ray was born in
Ray directed 36 films, including feature films, documentaries, and
Ray received many
Background, early life and career
Lineage
Satyajit Ray's ancestry can be traced back for at least ten generations.[13] His family had acquired the name 'Ray. Although they were Bengali Kayasthas, the Rays were 'Vaishnavas' (worshippers of Vishnu),[13] as opposed to the majority of Bengali Kayasthas who were 'Shaktos' (worshippers of the Shakti or Shiva).[14]
The earliest-recorded ancestor of Ray family was Ramsunder Deo (Deb), born in the middle of the sixteenth century.
Upendrakishore Ray was a writer, illustrator, philosopher, publisher,
Early life and education
Satyajit Ray was born to
In 1940, his mother insisted that he study at
Visual artist
In 1943, Ray started working at D.J. Keymer, a British advertising agency, as a junior visualiser. Here he was trained in Indian commercial art under artist
Ray designed covers for many books, including
Ray befriended the American
In 1950, D.J. Keymer sent Ray to London to work at the headquarters. During his six months in London, Ray watched 99 films, including
Film career
The Apu years (1950–1959)
After being "deeply moved" by
Ray gathered an inexperienced crew, although both his cameraman Subrata Mitra and art director Bansi Chandragupta would go on to achieve great acclaim. The cast consisted of mostly amateur actors. After unsuccessful attempts to persuade many producers to finance the project, Ray started shooting in late 1952 with his personal savings and hoped to raise more money once he had some footage shot, but did not succeed on his terms.[48] As a result, Ray shot Pather Panchali over two and a half years, an unusually long period.[48] He refused funding from sources who wanted to change the script or exercise supervision over production. He also ignored advice from the Indian government to incorporate a happy ending, but he did receive funding that allowed him to complete the film.[49]
Monroe Wheeler, head of the department of exhibitions and publications at New York's Museum of Modern Art (MoMA),[50] heard about the project when he visited Calcutta in 1954. He considered the incomplete footage to be of high quality and encouraged Ray to finish the film so that it could be shown at a MoMA exhibition the following year.[51] Six months later, American director John Huston, on a visit to India for some early location scouting for The Man Who Would Be King, saw excerpts of the unfinished film and recognised "the work of a great film-maker".[52]
With a loan from the West Bengal government, Ray finally completed the film; it was released in 1955 to critical acclaim. It earned numerous awards and had long theatrical runs in India and abroad. The Times of India wrote "It is absurd to compare it with any other Indian cinema [...] Pather Panchali is pure cinema."[53] In the United Kingdom, Lindsay Anderson wrote a positive review of the film.[53] However, the film also gained negative reactions; François Truffaut was reported to have said, "I don't want to see a movie of peasants eating with their hands."[54] Bosley Crowther, then the most influential critic of The New York Times, criticised the film's loose structure and conceded that it "takes patience to be enjoyed".[55] Edward Harrison, an American distributor was worried that Crowther's review would dissuade audiences, but the film enjoyed an eight months theatrical run in the United States.[56]
Ray's international career started in earnest after the success of his next film, the second in The Apu Trilogy, Aparajito (1956) (The Unvanquished).[57] This film depicts the eternal struggle between the ambitions of a young man, Apu, and the mother who loves him.[57] Upon release, Aparajito won the Golden Lion at the Venice Film Festival, bringing Ray considerable acclaim.[58] In a retrospective review, Edward Guthmann of the San Francisco Chronicle praised Ray for his ability to capture emotions, and blend music with storytelling to create a "flawless" picture.[59] Critics such as Mrinal Sen and Ritwik Ghatak rank it higher than Ray's first film.[57]
Ray directed and released two other films in 1958: the comic Parash Pathar (The Philosopher's Stone), and Jalsaghar (The Music Room), a film about the decadence of the Zamindars, considered one of his most important works.[60] Time Out magazine gave Jalsaghar a positive review, describing it as "slow, rapt and hypnotic".[61]
While making Aparajito, Ray had not planned a trilogy, but after he was asked about the idea in Venice, it appealed to him.[62] He finished the last of the trilogy, Apur Sansar (The World of Apu) in 1959. Ray introduced two of his favourite actors, Soumitra Chatterjee and Sharmila Tagore, 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."[63] Critics Robin Wood and Aparna Sen thought it was a major achievement to mark the end of the trilogy.
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.[64] Critic Roger Ebert summarised the trilogy as "It is about a time, place and culture far removed from our own, and yet it connects directly and deeply with our human feelings. It is like a prayer, affirming that this is what the cinema can be, no matter how far in our cynicism we may stray."[65]
Despite Ray's success, it 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 on Lake Avenue in South Calcutta,[66] with his mother, uncle and other members of his extended family.[67] The home is currently owned by ISKCON.
From Devi to Charulata (1959–1964)
During this period, Ray made films about the British Raj period, 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.[68]
Ray followed Apur Sansar with 1960's Devi (The Goddess), a film in which he examined the superstitions in society. Sharmila Tagore starred as Doyamoyee, a young wife who is deified by her father-in-law. Ray was worried that the Central Board of Film Certification might block his film, or at least make him re-cut it, but Devi was spared. Upon international distribution, the critic from Chicago Reader described the film as "full of sensuality and ironic undertones".[69]
In 1961, on the insistence of Prime Minister Jawaharlal Nehru, Ray was commissioned to make Rabindranath Tagore, based on the poet of the same name, on the occasion of his birth centennial, a tribute to the person who likely most influenced Ray. Due to limited footage of Tagore, Ray was challenged by the necessity of making the film mainly with static material. He said that it took as much work as three feature films.[70]
In the same year, together with
In 1962, Ray directed
Ray had first conceived shooting the film in a large mansion, but later decided to film it in the famous town. He used 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 crew in Darjeeling failed to shoot a single scene, as they only wanted to do so in sunshine.[72] The New York Times' Bosley Crowther gave the film a mixed review; he praised Ray's "soft and relaxed" filmmaking but thought the characters were clichés.[73]
In 1964, Ray directed Charulata (The Lonely Wife). One of Ray's favourite films, it was regarded by many critics as his most accomplished.[74] 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 for her brother-in-law Amal. In retrospective reviews, The Guardian called it "extraordinarily vivid and fresh",[75] while The Sydney Morning Herald praised Madhabi Mukherjee's casting, the film's visual style, and its camera movements.[76] Ray 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.[77] At the 15th Berlin International Film Festival, Charulata earned him a Silver Bear for Best Director.[78] Other films in this period include Mahanagar (The Big City), Teen Kanya (Three Daughters), Abhijan (The Expedition), Kapurush (The Coward) and Mahapurush (Holy Man). The first of these, Mahanagar drew praise from British critics; Philip French opined that it was one of Ray's best.[79][80]
Also in the 1960s, Ray visited Japan and took pleasure in meeting filmmaker Akira Kurosawa, whom he highly regarded.[81]
New directions (1965–1982)
In the post-Charulata period, Ray took on various projects, from fantasy, science fiction, and
The first major film in this period is 1966's Nayak (The Hero), the story of a screen hero travelling in a train and meeting a young, sympathetic female journalist. Starring Uttam Kumar and Sharmila Tagore, in the twenty-four hours of the journey, the film explores the inner conflict of the apparently highly successful matinée idol. Although the film received a "Critics Prize" at the Berlin International Film Festival, it had a generally muted reception.[82]
In 1967, Ray wrote a script for a film to be called
In 1969, Ray directed one of his most commercially successful films; a musical fantasy based on a children's story written by his grandfather,
Next, Ray directed the film adaptation of a novel by the poet and writer, Sunil Gangopadhyay. Featuring a musical motif structure acclaimed as more complex than Charulata,[87] Aranyer Din Ratri (1970) (Days and Nights in the Forest) follows 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 of the Indian middle class.[88] First shown at the New York Film Festival in 1970, critic Pauline Kael wrote "Satyajit Ray's films can give rise to a more complex feeling of happiness in me than the work of any other director [...] No artist has done more than Ray to make us reevaluate the commonplace".[89] Writing for the BBC in 2002, Jamie Russell complimented the script, pacing and mixture of emotions.[90] According to one critic, Robin Wood, "a single sequence [of the film] ... would offer material for a short essay".[87]
After Aranyer Din Ratri, Ray addressed contemporary Bengali life. He completed what became known as the Calcutta trilogy: Pratidwandi (1970), Seemabaddha (1971), and Jana Aranya (1975), three films that were conceived separately but had similar themes.[91] The trilogy focuses on repression, with male protagonists encountering the forbidden.[92] Pratidwandi (The Adversary) is about an idealist young graduate; while disillusioned by the end of film, he is still uncorrupted. Seemabaddha (Company Limited) portrayed a successful man giving up his morality for further gains. Jana Aranya (The Middleman) depicted a young man giving in to the culture of corruption to earn a living. In the first film, Pratidwandi, Ray introduces new narrative techniques, such as scenes in negative, dream sequences, and abrupt flashbacks.[91]
Also in the 1970s, Ray adapted two of his popular stories as detective films. Although mainly aimed at children and young adults, both Sonar Kella (The Golden Fortress) and Joi Baba Felunath (The Elephant God) became cult favourites.[93] In a 2019 review of Sonar Kella, critic Rouven Linnarz was impressed with its use of Indian classical instruments to generate "mysterious progression".[94]
Ray considered making a film on the 1971
In 1980, Ray made a sequel to Goopy Gyne Bagha Byne, a somewhat political
When
Final years (1983–1992)
In 1983, while working on Ghare Baire (Home and the World), Ray suffered a heart attack; it would severely limit his productivity in the remaining nine years of his life. Ghare Baire, an adaptation of the novel of the same name, was completed in 1984 with the help of Ray's son, who served as a camera operator from then onward. It is about the dangers of fervent nationalism; he wrote the first draft of a script for it in the 1940s.[102] Despite rough patches due to Ray's illness, the film did receive some acclaim; critic Vincent Canby gave the film a maximum rating of five stars and praised the performances of the three lead actors.[103] It also featured the first kiss scene portrayed in Ray's films.
In 1987, Ray recovered to an extent to direct the 1990 film Shakha Proshakha (Branches of the Tree).[104] It depicts an old man, who has lived a life of honesty, and learns 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 studying in England.
Ray's last film, Agantuk (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. It provokes far-ranging questions in the film about civilisation.[105] Critic Hal Hinson was impressed, and thought Agantuk shows "all the virtues of a master artist in full maturity".[106]
A heavy smoker but non-drinker, Ray valued work more than anything else. He would work 12 hours a day, and go to bed at two o'clock in the morning. He also enjoyed collecting antiques, manuscripts, rare gramophone records, paintings and rare books.
In 1992, Ray's health deteriorated due to heart complications. He was admitted to a hospital but never recovered. Twenty-four days before his death, Ray was presented with an Honorary Academy Award by Audrey Hepburn via video-link; he was in gravely ill condition, but gave an acceptance speech, calling it the "best achievement of [his] movie-making career."[109] He died on 23 April 1992, at age 70.[110]
Literary works
Ray created two popular fictional characters in Bengali children's literature— Pradosh Chandra Mitter (Mitra) alias
Ray also wrote a collection of
His short stories were published as collections of 12 stories, in which the overall title played with the word twelve (for example Aker pitthe dui, or literally "Two on top of one"). Ray's interest in puzzles and puns is reflected in his stories. Ray's short stories give full rein to his interest in the macabre, in suspense and other aspects that he avoided in film, making for an interesting psychological study.[112] Most of his writings have been translated into English. Most of his screenplays have been published in Bengali in the literary journal Eksan. Ray wrote an autobiography about his childhood years, Jakhan Choto Chilam (1982), translated to English as Childhood Days: A Memoir by his wife Bijoya Ray.[113] In 1994, Ray published his memoir, My Years with Apu, about his experiences of making The Apu Trilogy.[114]
He also wrote essays on film, published as the collections:
"Project Tiger" by Ray is both a comedical and a success prose made by him. It deals with a scene in the movie
Calligraphy and design
Ray designed four typefaces for roman script named Ray Roman, Ray Bizarre, Daphnis, and Holiday script, apart from numerous Bengali ones for the Sandesh magazine.[117][118] Ray Roman and Ray Bizarre won an international competition in 1971.[119]
In certain circles of Calcutta, Ray continued to be known as an eminent graphic designer, well into his film career. Ray illustrated all his books and designed covers for them, as well as creating all publicity material for his films, for example, Ray's artistic playing with the Bengali graphemes was also revealed in the cine posters and cine promo-brochures' covers. He also designed covers of several books by other authors.[120] His calligraphic technique reflects the deep impact of (a) the artistic pattern of European musical staff notation in the graphemic syntagms and (b) alpana ("ritual painting" mainly practised by Bengali women at the time of religious festivals (the term denotes 'to coat with'). Generally categorised as "Folk"-Art cf. in Ray's graphemes representations.[citation needed]
Thus, so-called division between classical and folk art is blurred in Ray's representation of Bengali graphemes. The three-tier X-height of Bengali graphemes was presented in a manner of musical map and the contours, curves in between horizontal and vertical meeting-point, follow the patterns of alpana. It is also noticed that the metamorphosis of graphemes (this might be designated as "Archewriting") as a living object/subject in Ray's positive manipulation of Bengali graphemes.[121]
As a graphic designer, Ray designed most of his film posters, combining folk art and calligraphy to create themes ranging from mysterious, surreal to comical; an exhibition for his posters was held at British Film Institute in 2013.[122] He would master every style of visual art, and could mimic any painter, as evidenced in his book and magazine covers, posters, literary illustrations and advertisement campaigns.[123]
Filmmaking style and influences
Ray had been subconsciously paying a tribute to
Ray considered script-writing to be an integral part of direction. Initially he refused to make a film in any language other than Bengali. In his two non-Bengali feature films, he wrote the script in English; translators adapted it into Hindustani under Ray's supervision.
Ray's eye for detail was matched by that of his art director Bansi Chandragupta. 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. Subrata Mitra's cinematography garnered praise in Ray's films, although some critics thought that Mitra's eventual departure from Ray lowered its quality. Mitra stopped working for him after Nayak. Mitra developed "bounce lighting", a technique to reflect light from cloth to create a diffused, realistic light even on a set.[126][127]
Ray's regular film editor was
At the beginning of his career, Ray worked with
The director cast actors from diverse backgrounds, from well-known stars to people who had never seen a film (as in Aparajito).[131] Robin Wood and others have lauded him as the best director of children, recalling memorable performances in the roles of Apu and Durga (Pather Panchali), Ratan (Postmaster) and Mukul (Sonar Kella). Depending on the actor's skill and experience, Ray varied the intensity of his direction, from virtually nothing with actors such as Utpal Dutt, to using the actor as a puppet (Subir Banerjee as young Apu or Sharmila Tagore as Aparna).[132]
Actors who had worked for Ray trusted him, but said that he could also treat incompetence with total contempt.[133] With admiration of his cinematic style and craft, director Roger Manvell 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."[134] Ray credited life to be the best kind of inspiration for cinema; he said, "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."[134]
Critical and popular responses
Ray's work has been described as full of humanism and universality, and of a deceptive simplicity with deep underlying complexity.[135][136] The Japanese director Akira Kurosawa said, "Not to have seen the cinema of Ray means existing in the world without seeing the sun or the moon."[137][138] But his detractors find his films glacially slow, moving like a "majestic snail."[74] Some critics find his work anti-modern; they criticise him for lacking the new modes of expression or experimentation found in works of Ray's contemporaries, such as Jean-Luc Godard.[139] As Stanley Kauffmann wrote, some 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."[140] Ray said he could do nothing about the slow pace. Kurosawa defended him by saying that Ray's films were not slow; "His work can be described as flowing composedly, like a big river".[141]
Critics have often compared Ray to Anton Chekhov, Jean Renoir, Vittorio De Sica, Howard Hawks and Mozart. The writer V. S. Naipaul compared a scene in Shatranj Ki Khiladi (The Chess Players) to a Shakespearean play; he wrote, "only three hundred words are spoken but goodness! – terrific things happen."[63][142][143] Even critics who did not like the aesthetics of Ray's films generally acknowledged his ability to encompass a whole culture with all its nuances. Ray's obituary in The Independent included the question, "Who else can compete?"[144]
His work was promoted in France by The Studio des Ursuline cinema. French photographer Henri Cartier-Bresson described Ray as "undoubtedly a giant in the film world".[145] With positive admiration for most of Ray's films, critic Roger Ebert cited The Apu Trilogy among the greatest films.[146] Vincent Canby once wrote about Ray's films "no matter what the particular story, no matter what the social-political circumstances of the characters, the cinema of Satyajit Ray (the Apu trilogy, The Music Room, Distant Thunder and The Chess Players, among others) is so exquisitely realized that an entire world is evoked from comparatively limited details."[147]
Praising his contribution to the world of cinema, Martin Scorsese said: "His work is in the company of that of living contemporaries like Ingmar Bergman, Akira Kurosawa and Federico Fellini."[148] Francis Ford Coppola cited Ray as a major influence;[149] he praised 1960's Devi, which Coppola considers as his best work and a "cinematic milestone"; Coppola admits to learning Indian cinema through Ray's works.[150] On a trip to India, Christopher Nolan expressed his admiration for Ray's Pather Panchali. Nolan said, "I have had the pleasure of watching [Satyajit Ray's] Pather Panchali recently, which I hadn't seen before. I think it is one of the best films ever made. It is an extraordinary piece of work."[149]
Politics and ego have also influenced debate regarding Ray's work. Certain advocates of socialism claim that Ray was not "committed" to the cause of the nation's downtrodden classes while some critics accused him of glorifying poverty in Pather Panchali and
In early 1980, Ray was criticised by an Indian
Legacy
Ray is considered one of the greatest film directors of all time.
Iranian filmmaker Majid Majidi has expressed deep admiration for Ray. While discussing the inspiration for his first feature film on India, Beyond the Clouds (2017), Majidi said, "I have learned a lot about India based on the works of remarkable Indian director Satyajit Ray so it was my dream to make a film in his land. His view point is very valuable to me and I love whatever he has done, so one of the main reasons behind making this film is my admiration for Satyajit Ray and his work".[179] Wes Anderson said that his 2007 film, The Darjeeling Limited, is dedicated to Ray.[180]
Many literary works include references to Ray or his work, including
A number of Documentary films have been produced about Ray in India, prominent ones include: Creative Artists of India – Satyajit Ray (1964) by
On 23 February 2021 on the year of Satyajit Ray's birth centenary, the Union Information and Broadcasting Minister Prakash Javadekar announced that the central government would institute an award in the name of Satyajit Ray. The award is to be on a par with the Dadasaheb Phalke Award.[184][185][186]
Preservation
The
International Film Festival of India
- Birth centenary celebrations
In 52nd International Film Festival of India, on the occasion of his birth centenary, the Directorate of Film Festivals will pay tribute to him through a 'Special Retrospective'.
- Award in recognition of legacy
In recognition of the auteur's legacy, Lifetime Achievement Award was named as 'Satyajit Ray Lifetime Achievement Award' from 2021, to be given at the festival.[189]
Filmography
Awards, honours, and recognition
Ray received many awards, including 36
He was awarded the
Participants in a 2004 BBC poll placed him No. 13 on the "
Ray family
Upendra Kishore Ray | Bidhumukhi Devi | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Sukumar Ray | Suprabha Ray | Sukhalata Ray | Subinoy Ray | Subimal Ray | Punyalata Chakrabarti | Shantilata | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Satyajit Ray | Bijoya Ray | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Sandip Ray | Lalita Ray | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Souradip Ray | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
See also
- List of Bengali-language authors (chronological)
- Parallel cinema
- List of Indian writers
- Bengali Science Fiction
References
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External links
- Satyajit Ray at the Encyclopædia Britannica
- Works by or about Satyajit Ray at Internet Archive
- Satyajit Ray Film and Study Center Archived 13 March 2007 at the University of California Santa Cruz
- Satyajit Ray at IMDb
- W. Andrew Robinson. "Satyajit Ray: A Vision of Cinema". Archived from the original on 4 January 2006.