TO BEGIN WITH AND END THERE WAS A RAY OF HOPE - SATYAJIT RAY
To Begin With and End There Was A Ray of Hope - Satyajit Ray
The proverb there is a ray of hope at the end of the tunnel (the light) is meaningful in the case of Satyajit Ray. But in this case not only at the end but also in the beginning of his career through the end - alpha and omega - there was a ray of hope. The saying becomes meaningful as the ‘Bharat Ratna’ Award-winning filmmaker director Satyajit Ray’s life and achievements unfold for the public view. The ‘Phalke Award’ and many more eminent awards were conferred on him for writing a fairy tale about what happened in Satyajit Ray’s life. A special ‘Academy Honorary Award’ for lifetime achievement as a director was also won by him and he was the first and yet only Indian to receive that award.
The man had a magnanimous presence and stood towering tall in the arena of Indian celebrities of all time.
"Not to have seen the cinema of Satyajit Ray means existing in the world without seeing the sun or the moon", said Akira Kurosawa, the great master of Japanese cinema.
"Not to have seen the cinema of Satyajit Ray means existing in the world without seeing the sun or the moon", said Akira Kurosawa, the great master of Japanese cinema.
Ray directed 36 films, including feature films, documentaries, and shorts. He was also a fiction writer, publisher, illustrator, calligrapher, music composer, graphic designer, and film critic.
Satyajit Ray has won 32 National film awards, The Cannes Film Festival Awards, the Berlin Film Awards, the British International Film Awards, the Venice Film Festival Awards, Akira Kurosawa Award, and numerous international and other significant awards in his filmography. During his reign at the helm of film-making, he swept almost all the national awards. It becomes imperative to discuss his achievements throughout his illustrious career spanning more than four decades of his stay in the film industry until his death embraced him at the age of 70 years.
Satyajit Ray is a cultural icon in India and in Bengali communities worldwide.
“The work of Satyajit Ray presents a remarkably insightful understanding of the relations between cultures, and his ideas remain pertinent to the great cultural debates in the contemporary world, not least in India.” - Nobel Laureate in Economics fellow Bengali Amartya Sen.
Many Bengali and other Indian and international filmmakers took inspiration from Ray’s style of filmmaking.
“The work of Satyajit Ray presents a remarkably insightful understanding of the relations between cultures, and his ideas remain pertinent to the great cultural debates in the contemporary world, not least in India.” - Nobel Laureate in Economics fellow Bengali Amartya Sen.
Many Bengali and other Indian and international filmmakers took inspiration from Ray’s style of filmmaking.
I would like to present here some of the movie titles of Satyajit Ray -
Satyajit Ray was an Indian filmmaker. Ray was born in the city of Calcutta into a Bengali family prominent in the world of arts and literature.
Satyajit Ray was born in Calcutta on May 2, 1921. His father, Sukumar Ray, was an eminent poet and writer in the history of Bengali literature. In 1940, after receiving his degree in science and economics from Calcutta University, he attended Tagore's Viswa-Bharati University. His first movie, Pather Panchali (1955), won several International Awards and established Ray as a world-class director. He died on April 23, 1992.
22 years old Ray at Santiniketan
Ray decided to use Pather Panchali (1928), the classic Bildungsroman of Bengali literature, as the basis for his first film. The semi-autobiographical novel describes the maturation of Appu, a small boy in a Bengal village.
With a loan from the West Bengal government, 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; The Times of India wrote "It is absurd to compare it with any other Indian cinema Pather Panchali is pure cinema." In the United Kingdom, Lindsay Anderson wrote a glowing review of the film. But, the reaction was not uniformly positive. After watching the movie, François Truffaut is reported to have said, "I don't want to see a movie of peasants eating with their hands." Bosley Crowther, then the most influential critic of The New York Times, 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.
Ray's international career started in earnest after the success of his next film, Aparajito (The Unvanquished). This film shows the eternal struggle between the ambitions of a young man, Appu, and the mother who loves him. Critics such as Mrinal Sen and Ritwik Ghatak rank it higher than Ray's first film. Aparajito won the Golden Lion at the Venice Film Festival, bringing Ray considerable acclaim. Before completing The Appu Trilogy, Ray directed and released two other films: 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.
Ray wrote his memoirs during his filming of the Appu Trilogy which has been published as My Years with Appu: A Memoir.
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.
Ray followed Apur Sansar with Devi (The Goddess), a film in which he examined the superstitions in Hindu society. Sharmila Tagore starred as Doyamoyee, a young wife who is deified 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 Jawaharlal Nehru, Ray was 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 to the 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 1967, he wrote a script for a movie entitled "The Alien". Columbia Pictures was in talks to produce it. Peter Sellers and Marlon Brando were supposed to be up for the leading roles. However, Ray was surprised to find that the script he had co-written had already been copyrighted and the fee appropriated. Brando dropped out of the project and, though an attempt was made to bring James Coburn in to replace him, Ray was disillusioned, had enough of Hollywood machinations, and returned to Calcutta. Columbia was interested in reviving the project in the 1970s and 1980s but nothing came of it. When E.T. the Extra-Terrestrial (1982) was released in 1982, many saw striking similarities in the film to Ray's earlier script. Ray himself believed 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 this by saying, "I was a kid in high school when this script was circulating in Hollywood".
Japanese film-maker Akira Kurosawa and Ray were acquainted.
The Legion of Honor is the most prestigious award in France and is presented to those having exhibited outstanding lifetime achievement in their chosen field of work. Instead of inviting him over to France for the ceremony, then French president François Mitterrand personally went to Ray's doorstep in Calcutta to present him with the honor.
The Legion of Honor is the most prestigious award in France and is presented to those having exhibited outstanding lifetime achievement in their chosen field of work. Instead of inviting him over to France for the ceremony, then French president François Mitterrand personally went to Ray's doorstep in Calcutta to present him with the honor.
Another huge fan of Ray's work was John Huston.
The Legion of Honor is the most prestigious award in France and is presented to those having exhibited outstanding lifetime achievement in their chosen field of work. Instead of inviting him over to France for the ceremony, then French president François Mitterrand personally went to Ray's doorstep in Calcutta to present him with the honor.
Another huge fan of Ray's work was John Huston.
Satyajit Ray became the first Indian to receive an Honorary Academy Award in 1992.
In 1992, Ray's health deteriorated due to heart complications. He was admitted to a hospital but never recovered. The Academy of Motion Picture Arts and Sciences awarded him an Honorary Academy Award. 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 at the age of 70 years.
Ray's work has been described as full of humanism and universality, and of a deceptive simplicity with deep underlying complexity. 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. But his detractors find his films glacially slow, moving like a "majestic snail." Some find his humanism simple-minded, and his work anti-modern; they criticize him for lacking the new modes of expression or experimentation found in works of Ray's contemporaries, such as Jean-Luc Godard. As Stanley Kauffman 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." 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".
Critics have often compared Ray to artists in the cinema and other media, such
as Chekhov, Renoir, De Sica, Hawks, or 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." 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?" His work was promoted in France by The Studio des Ursulines cinema.
Praising his contribution to the world of cinema, Martin Scorsese mentions: "His work is in the company of that of living contemporaries like Ingmar Bergman, Akira Kurosawa and Federico Fellini.”
Political ideologues took issue with Ray's work. In a public debate during the 1960s, Ray and the Marxist filmmaker Mrinal Sen engaged in an argument. Sen criticized him for casting a matinée idol such as Uttam Kumar, whom he considered a compromise. Ray said that Sen only attacked "easy targets", i.e. the Bengali middle classes. However, Ray himself has made movies on the Bengali middle class in films like Pratidwandi and Jana Aranya set during the period of the Naxalite movement in Bengal. Advocates of socialism said that Ray was not "committed" to the cause of the nation's downtrodden classes; some critics accused him of glorifying poverty in Pather Panchali and Ashani Sanket (Distant Thunder) through lyricism and aesthetics. They said he provided no solution to conflicts in the stories and was unable to overcome his bourgeois background. During the Naxalite movements in the 1970s, agitators once came close to causing physical harm to his son, Sandip. Early in 1980, Ray was criticized by an Indian M.P. and former actress Nargis Dutt, who accused Ray of "exporting poverty." She wanted him to make films to represent "Modern India.
He authored several short stories and novels, primarily aimed at children and adolescents. “Feluda, the sleuth”, and “Professor Shonku”, the scientist in his science fiction stories, are popular fictional characters created by him. He was awarded an honorary degree by Oxford University.
He was an enormous man (about 6' 5" and well over two hundred pounds), having stood nearly a foot taller than the average Indian of his generation. His family of ten generations was traceable. Ray's grandfather, Upendrakishore Ray Chowdhury was a writer, illustrator, philosopher, publisher, amateur astronomer, and a leader of the Brahmo Samaj, a religious and social movement in nineteenth-century Bengal. He also set up a printing press by the name of U. Ray and Sons, which formed a crucial backdrop to Satyajit's life. Sukumar Ray, Upendrakishore's son, and father of Satyajit was a pioneering Bengali writer of nonsense rhyme (abol tabol) and children's literature, an illustrator, and a critic. Ray was born to Sukumar and Suprabha Ray in Calcutta.
Ray is the second film personality after Chaplin to have been awarded an honorary doctorate by Oxford University. He was awarded the “Dadasaheb Phalke Award” in 1985 and the “Legion of Honor” by the President of France in 1987. The Government of India awarded him the highest civilian honor, “Bharat Ratna” shortly before his death. The Academy of Motion Picture Arts and Sciences awarded Ray an Honorary Oscar in 1992 for Lifetime Achievement. It was one of his favorite actresses, Audrey Hepburn, who represented the Academy on that day in Calcutta. Ray, unable to attend the ceremony due to his illness, gave his acceptance speech to the Academy via live video feed from the hospital bed. In 1992 he was posthumously awarded the Akira Kurosawa Award for Lifetime Achievement in Directing at the San Francisco International Film Festival; it was accepted on his behalf by actress Sharmila Tagore.
Satyajit Ray regarded as India's most important film director so far, together with Mrinal Sen and Ritwik Ghatak.
Satyajit Ray’s son Sandip Ray is a noted film director and cinematographer in West Bengal today.
Ray's passion for films, chess, and Western classical music is famous.
He was a Member of the jury at the Berlin International Film Festival in 1961.
Member of the jury at the Venice Film Festival in 1982.
Satyajit Ray is the author of several science-fiction short stories.
He was made a Fellow of the British Film Institute in recognition of his outstanding contribution to film culture.
Satyajit Ray is the grandfather of Souradip Ray.
His niece married Bollywood legend Kishore Kumar.
Satyajit Ray, the master storyteller, has left a cinematic heritage that belongs as much to India as to the world. His films demonstrate a remarkable humanism, elaborate observation, and subtle handling of characters and situations. The cinema of Satyajit Ray is a rare blend of intellect and emotions. He is controlled, precise, and meticulous, and yet evokes deep emotional responses from the audience. His films depict a fine sensitivity without using melodrama or dramatic excesses. He evolved a cinematic style that is almost invisible. He strongly believed - "The best technique is the one that's not noticeable".
Though initially inspired by the neo-realist tradition, his cinema belongs not to a specific category or style but a timeless meta-genre of a style of storytelling that touches the audience in some way. His films belong to a meta-genre that includes the works of Akira Kurosawa, Alfred Hitchcock, Charles Chaplin, David Lean, Federico Fellini, Fritz Lang, John Ford, Ingmar Bergman, Jean Renoir, Luis Bunuel, Yasujiro Ozu, Ritwik Ghatak, and Robert Bresson. All very different in style and content, and yet creators of cinema that is timeless and universal.
Ray directly controlled many aspects of filmmaking. He wrote all the screenplays of his films, many of which were based on his own stories.
He designed the sets and costumes, operated the camera since Charulata (1964), composed the music for all his films since 1961, and designed the publicity posters for his new releases.
Filmography
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| Satyajit Ray introduced Sharmila Tagore in Apur Sansar, the final film of the Appu Trilogy. She played the young wife Aparna. She was just a fourteen-year-old then, with no previous acting experience. As the shooting began, Ray had to shout instructions to Sharmila during the takes. None of this, however, is reflected on the screen. Ray cast her in his next film Devi too. She went on to become a very successful actress in Bombay’s Hindi films. She returned to work in later Ray films - Nayak, Aranyer Din Ratri and Seemabaddha. Sharmila made quite a splash in Hindi films with Kashmir Ki Kali. She was sensuous and had an oomph factor in essaying her roles in Hindi films. She was regarded as a sex symbol. She appeared in a swimsuit in “An Evening in Paris” and wore a two-piece bikini for a cover photo shoot of the popular film magazine “Filmfare”. This was one of a kind in Hindi films at that time. ![]() Sharmila recently adorned the Chair of Censor Board Chief of Indian films. I have great pleasure in writing this BLOG post about the legend Satyajit Ray who will be remembered as one of the giants of Indian as well as an International celebrity of all time and will be immortal with future moviegoers too. |
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