86-432: By Satyajit Ray by Satyajit Ray by Satyajit and Sandip Ray Goopy–Bagha is a series of Indian Bengali fantasy adventure comedy films. The series is based on a story by Satyajit Ray 's grandfather Upendrakishore Ray Chowdhury . The first two films Goopy Gyne Bagha Byne (1969) and its sequel Hirak Rajar Deshe (1980) were directed by Satyajit Ray , and the third, Gupi Bagha Phire Elo (1992) ,
172-565: A Golden Lion , a Golden Bear , two Silver Bears , many additional awards at international film festivals and ceremonies, and an Academy Honorary Award in 1992. In 1978, he was awarded an honorary degree by Oxford University . The Government of India honoured him with the Bharat Ratna , its highest civilian award, in 1992. On the occasion of the birth centenary of Ray, the International Film Festival of India , in recognition of
258-416: 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. Despite rough patches due to Ray's illness,
344-448: A Bengali television film of the same name. The film, directed by Kaushik Sen , was eventually shown on Indian television in 2006. He started to score background music for Feluda from the film Bombaiyer Bombete (2003). Sandip Ray used his first written thriller story for his own directed film Hitlist , 2009. In 2016, he directed a new Feluda film titled Double Feluda which is the sequel to Royal Bengal Rohosso (2011). During
430-602: A MoMA exhibition the following year. 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". 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
516-540: A children's version of Pather Panchali , a classic Bengali novel by Bandyopadhyay, renamed Aam Antir Bhepu ( The Mango-Seed Whistle ). Ray designed the cover and illustrated the book and was deeply influenced by the work. He used it as the subject of his first film and featured his illustrations as shots in it. Ray befriended the American soldiers stationed in Calcutta during World War II , who kept him informed about
602-458: A documentary, The Inner Eye , about Mukherjee. His visits to the cave temples of Ajanta , Ellora , and Elephanta stimulated his admiration for Indian art . Three books that he read in the university influenced him to become a serious student of film-making: Paul Rotha 's The Film Till Now and two books on theory by Rudolf Arnheim and Raymond Spottiswoode . Ray dropped out of the art course in 1942, as he could not feel inspired to become
688-554: A film on the 1971 Bangladesh Liberation War but later abandoned the idea, saying that, as a filmmaker, he was more interested in the travails of the refugees and not the politics. In 1977, Ray completed Shatranj Ke Khilari ( The Chess Players ), a Hindustani film based on a short story by Munshi Premchand . It was set in Lucknow in the state of Oudh , a year before the Indian Rebellion of 1857 . A commentary on issues related to
774-412: A generally muted reception. In 1967, Ray wrote a script for a film to be called The Alien , based on his short story "Bankubabur Bandhu" ("Banku Babu's Friend"), which he wrote in 1962 for Sandesh magazine. It was planned to be a U.S. and India co-production with Columbia Pictures , with Marlon Brando and Peter Sellers cast in the leading roles. Ray found that his script had been copyrighted and
860-557: A number of Hollywood productions in cinema. The works of Charlie Chaplin , Buster Keaton , Harold Lloyd , and Ernst Lubitsch and movies such as The Thief of Baghdad (1924) and Uncle Tom's Cabin (1927) made lasting impression on his mind. He developed a keen interest in Western classical music . In 1940, his mother insisted that he study at Visva-Bharati University in Santiniketan , founded by writer Rabindranath Tagore . Ray
946-589: A painter. 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 Annada Munshi , the then-Art Director of D.J. Keymer. Although he liked visual design (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". In 1943, Ray started
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#17330844914161032-491: A pioneering Bengali writer of nonsense rhyme ( Abol Tabol ) and children's literature. Social worker and children's book author Shukhalata Rao was his aunt. Satyajit Ray was born to Sukumar Ray and Suprabha Ray ( née Das Gupta ) in Calcutta (now Kolkata). Sukumar Ray died when Satyajit was two years old. Ray grew up in the house of his grandfather, Upendrakishore Ray Chowdhury , and of his printing press . He
1118-404: A roaming tiger, and in the process, they attract a group of ghosts who are fascinated by their music. The king of ghosts grants them three boons: They travel to Shundi , where a benevolent king appoints them court musicians. However, the king of Halla (the long lost brother of the king of Shundi) is planning to attack Shundi, after being poisoned with magic potion that makes him evil, given to
1204-622: A second job for the Signet Press , a new publishing house started by D.K. Gupta. Gupta asked Ray to create book cover designs for the company and gave him complete artistic freedom. Ray established himself as a commercial illustrator, becoming a leading Indian typographer and book-jacket designer. Ray designed covers for many books, including Jibanananda Das 's Banalata Sen and Rupasi Bangla , Bibhutibhushan Bandyopadhyay 's Chander Pahar , Jim Corbett 's Maneaters of Kumaon , and Jawaharlal Nehru 's Discovery of India . He worked on
1290-402: A sleuth, and Professor Shonku , a scientist. The Feluda stories are narrated by Tapesh Ranjan Mitra, aka Topshe, his teenage cousin, something of a Watson to Feluda's Holmes . The science fiction stories of Shonku are presented as a diary discovered after the scientist mysteriously disappeared. Ray also wrote a collection of nonsense verse named Today Bandha Ghorar Dim , which includes
1376-555: A son, Sandip Ray , who also became a film director. In the same year, French director Jean Renoir came to Calcutta to shoot his film The River . 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 their headquarters. During his six months there, Ray watched 99 films, including Alexander Dovzhenko 's Earth (1930) and Jean Renoir's The Rules of
1462-514: A steady source of income. In 1962, Ray directed Kanchenjungha . Based on his first original screenplay, it was also his first colour film. It tells the story of an upper-class family spending an afternoon in Darjeeling , 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. Ray had first conceived shooting
1548-466: A translation of Lewis Carroll 's " Jabberwocky ". He wrote a collection of humorous stories of Mullah Nasiruddin in Bengali . Sandip Ray Sandip Ray (born 8 September 1953) is an Indian film director and music director who mainly works in Bengali cinema . He is the only child of the famous Indian director Satyajit Ray and Bijoya Ray . Sandip Ray was born in Calcutta . Initially schooled at
1634-446: A view of history". In 1980, Ray made a sequel to Goopy Gyne Bagha Byne , a somewhat political Hirak Rajar Deshe ( Kingdom of Diamonds ). The kingdom of the evil Diamond King, or Hirok Raj, is an allusion to India during Indira Gandhi 's emergency period . Along with his acclaimed short film Pikoo ( Pikoo's Diary ) and the hour-long Hindi film, Sadgati , this was the culmination of his work in this period. When E.T.
1720-487: A village called Amloki. Goopy wants to become a singer but has a hoarse voice. Persuaded by village elders to sing for the king, he does so and is driven out of Amloki on a donkey for waking the king with his terrible singing. Exiled into a forest, he meets Bagha ( Rabi Ghosh ), another exile from nearby Hortuki sent to the forest – in Bagha's case, due to playing the drum badly. They start singing and drumming, initially to scare off
1806-449: A visit to London. Ray directed 36 films, including feature films, documentaries, and shorts . Ray's first film, Pather Panchali (1955), won eleven international prizes, including the inaugural Best Human Document award at the 1956 Cannes Film Festival . This film, along with Aparajito (1956) and Apur Sansar ( The World of Apu ) (1959), form The Apu Trilogy . Ray did the scripting , casting , scoring , and editing for
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#17330844914161892-512: 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". In 1961, on the insistence of Prime Minister Jawaharlal Nehru , Ray was commissioned to make Rabindranath Tagore , based on
1978-483: 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
2064-638: Is a semi-autobiographical novel describing the maturation of Apu, a small boy in a Bengal village. Pather Panchali did not have a script; it was made from Ray's drawings and notes. Before principal photography began, he created a storyboard dealing with details and continuity. Years later, he donated those drawings and notes to Cinémathèque Française . 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
2150-490: Is absurd to compare it with any other Indian cinema [...] Pather Panchali is pure cinema". In the United Kingdom , Lindsay Anderson wrote a positive review of the film. 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". Bosley Crowther , then the most influential critic of The New York Times , criticised
2236-469: Is by taking the story forward and introducing Goopy and Bagha's sons". The idea to weave a story around the next generation came from a line from the introductory song 'Mora dujonai rajar jamai in 'Hirak Rajar Deshe' — "aar ache polapan, ek khan ek khan... (we have one child each)". Goopi Gawaiya Bagha Bajaiya is an Indian animated film made in Hindi , based on these two characters Goopy and Bagha . The film
2322-421: Is directed by Shilpa Ranade . The film won and was nominated for several awards: Gyanorotno Gyanambudhi Gyanochuramoni Satyajit Ray Satyajit Ray ( Bengali pronunciation: [ˈʃotːodʒit ˈrae̯] ; 2 May 1921 – 23 April 1992) was an Indian film director, screenwriter, author, lyricist, magazine editor , illustrator, calligrapher , and composer. Ray is widely considered one of
2408-399: Is ghost-written by author Sebabrata Banerjee. Sebabrata has tried to follow the smart and fluent style of writing introduced by Satyajit Ray which has made the new Feluda number a good reading experience. He made a video-documentary film on the late Kishore Kumar in 1989. In 2003, Sandip Ray began working on adapting his father Satyajit Ray 's original 1962 story Bankhubabur Bandhu into
2494-515: Is like a prayer, affirming that this is what the cinema can be, no matter how far in our cynicism we may stray". 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, with his mother, uncle, and other members of his extended family. The home is currently owned by ISKCON . During this period, Ray made films about
2580-515: 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. 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,
2666-508: The Calcutta Film Society in 1947. They screened many foreign films, many of which Ray watched and seriously studied, including several American and Russian films. The use of Indian music and dancing in the 1948 Indian film Kalpana ( transl. Imagination ), directed by the celebrated dancer Uday Shankar , had an impact on Ray. In 1949, Ray married Bijoya Das , his first cousin and long-time sweetheart. The couple had
Goopy–Bagha - Misplaced Pages Continue
2752-582: The South Point School and after it, the Patha Bhavan, Kolkata , he subsequently attended the University of Calcutta . Ray started his professional career in film at the age of 24 as assistant director on the sets of his father's film Shatranj Ke Khilari ( The Chess Players , 1977). Before this, he had aided his father in various capacities including still photographer on set . His directorial debut
2838-487: The auteur 's legacy, rechristened in 2021 its annual Lifetime Achievement award to the " Satyajit Ray Lifetime Achievement Award ". In April 2024, Forbes ranked Ray as the 8th greatest director of all time. Satyajit Ray's ancestry can be traced back for at least ten generations. His family had acquired the name " Ray ". Although they were Bengali Kayasthas , the Rays were " Vaishnavas " (worshippers of Vishnu ), as opposed to
2924-445: The colonisation of India by the British , it was Ray's first feature film in a language other than Bengali . It starred a high-profile cast including Sanjeev Kumar , Saeed Jaffrey , Amjad Khan , Shabana Azmi , Victor Bannerjee , and Richard Attenborough . Despite the film's limited budget, a The Washington Post critic gave it a positive review, writing, "He [Ray] possesses what many overindulged Hollywood filmmakers often lack:
3010-417: 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. In a 2019 review of Sonar Kella , critic Rouven Linnarz was impressed with its use of Indian classical instruments to generate "mysterious progression". Ray considered making
3096-453: The Acharya sank beneath the ground, signifying that he had been destroyed. His valuable stones also vanished. Sandip Ray wanted to make another sequel to this series. He had received many requests to make the fourth Goopy–Bagha movie. Ray said to The Times of India about the plot of fourth film: "Making a Goopy Bagha movie without Tapen and Rabi is unthinkable. The only way I can do a fourth
3182-586: 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. 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
3268-490: The Game (1939). However, the film that had the most profound effect on him was the neorealist film Ladri di biciclette ( Bicycle Thieves ) (1948) by Vittorio De Sica . Ray later said that he walked out of the theatre determined to become a filmmaker. After being "deeply moved" by Pather Panchali , the 1928 classic Bildungsroman of Bengali literature , Ray decided to adapt it for his first film. Pather Panchali
3354-424: The Indian government to incorporate a happy ending, but he did receive funding that allowed him to complete the film. Monroe Wheeler , head of the department of exhibitions and publications at New York's Museum of Modern Art (MoMA), 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
3440-597: The Jantarmantar for brainwashing. But Goopy Bagha have already reached there using their magical powers. They have also bribed the Gobeshok onto their side, with the guards. On reaching the laboratory, the king and his ministers are stunned magically by Goopy's singing and then pushed into the Brainwashing machine. After the king is brainwashed he turns to goode, he then along with the villagers pull down his own statue situated at
3526-524: The King of Ghost appears and advises them to keep off injustice. They apologise to him and return the stones to the respective owners. Brahmananda Acharya had gained immense powers, as shown when he was not rendered motionless when they sang in front of the court. But for his greed for rare and valuable stones, he was not offered immortality. It was foretold of the 12-year boy, Bikram, with divine powers, would defeat him. To prevent his death, Brahmananda Acharya had all
Goopy–Bagha - Misplaced Pages Continue
3612-469: The boys in Anandagarh, who were 12 years old and were named Bikram, kidnapped by his soldiers. He hypnotized them, making them his servants. In the end, Goopy and Bagha find out that one boy named Kanu was previously named Bikram. He was to receive divine powers at the age of 12. He, along with Goopy and Bagha, goes towards Anandagarh fort. There, as Bikram entered the fort and came close to Brahmananda Acharya,
3698-442: The center of the village, and everything goes back to normal in the land of Hirak Raja. Goopy Gyne and Bagha Byne have ruled the kingdom of Shundi and are bored of royal luxuries. They want to get back to the days of adventure they had enjoyed all their lives, but age comes in the way. They leave the kingdom in search of new experiences. Finally, they reach Anandagarh and win the king's heart with their musical abilities and powers. In
3784-521: The children's magazine Sandesh , which was founded by his great-grandfather Upendrakishore Ray Chowdhury , and continued by his grandfather Sukumar Ray and his father Satyajit Ray . From 1992, after the death of Satyajit, Sandip was the Joint Editor of the Sandesh . Since 2003 he has been the editor of the magazine. Sandip Ray has recently come up with his account of the time he has had with Feluda ,
3870-454: 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 eventually became
3956-530: 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. Time Out magazine gave Jalsaghar a positive review, describing it as "slow, rapt and hypnotic". 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
4042-723: The commonplace". Writing for the BBC in 2002, Jamie Russell complimented the script, pacing, and mixture of emotions. According to one critic, 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 Calcutta trilogy: Pratidwandi (1970), Seemabaddha (1971), and Jana Aranya (1975), three films that were conceived separately but had similar themes. The trilogy focuses on repression, with male protagonists encountering
4128-507: 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
4214-399: The court room they meet Brahmananda Acharya, who invites Goopy and Bagha to come to Anandagarh fort. When they go to his place he offers them a job to steal three valuable stones, making use of their miraculous powers gifted by Bhuter Raja (King of Ghosts). In return he promises to make them 20 years younger. They steal two rare stones with a hope to become young again. However, in their dream
4300-461: The daughters of the two kings. The magically musical duo of Goopy Gyne and Bagha Byne make a comeback in this sequel, where they are invited to the court of the Hirak Raja (The Diamond King), for their musical skills. They are to perform at the kingdom's Jubilee Celebrations. Goopy and Bagha are bored with their lives as crown princes of Shundi and Halla. They are looking for a change, which comes in
4386-722: The eternal struggle between the ambitions of a young man, Apu, and the mother who loves him. Upon release, Aparajito won the Golden Lion at the Venice Film Festival , bringing Ray considerable acclaim. 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. Critics such as Mrinal Sen and Ritwik Ghatak rank it higher than Ray's first film. Ray directed and released two other films in 1958:
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#17330844914164472-452: The famous Bengali detective created by his father, in a book named Aami aar Feluda , published by Deep Prakashan. Aami aar Feluda was one of the best sellers at the last Kolkata Book Fair. First published in the magazine Sukhi Grihokon as a short series, Aami aar Feluda retains the flavor of Ekei Bole Shooting , written by Satyajit Ray. Sandip's book deals with the background stories of all Feluda movies and telefilms . Aami aar Feluda
4558-578: The fee appropriated by Mike Wilson. Wilson had initially approached Ray through their mutual friend, author Arthur C. Clarke , 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 compensation for the script. After Brando dropped out of the project, the producers tried to replace him with James Coburn , but Ray became disillusioned and returned to Calcutta. Columbia attempted to revive
4644-605: The film a mixed review; he praised Ray's "soft and relaxed" filmmaking but thought the characters were clichés. In 1964, Ray directed Charulata ( The Lonely Wife ). One of Ray's favourite films, it was regarded by many critics as his most accomplished. 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", while The Sydney Morning Herald praised Madhabi Mukherjee 's casting,
4730-408: The film about civilisation . Critic Hal Hinson was impressed, and thought Agantuk shows "all the virtues of a master artist in full maturity". 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. He
4816-495: 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. 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 ). It depicts an old man, who has lived a life of honesty, and learns of
4902-459: 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. The New York Times ' Bosley Crowther gave
4988-473: The film was also difficult to finance. Ray abandoned his desire to shoot it in colour, as he turned down an offer that would have forced him to cast a certain Hindi film actor as the lead. He also composed the songs and music for the film. 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 , Aranyer Din Ratri (1970) ( Days and Nights in
5074-550: The film's loose structure and conceded that it "takes patience to be enjoyed". 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. Ray's international career started in earnest after the success of his next film, the second in The Apu Trilogy , Aparajito (1956) ( The Unvanquished ). This film depicts
5160-669: The film's visual style, and its camera movements. 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. At the 15th Berlin International Film Festival , Charulata earned him a Silver Bear for Best Director . 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
5246-407: The following TV films and movies: Sandip is handicapped by the additional weight of being my son. His latest work – The Return of Goopy & Bagha is hundred percent his own work. Only the plot and a few songs were mine. But the direction, the photography, the script were all Sandip's. In his handling of the camera, he is a master. His skill is better than mine. The bravura work of his cinematography
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#17330844914165332-518: The forbidden. Pratidwandi ( The Adversary ) is about an idealist young graduate; while disillusioned by the end of film, he is still uncorrupted. Seemabaddha ( Company Limited ) portrays a successful man giving up his morality for further gains. Jana Aranya ( The Middleman ) depicts 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. Also in
5418-401: The form of a chance to visit Hirak Rajya (Land of Diamonds), known for its huge diamond mines. They jocundly set out for Hirak Rajya. They are unaware of the machinations of Aishik Rehman ( Utpal Dutt ). The king is a tyrant. Diamonds and riches get pent up in his treasuries, while his subjects suffer. Those who protest are taken care of in the 'Jantarmantar', a chamber for brainwashing devised by
5504-622: The greatest and most influential film directors in the history of cinema . He is celebrated for works including The Apu Trilogy (1955–1959), The Music Room (1958), The Big City (1963) , Charulata (1964), and the Goopy–Bagha trilogy (1969–1992). Ray was born in Calcutta to author Sukumar Ray and Suprabha Ray. Starting his career as a commercial artist, Ray was drawn into independent film-making after meeting French filmmaker Jean Renoir and viewing Vittorio De Sica 's Italian neorealist film Bicycle Thieves (1948) during
5590-459: The king of Halla by his self-centered prime minister. Goopy and Bagha travel to Halla in an attempt at preventing the attack, but are captured instead. Since they have now lost their slippers, they can't escape by magic, but manage to do so instead by strategy. They arrive singing and drumming when the soldiers are about to launch their attack, capturing the king of Halla, who is returned to Shundi. The two brothers are reunited and Goopy and Bagha marry
5676-495: The king's true nature. The two impress Udayan with their magical powers, who plans to use them against the tyrant. Goopy and Bagha agree. The duo then head into Hirok Rajya, where they are welcomed with grandeur. They entertain the rogue king, fooling him into believing that they think he is great. They rob the treasury (which was guarded by a tiger) using their magical music, for bribing the guards. The king has his tricks, too. He captures Udayan and all his students, and takes them to
5762-453: 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". Critics Robin Wood and Aparna Sen thought it
5848-609: The latest American films showing in the city. He came to know an RAF employee, Norman Clare, who shared Ray's passion for films, chess , and Western classical music. Ray was a regular in the addas (freestyle casual conversations) at Coffee House , where several intellectuals frequented. He formed lasting associations with some of his compatriots there, such as Bansi Chandragupta (celebrated art director ), Kamal Kumar Majumdar ( polymath and author of stylish prose), Radha Prasad Gupta , and Chidananda Das Gupta ( film critic ). Along with Chidananda Dasgupta and others, Ray founded
5934-563: The majority of Bengali Kayasthas, who were " Shaktos " (worshippers of the Shakti or Shiva ). The earliest-recorded ancestor of the Ray family was Ramsunder Deo (Deb), born in the middle of the sixteenth century. He was a native of Chakdah village in the Nadia district of present-day West Bengal , India , and migrated to Sherpur in East Bengal . He became son-in-law of the ruler of Jashodal (in
6020-482: The movie and designed his own credit titles and publicity material. He also authored several short stories and novels, primarily for young children and teenagers. Popular characters created by Ray include Feluda the sleuth, Professor Shonku the scientist, Tarini Khuro the storyteller, and Lalmohan Ganguly the novelist. Ray received many major awards in his career, including a record thirty-seven Indian National Film Awards which includes Dadasaheb Phalke Award ,
6106-406: 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. In the same year, together with Subhas Mukhopadhyay and others, Ray was able to revive Sandesh ,
6192-534: The present day Kishoreganj District of Bangladesh ) and was granted a jagir (a feudal land grant). His descendants migrated to the village Masua in Katiadi Upazila of Kishoreganj in the first half of eighteenth century. Satyajit Ray's grandfather Upendrakishore Ray was born in Masua village, Kishorganj, in 1863. Upendrakishore's elder brother Saradaranjan Ray was one of the pioneers of Indian cricket and
6278-400: 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. As a result, Ray shot Pather Panchali over two and a half years, an unusually long period. He refused funding from sources who wanted to change the script or exercise supervision over production. He also ignored advice from
6364-475: The project, without success, in the 1970s and 1980s. In 1969, Ray directed one of his most commercially successful films, a musical fantasy based on a children's story written by his grandfather, Goopy Gyne Bagha Byne ( The Adventures of Goopy and Bagha ). It is about the journey of Goopy the singer and Bagha the drummer, endowed with three gifts by the King of Ghosts to stop an impending war between two neighbouring kingdoms. One of his most expensive projects,
6450-523: The scientist ( Santosh Dutta ), who the king mocks calling as "Gobeshok Gobochondro Gyanotirtho Gyanorotno Gyanambudhi Gyanochuramoni". His ministers are mere puppets. The only enemy the king has in his land is Udayan Pandit ( Soumitra Chatterjee ). He is a school teacher and, more than that, he is a believer of values. The king forcefully closes his school down. Udayan flees to hide in the mountains. Meanwhile, Goopy and Bagha are on their way to Hirok Rajya. By coincidence, they meet Udayan, who intimates them of
6536-445: The shooting of Double Feluda , produced by Eros International , Sandip Ray filmed his father's famous library. Currently, he is directing a new film titled Professor Shonku O El Dorado , based on a story of Satyajit Ray 's Professor Shonku series called Nakur Babu O El Dorado . The film will star veteran actor Dhritiman Chatterjee as Professor Shonku. The film is being produced by SVF Entertainment . Sandip Ray has directed
6622-608: Was Phatik Chand (1983) based on Satyajit Ray 's Fatik Chand – the film received an award in the International Children's Film Festival in Vancouver. Sandip Ray is also a noted photographer. He was the director of photography on Satyajit Ray's last three films, Ganashatru ( An Enemy of the People , 1989), Shakha Proshakha ( The Branches of the Tree , 1990) and Agantuk ( The Stranger , 1991). Sandip Ray also guided
6708-481: 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. American 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
6794-550: Was an atheist . 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 [my] movie-making career". He died on 23 April 1992, at age 70. Ray created two popular fictional characters in Bengali children's literature—Pradosh Chandra Mitter (Mitra), alias Feluda ,
6880-413: Was attracted by the machines and process of printing from an early age and took particular interest in the production process of Sandesh , a children's magazine started by Upendrakishore. Ray studied at Ballygunge Government High School in Calcutta, and completed his BA in economics at Presidency College, Calcutta (then affiliated with the University of Calcutta ). During his school days, he saw
6966-516: Was called the W.G. Grace of India. Upendrakishore Ray was a writer, illustrator, philosopher , publisher, amateur astronomer , and a leader of the Brahmo Samaj , a religious and social movement in 19th-century Bengal . He set up a printing press named U. Ray and Sons . Satyajit's father and Upendrakishore's son, Sukumar Ray , who was also born in Kishorganj , was an illustrator, critic, and
7052-561: 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 Indian epic , the Mahābhārata , and E. M. Forster 's 1924 novel A Passage to India . In 1983, while working on Ghare Baire ( Home and the World ), Ray suffered
7138-415: Was directed by his son Sandip Ray . The trilogy starred Tapen Chatterjee and Rabi Ghosh as Goopy and Bagha, respectively. The 2013 Hindi -language animated film Goopi Gawaiya Bagha Bajaiya was based on the story Goopy Gyne Bagha Byne . The film is directed by Shilpa Ranade . The story revolves around Gopinath Gayin (alias Gupi, played by Tapen Chatterjee ), the son of a poor grocer Kanu Kyne from
7224-484: Was one of Ray's best. Also in the 1960s, Ray visited Japan and took pleasure in meeting filmmaker Akira Kurosawa , whom he highly regarded. In the post- Charulata period, Ray took on various projects, from fantasy , science fiction , and detective stories to historical dramas . Ray also experimented during this period, exploring contemporary issues of Indian life in response to the perceived lack of these issues in his films. The first major film in this period
7310-403: Was released in 1982, Clarke and Ray saw similarities in the film to his earlier The Alien script; Ray claimed that E.T. plagiarised his script. Ray said that Steven Spielberg 's film "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
7396-498: Was reluctant to go, due to his fondness for Calcutta and low regard for the intellectual life at Santiniketan. His mother's persuasiveness and his respect for Tagore, however, finally convinced him to get admitted there for higher studies in Fine Art . In Santiniketan, Ray came to appreciate Oriental art . He later admitted that he learned much from the famous Indian painters Nandalal Bose and Benode Behari Mukherjee . He later produced
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