73-458: Gorosthaney Sabdhan ( lit. ' Careful in Graveyard ' ) may refer to: Gorosthaney Sabdhan (novel) , a 1977 novel by Satyajit Ray Gorosthaney Sabdhan (film) , a 2010 Indian film directed by Sandip Ray , based on the novel Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with
146-717: A Pestle etc. His whole demeanour is of hilarity and he regularly provides the comic relief in Feluda stories. He has a history with the villain Maganlal Meghraj who had a circus performer throw knives at him in Joi Baba Felunath (The Mystery of the Elephant God) and fed him the drug LSD in Jato Kando Kathmandutey (The Criminals of Kathmandu). The last time Jatayu met Meghraj was at Golapi Mukta Rahasya . Though in
219-416: 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,
292-602: 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
365-642: 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 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
438-554: 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
511-715: A frequency of two books a year. His crime fiction stories have interesting and catchy names, often characterised by alliterations like 'Sahara-ey Shiharan', 'Honduras-e Hahakar', 'Borneo-r Bibhishika', 'Durdharsh Dushman', 'Vancouver-er Vampire', 'Himalaye Hritkampo', 'Atlantic-er Atanka', 'Anobik Danob', 'Naroker Naam Karakoram', 'Bidghute Bodmash', 'Arokto Arab' etc. The names of several Feluda stories also exhibit this feature, for example Joto Kando Kathmandute , Gangtokey Gondogol , Royal Bengal Rahasya , Robertsoner Ruby, Gosainpur Sargaram , Bombaiyer Bombete , Gorosthane Sabdhan , Kailashey Kelenkari , Bhuswargo Bhayankar , etc. The detective of Jatayu's novel, Prakhar Rudra ,
584-412: 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
657-694: 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 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
730-532: 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 a pioneering Bengali writer of nonsense rhyme ( Abol Tabol ) and children's literature. Social worker and children's book author Shukhalata Rao
803-478: 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 a children's version of Pather Panchali , a classic Bengali novel by Bandyopadhyay, renamed Aam Antir Bhepu ( The Mango-Seed Whistle ). Ray designed
SECTION 10
#1733093642427876-402: 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
949-555: 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
1022-514: 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
1095-540: A translation of Lewis Carroll 's " Jabberwocky ". He wrote a collection of humorous stories of Mullah Nasiruddin in Bengali . Lalmohan Ganguly Lalmohan Ganguly , alias Jatayu ( Bengali : জটায়ু ) is a fictional character in the Feluda stories written by Satyajit Ray . He writes pulp crime thrillers, but is quite weak and nervous in real life. He is fairly wealthy due to the immense sales of his books. He writes at
1168-446: 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.
1241-525: A wooden box and successfully delivers a blow to a goon's head to knock him unconscious. He even interrogated the suspects as a proxy of Feluda in "Apsara theatre er mamla". Jatayu is a fan of Baikuntha Mallick, a teacher in Athenaeum Institution, Kolkata , who is also a poet. Jatayu often recites his poems, which are also a source of comedy due to their peculiarity. Jatayu walks two miles daily to keep fit, refers to encyclopaedia for writing novels. He
1314-512: 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
1387-483: 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
1460-451: Is a bachelor and owns three houses. He loves travelling. 'Jayatu Jatayu!' a book written by Shuvadip Adhikari is a compendium of facts on Jatayu. All the facts mentioned in the stories of Feluda are compiled in a single volume. In the first two movies on Feluda , the character of Jatayu was played by eminent actor cum advocate Santosh Dutta , and due to his performance, Satyajit Ray 's later stories on Feluda had Jatayu adapting himself to
1533-476: Is a character with incredible intellect and power. Lalmohan's grandfather gave his name " Sarbogya Gongopadhyay " but Lalmohan does not use that name. He first meets Feluda in the story Sonar Kella (The Golden Fortress) and from then on he accompanies Feluda and Topshe on all their major adventures. He collects weapons but is often reluctant to use them. Weapons collected by him during different adventures include boomerang, Kukri (knife), smoke bomb and even
SECTION 20
#17330936424271606-638: 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
1679-490: 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
1752-515: 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
1825-515: 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,
1898-508: 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
1971-495: 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:
2044-417: 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
2117-498: 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 the majority of Bengali Kayasthas, who were " Shaktos " (worshippers of the Shakti or Shiva ). The earliest-recorded ancestor of
2190-453: 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 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
2263-412: The Feluda adventures his activities invoke quite an amount of comedy, his character is far from a typical comic relief. Rather he often epitomizes an average Bengali person. However, Jatayu's qualities also improve with time and with his association with Feluda gradually making him more knowledgeable, smart and intelligent. In the movie version (not in the original story) of the first story, Sonar Kella ,
Gorosthaney Sabdhan - Misplaced Pages Continue
2336-635: 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
2409-490: 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
2482-424: 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
2555-562: 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 the present day Kishoreganj District of Bangladesh ) and was granted a jagir (a feudal land grant). His descendants migrated to
2628-401: The art course in 1942, as he could not feel inspired to become 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
2701-414: The case. In ''Gorosthan e sabdhan", his prized possession of an antique repeater(watch) is used tactfully by Feluda to apprehend the culprits. In a number of stories, he actively took part as the saviour when the sleuth (and all three of them) are cornered helplessly by antagonists. e.g.- in "Baksho Rohosyo", his timely use of the boomerang subdues Prabir, the antagonist and in " Tintorettor Jishu" he picks up
2774-454: 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
2847-530: 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
2920-773: 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
2993-507: 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
Gorosthaney Sabdhan - Misplaced Pages Continue
3066-507: 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 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
3139-525: The criminal Mandar Bose escapes due to the folly of Jatayu. But in the later stories (Joy Baba Felunath, for example) we find Jatayu being of great help to Feluda in his work. In a lot of stories, he is seen to suggest important clues mostly unintentionally which is of great help in the investigation. In "Sonar kella" (movie) he uttered "sonar pathorbati" (a Bengali phrase used to describe something practically impossible) but that immediately enlightened Feluda and he got his most necessary clue to ultimately solve
3212-722: 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:
3285-487: The famous Indian painters Nandalal Bose and Benode Behari Mukherjee . He later produced 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
3358-578: 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
3431-605: 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,
3504-408: 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
3577-449: 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
3650-459: 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
3723-520: 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
SECTION 50
#17330936424273796-550: 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
3869-669: 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
3942-518: 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
4015-473: 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 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
4088-453: 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
4161-528: The looks and mannerisms of Santosh Dutta . Veteran actor Rabi Ghosh played the role in the telefilm Baksho Rohoshyo , while Anup Kumar was Jatayu in the telefilm Bosepukure Khunkharapi . Bombaiyer Bombete , Kailashey Kelenkari & Tintorettor Jishu saw Jatayu being played by Bibhu Bhattacharya . Mohan Agashe played Jatayu in Kissa Kathmandu Mein , in Hindi TV series Satyajit Ray Presents. In
4234-406: 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 ,
4307-400: 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
4380-522: 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,
4453-445: 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 , 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
SECTION 60
#17330936424274526-586: The title Gorosthaney Sabdhan . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Gorosthaney_Sabdhan&oldid=1223252391 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Satyajit Ray Satyajit Ray ( Bengali pronunciation: [ˈʃotːodʒit ˈrae̯] ; 2 May 1921 – 23 April 1992)
4599-536: 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 was called the W.G. Grace of India. Upendrakishore Ray was a writer, illustrator, philosopher , publisher, amateur astronomer , and
4672-481: 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
4745-434: 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
4818-550: 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 ,
4891-485: Was an Indian film director, screenwriter, author, lyricist, magazine editor , illustrator, calligrapher , and composer. Ray is widely considered one of 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
4964-559: 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 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
5037-481: 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 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
5110-561: 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
5183-429: 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 was attracted by the machines and process of printing from an early age and took particular interest in the production process of Sandesh ,
5256-484: 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
5329-403: 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
#426573