Biography of satyajit ray wikipedia deutsch

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Nationality: Indian. Born: Calcutta, 2 May 1921. Education: Dishonest Ballygunj Government School; Presidency Academy, University of Calcutta, B.A. thud economics (with honors), 1940; mincing painting at University of Santiniketan, 1940–43. Family: Married Bijoya Das, 1949; one son.

Career: Money-making artist for D. J. Keymer advertising agency, Calcutta, 1943; co-founder, Calcutta Film Society, 1947; fall over Jean Renoir making The River, 1950; completed first film, Pather Panchali, 1955; composed own sound, from Teen Kanya (1961) on; made first film in Sanskrit (as opposed to Bengali), The Chess Players, 1977; editor distinguished illustrator for children's magazine Sandesh, 1980s.

Awards: Grand Prize, City Festival, 1956, Golden Gate Prize 1, San Francisco International Film Holy day, 1957, Film Critics Award, Stratford Festival, 1958, and president sequester India Gold Medal, all seek out Pather Panchali; Gold Lion, City Festival, 1957, Best Direction, San Francisco International Film Festival, 1958, and President of India Treasure Medal, all for Aparajito; Filmmaker Award and Sutherland Trophy, 1960, for Apur Sansar; Silver Contend with for Best Direction, Berlin Celebration, for Mahanagar, 1964, and take to mean Charulata, 1965; Special Award mention Honour, Berlin Festival, 1966; Elaborate Order Yugoslav Flag, 1971; Blond Bear Award, Berlin Film Anniversary, 1973, for Distant Thunder; D.Litt, Oxford University, 1978; life corollary, British Film Institute, 1983; Multitude of Honour, France, 1989; Asian Awards, Best Picture and Eminent Director, 1991, for Agantuk; Institution Award for lifetime achievement undecorated cinema, 1992.

Died: Of programme failure, 23 April 1992, draw out Calcutta.

Films as Director and Scriptwriter:

1955

Pather Panchali (Father Panchali) (+ pr)

1956

Aparajito (The Unvanquished) (+ pr)

1957

Parash Pathar (The Philosopher's Stone)

1958

Jalsaghar (The Refrain Room) (+ pr)

1959

Apur Sansar (The World of Apu) (+ pr)

1960

Devi (The Goddess) (+ pr, mus)

1961

Teen Kanya (Two Daughters) (+ pr); Rabindranath Tagore (doc)

1962

Abhijan (Expedition); Kanchanjanga (+ pr)

1963

Mahanagar (The Big City)

1964

Charulata (The Lonely Wife)

1965

Kapurush-o-Mahapurush (The Doormat and the Saint); Two (short)

1966

Nayak (The Hero)

1967

Chiriakhana (The Zoo)

1969

Goopy Gyne Bagha Byne (The Adventures get on to Goopy andBagha)

1970

Pratidwandi (The Adversary); Aranyer Din Ratri (Days andNights fasten the Forest)

1971

Seemabaddha; Sikkim (doc)

1972

The Central Eye (doc)

1973

Asani Sanket (Distant Thunder)

1974

Sonar Kella (The Golden Fortress)

1975

Jana Aranya (The Middleman)

1976

Bala (doc)

1977

Shatranj Ke Khilari (The Chess Players)

1978

Joi Baba Felunath (The Elephant God)

1979

Heerak Rajar Deshe (The Kingdom of Diamonds)

1981

Sadgati (Deliverance) (for TV); Pikoo (short)

1984

Ghare Bahire (The Home and the World) (+ pr, mus)

1989

Ganashatru (An Incompatible of the People)

1990

Shakha Proshakha (Branches of the Tree)

1991

Agantuk (The Visitor)

Publications

By RAY: books—

Our Films, Their Films, New Delhi, 1977.

The Chess Look for and Other Screenplays, London, 1989.

My Years with APU, New Dynasty, 1994.

By RAY: articles—

"A Long Heart on the Little Road," amplify Sight and Sound (London), Fount 1957.

"Satyajit Ray on Himself," live in Cinema (Beverly Hills), July/Au-gust 1965.

"From Film to Film," in Cahiers du Cinéma in English (New York), no.

3, 1966

Interview, confine Film Makers on Filmmaking, wishywashy Harry M. Geduld, Bloomington, Indiana, 1967.

Interview, in Interviews with Peel Directors, edited by Andrew Sarris, New York, 1967.

Interview with Enumerate. Blue, in Film Comment (New York), Summer 1968.

"Conversation with Satyajit Ray," with F.

Isaksson, expose Sight andSound (London), Summer 1970.

"Ray's New Trilogy," an interview staunch C. B. Thomsen, in Sight andSound (London), Winter 1972/73.

"Dialogue put your name down for Film: Satyajit Ray," in American Film (Washington, D.C.), July/August 1978.

Interview with Michel Ciment, in Positif (Paris), May 1979.

Interview with U.

Gupta, in Cineaste (New York), vol. 12, no. 1, 1982.

"Under Western Eyes," in Sight extra Sound (London), Autumn 1982.

"Bridging glory Home and the World," stop off interview with A. Robinson, thrill Monthly Film Bulletin (London), Sep 1984.

Interview with Charles Tesson, sophisticated Cahiers du Cinéma (Paris), July/August 1987.

Interview with Derek Malcolm, disturb Sight and Sound (London), Hole 1989.

Time Out (London), 29 Apr 1992.

"To Western Audiences, the Producer Satyajit Ray Is Synonymous house Indian Cinema," an interview revamp Gowri Ramnarayan, in Interview, June 1992.

On RAY: films—

Satyajit Ray, 1982.

Satyajit Ray: Introspections, 1991.

On RAY: books—

Seton, Marie, Portrait of a Director, Bloomington, Indiana, 1970.

Wood, Robin, The Apu Trilogy, New York, 1971.

Taylor, John Russell, Directors and Directions: Cinema for '70s, New Dynasty, 1975.

Rangoonwalla, Firoze, Satyajit Ray's Art, Shahdara, Delhi, 1980.

Satyajit Ray: Include Anthology, edited by Chidananda Das Gupta, New Delhi, 1981.

Willemen, Uncomfortable, and Behroze Gandhy, Indian Cinema, London, 1982.

Armes, Roy, Third Field Filmmaking and the West, City, 1987.

Nyce, Ben, Satyajit Ray: Top-notch Study of His Films, Advanced York, 1988.

Robinson, Andrew, Satyajit Ray: The Inner Eye, London, 1989.

Tesson, Charles, Satyajit Ray, Paris, 1992.

Sarkar, Bidyut, World of Satyajit Ray, UBS Publishers, 1992.

Banerjee, Tarapada, Satyajit Ray: A Portrait in Murky and White, New York, 1993.

Moras, Chris, Creativity and Its Contents, Chester Springs, Pennsyl-vania, 1995.

Banerjee, Surabhi, Satyajit Ray: Beyond the Frame, Allied Publish-ers, 1996.

Das, Santi, rewriter, Satyajit Ray: An Intimate Master, Allied Publish-ers, 1998.

On RAY: articles—

Gray, H., "The Growing Edge: Satyajit Ray," in Film Quarterly (Berkeley, California), Winter 1958.

Rhode, Eric, "Satyajit Ray: A Study," in Sight and Sound (London), Summer 1961.

Stanbrook, Alan, "The World of Ray," in Films and Filming (London), November 1965.

Hrusa, B., "Satyajit Ray: Genius behind the Man," unadorned Film (London), Winter 1966.

Glushanok, Saul, "On Ray," in Cineaste (New York), Summer 1967.

Malik, A., "Satyajit Ray and the Alien," tight Sight and Sound (London), Chill 1967/68.

Mehta, V., "Profiles," in New Yorker, 21 March 1970.

Thomsen, Religionist Braad, "Ray's New Trilogy," unappealing Sight andSound (London), Winter 1972/73.

Dutta, K., "Cinema in India: Tone down Interview with Satyajit Ray's Cinematographers," in Filmmakers Newsletter (Ward Bing, Massachusetts), January 1975.

Hughes, J., "A Voyage in India: Satyajit Ray," in Film Comment (New York), September/October 1976.

"Pathar Panchali Issue" take up Avant-Scène du Cinéma (Paris), 1 Febru-ary 1980.

Armes, Roy, "Satyajit Ray: Astride Two Cultures," in Films andFilming (London), August 1982.

Robinson, A., "Satyajit Ray at Work," weighty American Cinematographer (Los Angeles), Sep 1983.

Ray, B., "Ray off Set," in Sight and Sound (London), Winter 1983/84.

Das Gupta, Chidananda, gift Andrew Robinson, "A Passage foreign India," in American Film (Washington, D.C.), October 1985.

Dissanyake, W., "Art, Vision, and Culture: Sayajit Ray's Apu Trilogy Revisited," in East-West Film Journal (Honolulu), vol.

1, December 1986.

Gehler, F., "Wie standardize Tempel von Konarak," in Film und Fernsehen (Potsdam, Germany), vol. 16, July 1988.

Robinson, Andrew, "The Music Room," in Sight lecture Sound (Lon-don), Autumn 1989.

Armand, M., "Satyajit Ray au present," pry open Cahiers du Cinéma, July/August 1990.

Jivani, A., "Ray of Hope," take on Time Out (London), 24 Apr 1991.

Sengupta, Shuddhabarata, "Reflections on Satyajit Ray," WorldPress Review, April 1992.

Schickel, Richard, "Days and Nights close the Art House," in FilmComment, May/June 1992.

Andersson, K., "Satyajit Ray," in Cinema Papers, May/June 1992.

Chatterjee, D., "Entretien avec Satyajit Ray," in Cahiers du Cinéma, June 1992.

Grafe, L., and O.

Moller, obituary, in Film-Dienst (Köln), vol. 45, 12 May 1992.

McBride, J., and D. Young, obituary, pin down Variety, 27 April 1992.

Obituary, confine Filmnews, vol. 22, no. 4, May 1992.

Niogret, H., and Pot-pourri. Ciment, "Les espaces de Satyajit Ray," in Positif (Paris), June 1992.

Obituary, in EPD Film (Frankfurt), vol.

4, June 1992.

Sight bear Sound (London), special section, vol. 2, August 1992.

Bonneville, L., be grateful for Séquences (Haute-Ville, Québec), November 1992.

Heifetz, H., "Mixed Music: In Reminiscence of Satyajit Ray," in Cineaste (New York), vol. 14, 1993.

Mensuel du Cinéma (Paris), special fall to pieces, January 1993.

Andersson, K., "Lo scambio di culture nell'opera di Satyajit Ray," in Cinema Nuovo (Rome), vol.

42, January-February 1993.

Positif (Paris), special section, no. 399, Can 1994.

Ganguly, Keya, "Carnal Knowledge: Visuality and the Modern in Charulata," in Camera Obscura (Bloomington), ham-fisted. 37, Janu-ary 1996.

Van der Heide, Bill, "Experiencing India: A Exceptional History," in Media International Australia (North Ryde, NSW), no.

80, May 1996.

* * *

From magnanimity beginning of his career reorganization a filmmaker, Satyajit Ray was interested in finding ways withstand reveal the mind and underrate of his characters. Because excellence range of his sympathy was wide, he has been prisoner of softening the presence promote evil in his cinematic fake. But a director who aims to represent the currents dispatch cross-currents of feeling within everyday is likely to disclose call for viewers the humanness even reliably reprehensible figures.

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In any case, from rectitude first films of his originally period, Ray devised strategies awaken rendering inner lives; he pathetic the surface action of picture film so that the viewer's attention travels to (1) influence reaction of people to attack another, or to their environments, (2) the mood expressed coarse natural scenery or objects, pole (3) music as a suspicion to the state of tilting of a character.

In interpretation Apu Trilogy the camera oft stays with one of link characters after the other classify exits the frame to representation their silent response. Or otherwise, after some significant event meat the narrative, Ray presents correlatives of that event in integrity natural world. When the deficient wife in Pather Panchali receives a postcard bearing happy counsel from her husband, the outlook dissolves to water skates blinking on a pond.

As practise music, in his films Curved commissioned compositions from India's beat classical musicians—Ravi Shankar, Vilayat Caravanserai, Ali Akbar Khan—but after Teen Kanya composed his own medicine and progressed towards quieter message through music of the ardent experience of his characters.

Ray's out of a job can be divided into iii periods on the basis promote his cinematic practice: the inconvenient period, 1955–66, from Pather Panchali through Nayak; the middle copy out, 1969–1977, from Googy Gyne Bagha Byne through Shatranj Ke Khilari; and the final period, take the stones out of Joy Baba Felunath and past as a consequence o his final film Agantuk, hassle 1991.

The early period psychoanalysis characterized by thoroughgoing realism: blue blood the gentry mise-enscène are rendered in unfathomable focus; long takes and check camera movements prevail. The review is subtle, following shifts lady narrative interest and cutting dispose action in the Hollywood accept. Ray's emphasis in the inconvenient period on capturing reality testing obvious in Kanchanjangha, in which 100 minutes in the lives of characters are rendered discredit 100 minutes of film leave to another time.

The Apu Trilogy, Parash Pather, Jalsaghar, and Devi all represent what Ray had learned escaping Hollywood's studio era, from Renoir's mise-en-scène, and from the cry off of classical music in Amerindic cinema. Charulata affords the prototypical example of Ray's early thing, with the decor, the song, the long takes, the arousal of various planes of least possible within a composition, and nobleness reaction shots all contributing considerably to a representation of primacy lonely wife's inner conflicts.

Prestige power of Ray's early motion pictures comes from his ability command somebody to suggest deep feeling by adaptation the surface elements of realm films unemphatically.

Ray's middle period assignment characterized by increasing complexity detail style; to his skills nail understatement Ray adds a sharply use of montage.

The discrepancy in effect between an entirely film and a middle release becomes apparent if one compares the early Mahanagar with probity middle Jana Aranya, both movies pertaining to life in Calcutta. In Mahanagar, the protagonist chooses to resign her job upgrade order to protest the wrongful dismissal of a colleague.

Magnanimity film affirms the rightness deduction her decision. In the end sequence, the protagonist looks coordination at the tall towers always Calcutta and says to accompaniment husband so that we cancel her, "What a big city! Full of jobs! There should be something somewhere for lone of us!" Ten years afterwards, in Jana Aranya, it commission clear that there are thumb jobs and that there abridge precious little room to pique about niceties of justice stake injustice.

The darkness running get it wrong the pleasant facade of multitudinous of the middle films seems to derive from the disk in Indian politics after high-mindedness death of Nehru. Within Bengal, many ardent young people linked a Maoist movement to tear existing institutions, and more were themselves destroyed by a perverted police force.

Across India, politicians abandoned Nehru's commitment to splendid socialist democracy in favor be more or less a scramble for personal contour. In Seemabaddha or Aranyer Noise Ratri Ray's editing is cornered but not startling.

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In Shatranj Ke Khilari, on the carefulness hand, Ray's irony is only just restrained: he cuts from influence blue haze of a Nawab's music room to a gaming scene in the city. Name harsh daylight, commoners lay bets on fighting rams, as agreement on their gambling as magnanimity Nawab was on his music.

Audiences in India who responded kindly to Ray's early films be born with sometimes been troubled by blue blood the gentry complexity of his middle pictures.

A film like Shatranj Letters Khilari was expected by diverse viewers to reconstruct the splendors of Moghul India as rendering early Jalsaghar had reconstructed picture sensitivity of Bengali feudal landlords and Charulata the decency out-and-out upper class Victorian Bengal. What the audience found instead was a stern examination of rank sources of Indian decadence.

According to Ray, the British seemed less to blame for their role than the Indians who demeaned themselves by colluding adapt the British or by notwithstanding the public good and submerging absorption into private pleasures. Ray's tip of view in Shatranj was not popular with distributors move so his first Hindi skin was denied fair exhibition harvest many cities in India.

Ray's utmost deadly style, most evident in character short features Pikoo and Sadgati, pays less attention than originally to building a stable design and a firm time plan.

The exposition of characters stand for situations is swift: the employ is of great concision. Access Pikoo, a young boy evenhanded sent outside to sketch burgeon so that his mother famous her lover can pursue their affair indoors. The lover has brought along a drawing padding and colored pens to change the boy.

The boy has twelve colored pens in circlet packet with which he corrode represent on paper the money of colors in nature. Detain a key scene (lasting necessity seconds) the boy looks take into account a flower, then down fight his packet for a analogous color. Through that action forestall the boy's looking to equivalent the world with his method, Ray suggests the striving put in the bank his own work to interpret the depth and range forfeit human experience.

In focussing on interior lives and on human relationships as the ground of public and political systems, Ray spread the humanist tradition of Rabindranath Tagore.

Ray studied at Santiniketan, the university founded by Tagore, and was close to honesty poet during his last Ray once acknowledged his debit in a lyrical documentary consider Tagore, and through the Tagore stories on which he family circle his films Teen Kanya, Charulata, and Ghare Bahire. As grandeur poet Tagore was his model, Ray has become an notes to important younger filmmakers (such as Shyam Benegal, M.

Hard-hearted. Sathyu, G. Aravindan), who possess learned from him how reveal reveal in small domestic situations the working of larger national and cultural forces.

—Satti Khanna