Satyajit Ray

Satyajit Ray's ancestry can be traced back for at least ten generations.[9] His family had acquired the name 'Ray' (originally 'Rai') from the Mughals. Although they were Bengali Kayasthas, the Rays were 'Vaishnavas' (worshippers of Vishnu),[10] as opposed to the majority of Bengali Kayasthas who were 'Shaktos' (worshippers of the Shakti or Shiva).[11]

The earliest-recorded ancestor of Ray family was Ramsunder Deo (Deb), born in the middle of the sixteenth century.[10][12] He was a native of Chakdah village in 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 and was granted a jagir (a feudal land grant) at Jashodal (in present day Kishoreganj District of Bangladesh).[13] His descendants migrated to the village Masua in Katiadi Upazila of Kishoreganj district in the first half of eighteenth century.[13][14] Satyajit Ray's grandfather Upendrakishore Ray was born in Masua village in 1863.[12] Upendrakishore's elder brother Saradaranjan Ray was one of the pioneers of Indian cricket who 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.[15]

Sukumar Ray, Upendrakishore's son and father of Satyajit, was an illustrator, critic, and a pioneering Bengali writer of nonsense rhyme (Abol Tabol) and children's literature.[15] Social worker and children's book author Shukhalata Rao was his aunt.[16]

Sukumar Ray and Suprabha Ray, parents of Satyajit Ray (1914)

Satyajit Ray was born to Sukumar Ray and Suprabha Ray (nee Das Gupta) in Calcutta (now Kolkata). Sukumar Ray died when Satyajit was two years old.[17] 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, a children's magazine started by Upendrakishore Ray Chowdhury.[18] 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.[19] The works of Charlie Chaplin, Buster Keaton, Harold Lloyd, Ernst Lubitsch and movies such as The Thief of Baghdad and Uncle Tom's Cabin made lasting impression on his mind.[19] He developed keen interest in Western classical music.[20]

Ray in 1940

In 1940, his mother insisted him to study at Visva-Bharati University in Santiniketan, founded by Rabindranath Tagore. Ray was reluctant to go, due to his fondness for Calcutta and the low regard for the intellectual life at Santiniketan.[21] His mother's persuasiveness and his respect for Tagore 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 painters Nandalal Bose and Benode Behari Mukherjee.[22] He later produced a documentary, The Inner Eye, about Mukherjee. His visits to Ajanta, Ellora and Elephanta stimulated his admiration for Indian art.[23] 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.[24] Ray dropped out of the art course in 1942 as he could not feel inspired to become a painter.[24]

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.[25] 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."[26] In 1943, Ray started a second job for the Signet Press, a new publishing house started by D. K. Gupta.[27] 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.[28]

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.[27] He worked on a children's version of Pather Panchali, a classic Bengali novel by Bibhutibhushan 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 his ground-breaking film.[29]

The facade of Satyajit Ray's house in Kolkata (Calcutta)

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 a RAF employee, Norman Clare, who shared Ray's passion for films, chess and western classical music.[30] Ray was a regular in the addas (freestyle casual conversations) at Coffee House where several intellectuals frequented. He formed lasting association with some of the compatriots, such as Bansi Chandragupta (who late became a celebrated art director), Kamal Kumar Majumdar (a polymath and author of stylish prose), Radha Prasad Gupta, Chidananda Das Gupta (film critic).[31] Along with Chidananda Dasgupta and others, Ray founded the Calcutta Film Society in 1947.[32] They screened many foreign films, many of which Ray watched and seriously studied, including several American and Russian films.[33] The use of Indian music and dancing in the 1948 Indian film Kalpana (transl. Imagination), directed by the celebrated dancer Uday Shankar, had impact on Ray.[34]

In 1949, Ray married Bijoya Das, his first cousin and long-time sweetheart.[35] The couple had a son, Sandip Ray, a film director.[36] 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.[37]

In 1950, D.J. Keymer sent Ray to London to work at the headquarters. During his six months in London, Ray watched 99 films, including Alexander Dovzhenko's Earth (1930) and Jean Renoir's The Rules of the Game (1939).[38] 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.[39] Ray later said that he walked out of the theatre determined to become a filmmaker.[39]

After being "deeply moved" by Pather Panchali,[40] the 1928 classic Bildungsroman of Bengali literature, Ray decided to adapt it for his first film. Pather Panchali is a semi-autobiographical novel describing the maturation of Apu, a small boy in a Bengal village.[41] Pather Panchali did not have a script; it was made from Ray's drawings and notes.[42] Before principal photography began, he created a storyboard dealing with details and continuity.[43] Years later, he donated those drawings and notes to Cinémathèque Française.[44]

Ray with Ravi Sankar, recording for Pather Panchali (1955)

Ray gathered an inexperienced crew, although both his cameraman Subrata Mitra and art director Bansi Chandragupta would go on to achieve great acclaim. The cast consisted of mostly amateur actors. After unsuccessful attempts to persuade many producers to finance the project, Ray started shooting in late 1952 with his personal savings and hoped to raise more money once he had some footage shot, but did not succeed on his terms.[45] As a result, Ray shot Pather Panchali over two and a half years, an unusually long period.[45] He refused funding from sources who wanted to change the script or exercise supervision over production. He also ignored advice from the Indian government to incorporate a happy ending, but he did receive funding that allowed him to complete the film.[46]

Monroe Wheeler, head of the department of exhibitions and publications at New York's Museum of Modern Art (MoMA),[47] heard about the project when he visited Calcutta in 1954. He considered the incomplete footage to be of high quality and encouraged Ray to finish the film so that it could be shown at a MoMA exhibition the following year.[48] 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".[49]

With a loan from the West Bengal government, Ray finally completed the film; it was released in 1955 to critical acclaim. It earned numerous awards and had long theatrical runs in India and abroad. The Times of India wrote "It is absurd to compare it with any other Indian cinema [...] Pather Panchali is pure cinema."[50] In the United Kingdom, Lindsay Anderson wrote a positive review of the film.[50] 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."[51] Bosley Crowther, then the most influential critic of The New York Times, criticised the film's loose structure and conceded that it "takes patience to be enjoyed".[52] 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.[53]

Ray's international career started in earnest after the success of his next film, the second in The Apu Trilogy, Aparajito (1956) (The Unvanquished).[54] This film depicts the eternal struggle between the ambitions of a young man, Apu, and the mother who loves him.[54] Upon release, Aparajito won the Golden Lion at the Venice Film Festival, bringing Ray considerable acclaim.[55] 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.[56] Critics such as Mrinal Sen and Ritwik Ghatak rank it higher than Ray's first film.[54]

Ray directed and released two other films in 1958: the comic Parash Pathar (The Philosopher's Stone), and Jalsaghar (The Music Room), a film about the decadence of the Zamindars, considered one of his most important works.[57] Time Out magazine gave Jalsaghar a positive review, describing it as "slow, rapt and hypnotic".[58]

While making Aparajito, Ray had not planned a trilogy, but after he was asked about the idea in Venice, it appealed to him.[59] He finished the last of the trilogy, Apur Sansar (The World of Apu) in 1959. Ray introduced two of his favourite actors, Soumitra Chatterjee and Sharmila Tagore, in this film. It opens with Apu living in a Calcutta house in near-poverty; he becomes involved in an unusual marriage with Aparna. The scenes of their life together form "one of the cinema's classic affirmative depictions of married life."[60] Critics Robin Wood and Aparna Sen thought it was a major achievement to mark the end of the trilogy.

After Apur Sansar was harshly criticised by a Bengali critic, Ray wrote an article defending it. He rarely responded to critics during his filmmaking career, but also later defended his film Charulata, his personal favourite.[61] Critic Roger Ebert summarised the trilogy as "It is about a time, place and culture far removed from our own, and yet it connects directly and deeply with our human feelings. It is like a prayer, affirming that this is what the cinema can be, no matter how far in our cynicism we may stray."[62]

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,[63] with his mother, uncle and other members of his extended family.[64] The home is currently owned by ISKCON.

During this period, Ray made films about the British Raj period, a documentary on Tagore, a comic film (Mahapurush) and his first film from an original screenplay ('Kanchenjungha'). He also made a series of films that, taken together, are considered by critics among the most deeply felt portrayals of Indian women on screen.[65]

Ray followed Apur Sansar with 1960's Devi (The Goddess), a film in which he examined the superstitions in society. Sharmila Tagore starred as Doyamoyee, a young wife who is deified by her father-in-law. Ray was worried that the Central Board of Film Certification might block his film, or at least make him re-cut it, but Devi was spared. Upon international distribution, the critic from Chicago Reader described the film as "full of sensuality and ironic undertones".[66]

In 1961, on the insistence of Prime Minister Jawaharlal Nehru, Ray was commissioned to make Rabindranath Tagore, based on the poet of the same name, on the occasion of his birth centennial, a tribute to the person who likely most influenced Ray. Due to limited footage of Tagore, Ray was challenged by the necessity of making the film mainly with static material. He said that it took as much work as three feature films.[67]

In the same year, together with Subhas Mukhopadhyay and others, Ray was able to revive Sandesh, the children's magazine which his grandfather had founded.[15] 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 a steady source of income.[68]

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 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.[69] The New York Times' Bosley Crowther gave the film a mixed review; he praised Ray's "soft and relaxed" filmmaking but thought the characters were clichés.[70]

Poster for Mahanagar (1963)

In 1964, Ray directed Charulata (The Lonely Wife). One of Ray's favourite films, it was regarded by many critics as his most accomplished.[71] 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",[72] while The Sydney Morning Herald praised Madhabi Mukherjee's casting, the film's visual style, and its camera movements.[73] 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.[74] At the 15th Berlin International Film Festival, Charulata earned him a Silver Bear for Best Director.[75] Other films in this period include Mahanagar (The Big City), Teen Kanya (Three Daughters), Abhijan (The Expedition), Kapurush (The Coward) and Mahapurush (Holy Man). The first of these, Mahanagar drew praise from British critics; Philip French opined that it was one of Ray's best.[76][77]

Also in the 1960s, Ray visited Japan and took pleasure in meeting filmmaker Akira Kurosawa, whom he highly regarded.[78]

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 is 1966's Nayak (The Hero), the story of a screen hero travelling in a train and meeting a young, sympathetic female journalist. Starring Uttam Kumar and Sharmila Tagore, in the twenty-four hours of the journey, the film explores the inner conflict of the apparently highly successful matinée idol. Although the film received a "Critics Prize" at the Berlin International Film Festival, it had a generally muted reception.[79]

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 the fee appropriated by Michael Wilson. Wilson had initially approached Ray through their mutual friend, 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.[80] After Brando dropped out of the project, the producers tried to replace him with James Coburn, but Ray became disillusioned and returned to Calcutta.[80] Columbia attempted to revive the project, without success, in the 1970s and 1980s.

A painting of Ray

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).[81] 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, 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.[82] He also composed the songs and music for the film.[83]

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,[84] Aranyer Din Ratri (1970) (Days and Nights in the Forest) follows four urban young men going to the forests for a vacation. They try to leave their daily lives behind, but one of them encounters women, and it becomes a deep study of the Indian middle class.[85] First shown at the New York Film Festival in 1970, critic Pauline Kael wrote "Satyajit Ray's films can give rise to a more complex feeling of happiness in me than the work of any other director [...] No artist has done more than Ray to make us reevaluate the commonplace".[86] Writing for the BBC in 2002, Jamie Russell complimented the script, pacing and mixture of emotions.[87] According to one critic, Robin Wood, "a single sequence [of the film] ... would offer material for a short essay".[84]

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.[88] The trilogy focuses on repression, with male protagonists encountering the forbidden.[89] Pratidwandi (The Adversary) is about an idealist young graduate; while disillusioned by the end of film, he is still uncorrupted. Seemabaddha (Company Limited) portrayed a successful man giving up his morality for further gains. Jana Aranya (The Middleman) depicted a young man giving in to the culture of corruption to earn a living. In the first film, Pratidwandi, Ray introduces new narrative techniques, such as scenes in negative, dream sequences, and abrupt flashbacks.[88]

Also in the 1970s, Ray adapted two of his popular stories as detective films. Although mainly aimed at children and young adults, both Sonar Kella (The Golden Fortress) and Joi Baba Felunath (The Elephant God) became cult favorites.[90] In a 2019 review of Sonar Kella, critic Rouven Linnarz was impressed with its use of Indian classical instruments to generate "mysterious progression".[91]

Ray considered making 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.[92] 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 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.[93] Despite the film's limited budget, The Washington Post critic gave it a positive review; "He [Ray] possesses what many overindulged Hollywood filmmakers often lack: a view of history".[94]

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.[95] Along with his acclaimed short film Pikoo (Pikoo's Diary) and hour-long Hindi film, Sadgati, this was the culmination of his work in this period.[96]

When E.T. 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 was circulating in Hollywood." (Spielberg actually graduated high school in 1965 and released his first film in 1968).[97] 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.[98]

Ray became the first Indian to receive an Honorary Academy Award in 1992.

In 1983, while working on Ghare Baire (Home and the World), Ray suffered a heart attack; it would severely limit his productivity in the remaining nine years of his life. Ghare Baire, an adaptation of the novel of the same name, was completed in 1984 with the help of Ray's son, who served as a camera operator from then onward. It is about the dangers of fervent nationalism; he wrote the first draft of a script for it in the 1940s.[99] Despite rough patches due to Ray's illness, the film did receive some acclaim; critic Vincent Canby gave the film a maximum rating of five stars and praised the performances of the three lead actors.[100] 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).[101] It depicts an old man, who has lived a life of honesty, and learns of the corruption of three of his sons. The final scene shows the father finding solace only in the companionship of his fourth son, who is uncorrupted but mentally ill due to a head injury sustained while he was studying in England.

Ray's last film, Agantuk (The Stranger), is lighter in mood but not in theme; when a long-lost uncle arrives to visit his niece in Calcutta, he arouses suspicion as to his motive. It provokes far-ranging questions in the film about civilisation.[102] Critic Hal Hinson was impressed, and thought Agantuk shows "all the virtues of a master artist in full maturity".[103]

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.[104] On his religious views, he was an atheist.[105]

In 1992, Ray's health deteriorated due to heart complications. He was admitted to a hospital but never recovered. Twenty-four days before his death, Ray was presented with an Honorary Academy Award by Audrey Hepburn via video-link; he was in gravely ill condition, but gave an acceptance speech, calling it the "best achievement of [his] movie-making career."[106] He died on 23 April 1992, 9 days before his 71st birthday.[107]

The Academy Film Archive has preserved many of Ray's films: Abhijan in 2001, Aparajito in 1996, Apur Sansar in 1996, Charulata in 1996, Devi in 1996, Goopy Gyne Bagha Byne in 2003, Jalsaghar in 1996, Jana Aranya in 1996, Joi Baba Felunath in 2007, Kapurush in 2005, Mahanagar in 1996, Mahapurush in 2005, Nayak in 2004, Parash Pathar in 2007, Pather Panchali in 1996, Seemabaddha in 2001, Shatranj ke Khilari in 2010, Sikkim in 2007, Teen Kanya in 1996, and the short film Two in 2006.[179] The Academy Film Archive additionally holds prints of other Ray films as part of its Satyajit Ray Collection.[180]

Birth centenary celebrations

In 52nd International Film Festival of India, on the occasion of his birth centenary, the Directorate of Film Festivals will pay tribute to him through a 'Special Retrospective'.

Award in recognition of legacy

In recognition of the auteur's legacy, Lifetime Achievement Award was named as 'Satyajit Ray Lifetime Achievement Award' from 2021, to be given at the festival.[181]