Uma Dasgupta, who played Durga in Satyajit Ray's landmark film Pather Panchali, passed away in Kolkata on Monday (Nov 18). She was 84. Dasgupta's portrayal of the innocent village girl Durga in the film, which was adapted from a novel written by Bibhutibhushan Banerjee, is well etched in the hearts of millions of cinema lovers.&nbsp; 
 
Pather Panchali (1955), part of Ray’s Apu Trilogy, marked a turning point in Indian cinema with its neorealist approach. The film’s iconic scenes remain timeless, such as Durga and her brother Apu running across fields to glimpse a distant train. The film is considered one of the bibles for film schools worldwide.&nbsp; 
 
Durga of Pather Panchali dead 
 
Uma Das Gupta had been battling cancer for a prolonged period and breathed her last at a private hospital in Kolkata.&nbsp;The news of her demise was confirmed by actor and politician Chiranjit Chakraborty, who expressed his condolences and remembered her contributions to Bengali cinema. 
 
Dasgupta only starred in one film and then lived a private life away from the limelight. After her performance in Pather Panchali, she never took up acting again and taught at Kolkata's Jadavpur Vidyapith until she retired in 2000. She is survived by her daughter and son.&nbsp; 
 
Reacting to the news of her death, Sandeep Ray, filmmaker Satyajit Ray's son spoke to Bollywood Hungama and paid his condolences. Sandeep revealed that Dasgupta was selected to play Durga without any audition. “She came to our Lake Avenue house with somebody whom my father knew,” he said. “And my father talked to her for a little while and she was cast. It's as simple as that! No audition, nothing at all. My father treated both Uma and Subir Banerjee (who played Apu) as adults, you know. No chocolates, no, you know, nothing. He never used to do that. He never pampered even his adults, no matter how big a star.” 
 
Sandeep revealed Uma was a natural born before the camera. “The strangest part is that she was not, you know, a professional actress. She was not! She only starred in one film and she was so, you know, so striking with her work. It takes a lot of guts with that kind of adulation to spurn all offers. It must have been very difficult. That height of excellence in her first film would have been impossible to match. I have very faint memories, you know. I was about two years old. And after that, she didn't keep in touch. She became a recluse. She was very shy. She was so good in that film. Oh, my God! We cannot imagine Pather Panchali without her. Without Durga,” he said.

Uma Dasgupta, who played Durga in Satyajit Ray's landmark film Pather Panchali, passed away in Kolkata on Monday (Nov 18). She was 84. Dasgupta's portrayal of the innocent village girl Durga in the film, which was adapted from a novel written by Bibhutibhushan Banerjee, is well etched in the hearts of millions of cinema lovers.

Uma Dasgupta, who played Durga in Satyajit Ray's landmark film Pather Panchali, passed away in Kolkata on Monday (Nov 18). She was 84. Dasgupta's portrayal of the innocent village girl Durga in the film, which was adapted from a novel written by Bibhutibhushan Banerjee, is well etched in the hearts of millions of cinema lovers. Pather Panchali (1955), part of Ray’s Apu Trilogy, marked a turning point in Indian cinema with its neorealist approach. The film’s iconic scenes remain timeless, such as Durga and her brother Apu running across fields to glimpse a distant train. The film is considered one of the bibles for film schools worldwide. Durga of Pather Panchali dead Uma Das Gupta had been battling cancer for a prolonged period and breathed her last at a private hospital in Kolkata. The news of her demise was confirmed by actor and politician Chiranjit Chakraborty, who expressed his condolences and remembered her contributions to Bengali cinema. Dasgupta only starred in one film and then lived a private life away from the limelight. After her performance in Pather Panchali, she never took up acting again and taught at Kolkata's Jadavpur Vidyapith until she retired in 2000. She is survived by her daughter and son. Reacting to the news of her death, Sandeep Ray, filmmaker Satyajit Ray's son spoke to Bollywood Hungama and paid his condolences. Sandeep revealed that Dasgupta was selected to play Durga without any audition. “She came to our Lake Avenue house with somebody whom my father knew,” he said. “And my father talked to her for a little while and she was cast. It's as simple as that! No audition, nothing at all. My father treated both Uma and Subir Banerjee (who played Apu) as adults, you know. No chocolates, no, you know, nothing. He never used to do that. He never pampered even his adults, no matter how big a star.” Sandeep revealed Uma was a natural born before the camera. “The strangest part is that she was not, you know, a professional actress. She was not! She only starred in one film and she was so, you know, so striking with her work. It takes a lot of guts with that kind of adulation to spurn all offers. It must have been very difficult. That height of excellence in her first film would have been impossible to match. I have very faint memories, you know. I was about two years old. And after that, she didn't keep in touch. She became a recluse. She was very shy. She was so good in that film. Oh, my God! We cannot imagine Pather Panchali without her. Without Durga,” he said.

Uma Dasgupta, Durga of Satyajit Ray's Pather Panchali, passes away

Over a history of more than a century, Indian cinema has produced some truly great movies that have been widely acclaimed by both domestic and international audiences. The Indian film industry is considered to be one of the largest and most vibrant in the world, producing a wide range of films in multiple languages and genres. In recent decades, particularly Indian movies have gained popularity across the globe for their colorful visuals, action, melodrama, and dance numbers (case in point: the brouhaha over RRR). Additionally, there are also unique films from different regions of India, which have been appreciated by critics for their artistic and cultural significance.&nbsp;

Also Read |&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-oscars-2023-10-great-actors-who-dont-have-an-oscar-569869Oscars 2023: Ten great actors who haven’t won an Oscar surprisingly">Oscars 2023: Ten great actors who haven’t won an Oscar surprisingly</a>

While a handful of Indians have won an Academy Award or Oscar, no Indian-made cinematic production (as opposed to a foreign production involving Indians) can boast of an Oscar statuette to date.&nbsp;

Here are some of the Indian films that deserved Oscars but were sadly overlooked by the Academy:

<h2>Pather Panchali (1955)</h2>

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/MC8waqiwSY4" title="YouTube video player" width="560"></iframe>

A Bengali-language film directed by the legendary Satyajit Ray, it is widely regarded as one of the greatest films ever made and is credited with introducing Indian cinema to the world stage. The film tells the story of a young boy named Apu and his family as they struggle to survive in rural India. Pather Panchali was nominated for Best Foreign Language Film at the 28th Academy Awards, but did not win.&nbsp;

Also Read |&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-oscars-2023-best-picture-nominee-steven-spielbergs-the-fabelmans-is-an-ode-to-cinema-and-life-570016">Oscars 2023 Best Picture nominee: Steven Spielberg's The Fabelmans is an ode to cinema and life</a>

<h2>Mother India (1957)&nbsp;</h2>

This Mehboob Khan directorial is widely considered a masterpiece of Indian cinema. It tells the story of a mother who struggles to raise her children and maintain her farm after her husband abandons the family. The film was nominated for Best Foreign Language Film at the 30th Academy Awards, but ultimately lost to Nights of Cabiria.

<h2>Salaam Bombay! (1988)</h2>

This film, directed by Mira Nair, tells the story of a young boy who runs away from home and ends up living on the streets of Mumbai. It was nominated for Best Foreign Language Film at the 61st Academy Awards, but ultimately lost to Pelle the Conqueror.

Also Read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-oscars-2023-the-banshees-of-inisherin-is-a-dark-poignant-meditation-on-futility-of-conflict-569707">Oscars 2023: The Banshees of Inisherin is a dark, poignant meditation on futility of conflict</a>

<h2>Lagaan (2001)&nbsp;</h2>

This epic sports drama film was directed by Ashutosh Gowariker and starred Aamir Khan. It was nominated for Best Foreign Language Film at the 74th Academy Awards, but ultimately lost to No Man's Land. The story, set in pre-Independent India follows a group of villagers who challenge their British colonisers to a game of cricket in exchange for a three-year tax exemption.&nbsp;

<h2>Devdas (2002)</h2>

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/DNE3v7ILuRE" title="YouTube video player" width="560"></iframe>

This film, directed by Sanjay Leela Bhansali, is a lavish adaptation of the classic Indian novel of the same name. It was praised for its opulent visuals and outstanding performances. Despite all the praise that was showered over it, it was not nominated for an Oscar.

<h2>Black (2005)</h2>

This film, directed by Sanjay Leela Bhansali, tells the story of a deaf-blind girl and her relationship with her teacher. It was praised for its poignant storytelling and outstanding performances, particularly by leading actress Rani Mukherjee. Despite being a critical success, it was not nominated for an Oscar.

Also Read:&nbsp;<a href="https://www.wionews.com/entertainment/oscars-2023-short-documentaries-explode-as-an-art-form-attracting-big-players-like-netflix-569398">Oscars 2023: Short documentaries explode as an art form, attracting big players like Netflix</a>

<h2>Peepli Live (2010)</h2>

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ht0-gqvFor0" title="YouTube video player" width="560"></iframe>

A satirical comedy-drama film directed by Anusha Rizvi and produced by Aamir Khan, Peepli Live tells the story of two impoverished farmers in rural India who plan to commit suicide so that their families can receive government compensation. The film explores the issues of farmer suicides, media sensationalism, and political corruption in India.&nbsp;

<h2>Court (2014)&nbsp;</h2>

This Marathi-language film, directed by Chaitanya Tamhane, tells the story of a trial in a lower court in Mumbai. It was praised for its sharp social commentary and unique storytelling style and won several awards at international film festivals. Despite critical acclaim, it was not nominated.

Also Read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-oscars-awards-2023-best-picture-nominee-can-avatar-2-win-the-trophy-568604">Oscars Awards 2023 Best Picture nominee: Can Avatar 2 win the trophy?</a>

<h2>Village Rockstars (2017)</h2>

<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/tTov2nVgXaU" title="YouTube video player" width="560"></iframe>

This Rima Das film is set in a remote village in the northeastern state of Assam and follows the story of a young girl named Dhunu who dreams of owning a guitar and starting her own rock band. The film captures the beauty and struggles of rural life in India with its stunning cinematography and authentic portrayal of the culture, traditions, and daily life of the villagers. It provides a glimpse into a way of life that is often overlooked or misrepresented in mainstream media.

<h2>Jallikattu (2019)</h2>

An Indian Malayalam-language action film directed by Lijo Jose Pellissery, Jallikattu is based on the short story Maoist by Hareesh and depicts the events that follow after a buffalo escapes from a slaughterhouse in a small village in Kerala, India. It features quite an unconventional narrative structure, and primarily focuses on the reactions of the villagers to the situation rather than the buffalo itself. This approach makes the film more about the people and their emotions than the animal. The story builds up to a gripping climax that is both thrilling and thought-provoking.

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Over a history of more than a century, Indian cinema has produced some truly great movies that have been widely acclaimed by both domestic and international audiences.

Over a history of more than a century, Indian cinema has produced some truly great movies that have been widely acclaimed by both domestic and international audiences. The Indian film industry is considered to be one of the largest and most vibrant in the world, producing a wide range of films in multiple languages and genres. In recent decades, particularly Indian movies have gained popularity across the globe for their colorful visuals, action, melodrama, and dance numbers (case in point: the brouhaha over RRR). Additionally, there are also unique films from different regions of India, which have been appreciated by critics for their artistic and cultural significance. Also Read | Oscars 2023: Ten great actors who haven’t won an Oscar surprisingly While a handful of Indians have won an Academy Award or Oscar, no Indian-made cinematic production (as opposed to a foreign production involving Indians) can boast of an Oscar statuette to date. Here are some of the Indian films that deserved Oscars but were sadly overlooked by the Academy: Pather Panchali (1955) A Bengali-language film directed by the legendary Satyajit Ray, it is widely regarded as one of the greatest films ever made and is credited with introducing Indian cinema to the world stage. The film tells the story of a young boy named Apu and his family as they struggle to survive in rural India. Pather Panchali was nominated for Best Foreign Language Film at the 28th Academy Awards, but did not win. Also Read | Oscars 2023 Best Picture nominee: Steven Spielberg's The Fabelmans is an ode to cinema and life Mother India (1957) This Mehboob Khan directorial is widely considered a masterpiece of Indian cinema. It tells the story of a mother who struggles to raise her children and maintain her farm after her husband abandons the family. The film was nominated for Best Foreign Language Film at the 30th Academy Awards, but ultimately lost to Nights of Cabiria. Salaam Bombay! (1988) This film, directed by Mira Nair, tells the story of a young boy who runs away from home and ends up living on the streets of Mumbai. It was nominated for Best Foreign Language Film at the 61st Academy Awards, but ultimately lost to Pelle the Conqueror. Also Read: Oscars 2023: The Banshees of Inisherin is a dark, poignant meditation on futility of conflict Lagaan (2001) This epic sports drama film was directed by Ashutosh Gowariker and starred Aamir Khan. It was nominated for Best Foreign Language Film at the 74th Academy Awards, but ultimately lost to No Man's Land. The story, set in pre-Independent India follows a group of villagers who challenge their British colonisers to a game of cricket in exchange for a three-year tax exemption. Devdas (2002) This film, directed by Sanjay Leela Bhansali, is a lavish adaptation of the classic Indian novel of the same name. It was praised for its opulent visuals and outstanding performances. Despite all the praise that was showered over it, it was not nominated for an Oscar. Black (2005) This film, directed by Sanjay Leela Bhansali, tells the story of a deaf-blind girl and her relationship with her teacher. It was praised for its poignant storytelling and outstanding performances, particularly by leading actress Rani Mukherjee. Despite being a critical success, it was not nominated for an Oscar. Also Read: Oscars 2023: Short documentaries explode as an art form, attracting big players like Netflix Peepli Live (2010) A satirical comedy-drama film directed by Anusha Rizvi and produced by Aamir Khan, Peepli Live tells the story of two impoverished farmers in rural India who plan to commit suicide so that their families can receive government compensation. The film explores the issues of farmer suicides, media sensationalism, and political corruption in India. Court (2014) This Marathi-language film, directed by Chaitanya Tamhane, tells the story of a trial in a lower court in Mumbai. It was praised for its sharp social commentary and unique storytelling style and won several awards at international film festivals. Despite critical acclaim, it was not nominated. Also Read: Oscars Awards 2023 Best Picture nominee: Can Avatar 2 win the trophy? Village Rockstars (2017) This Rima Das film is set in a remote village in the northeastern state of Assam and follows the story of a young girl named Dhunu who dreams of owning a guitar and starting her own rock band. The film captures the beauty and struggles of rural life in India with its stunning cinematography and authentic portrayal of the culture, traditions, and daily life of the villagers. It provides a glimpse into a way of life that is often overlooked or misrepresented in mainstream media. Jallikattu (2019) An Indian Malayalam-language action film directed by Lijo Jose Pellissery, Jallikattu is based on the short story Maoist by Hareesh and depicts the events that follow after a buffalo escapes from a slaughterhouse in a small village in Kerala, India. It features quite an unconventional narrative structure, and primarily focuses on the reactions of the villagers to the situation rather than the buffalo itself. This approach makes the film more about the people and their emotions than the animal. The story builds up to a gripping climax that is both thrilling and thought-provoking. WATCH WION LIVE HERE You can now write for wionews.com and be a part of the community. Share your stories and opinions with us here.

Oscars 2023 4 days to go: From Pather Panchali to Jallikattu, 10 Indian films that deserved Oscars

FIPRESCI-India, the India chapter of Fédération Internationale de la Presse Cinématographique (The International Federation of Film Critics), has released its list of top 10 Indian films ever made. Legendary film director Satyajit Ray's 'Pather Panchali' has topped the list, while Ritwik Ghatak's 'Meghe Dhaka Tara' is the runner-up. Mrinal Sen's 'Bhuvan Shome' is the second runner-up Ray, Ghatak, and Sen were part of the legendary foursome, with Tapan Sinha completing the quartet, that led the parallel cinema movement in the 1950s and 1960s India, infusing realism and naturalism in their stories.&nbsp;

Also Read:&nbsp;<a href="https://www.wionews.com/entertainment/satyajit-rays-pather-panchali-is-the-only-indian-film-to-feature-in-bbcs-100-best-foreign-language-films-list-174836">Ray’s 'Pather Panchali' the only Indian film to feature in 100 best foreign language films list</a>

'Pather Panchali', which was the first in 'The Apu Trilogy', was based on Bibhutibhushan Bandyopadhyay's eponymous 1929 Bengali novel. It was Ray's directorial debut. While Ray went on to create a body of work that remains unparalleled in the country, 'Pather Panchali' remains&nbsp;arguably his best-known film. The film has received praise from international filmmaking bigwigs like Akira Kurosawa, Martin Scorsese, Christopher Nolan, Richard Attenborough, Wes Anderson, Francis Ford Coppola, and more.&nbsp;

Ray's 'Charulata' is also part of the list, at the seventh position.

Also Read:&nbsp;<a href="https://www.wionews.com/opinions-blogs/opinion-100-cheers-for-satyajit-ray-382209">Opinion: 100 cheers for Satyajit Ray</a>

Also part of the list are Adoor Gopalakrishnan's 'Elippathayam' (fourth), Girish Kasaravalli's 'Ghatashraddha' (fifth), M. S. Sathyu's 'Garm Hava' (sixth), Shyam Benegal's 'Ankur' (eighth), Guru Dutt's 'Pyaasa' (ninth), and Ramesh Sippy's 'Sholay' (tenth).

Interestingly, none of the films are from the 21st century. And only one film, 'Sholay', can be called commercial fare. Rest are to some degree touched by elements from parallel cinema.&nbsp;

FIPRESCI has existed since 1930. It was founded on June 6 of that year in Brussels, Belgium. Its members are from 50 countries in the world. To recognise great talent in filmmaking, the organisation hands out awards in film festivals like the Vienna International Film Festival, the Toronto International Film Festival, the Cannes Film Festival, the Venice Film Festival, the Warsaw Film Festival, and the International Film Festival of Kerala.

FIPRESCI-India, the India chapter of Fédération Internationale de la Presse Cinématographique (The International Federation of Film Critics), has released its list of top 10 Indian films ever made.

FIPRESCI-India, the India chapter of Fédération Internationale de la Presse Cinématographique (The International Federation of Film Critics), has released its list of top 10 Indian films ever made. Legendary film director Satyajit Ray's 'Pather Panchali' has topped the list, while Ritwik Ghatak's 'Meghe Dhaka Tara' is the runner-up. Mrinal Sen's 'Bhuvan Shome' is the second runner-up Ray, Ghatak, and Sen were part of the legendary foursome, with Tapan Sinha completing the quartet, that led the parallel cinema movement in the 1950s and 1960s India, infusing realism and naturalism in their stories. Also Read: Ray’s 'Pather Panchali' the only Indian film to feature in 100 best foreign language films list 'Pather Panchali', which was the first in 'The Apu Trilogy', was based on Bibhutibhushan Bandyopadhyay's eponymous 1929 Bengali novel. It was Ray's directorial debut. While Ray went on to create a body of work that remains unparalleled in the country, 'Pather Panchali' remains arguably his best-known film. The film has received praise from international filmmaking bigwigs like Akira Kurosawa, Martin Scorsese, Christopher Nolan, Richard Attenborough, Wes Anderson, Francis Ford Coppola, and more. Ray's 'Charulata' is also part of the list, at the seventh position. Also Read: Opinion: 100 cheers for Satyajit Ray Also part of the list are Adoor Gopalakrishnan's 'Elippathayam' (fourth), Girish Kasaravalli's 'Ghatashraddha' (fifth), M. S. Sathyu's 'Garm Hava' (sixth), Shyam Benegal's 'Ankur' (eighth), Guru Dutt's 'Pyaasa' (ninth), and Ramesh Sippy's 'Sholay' (tenth). Interestingly, none of the films are from the 21st century. And only one film, 'Sholay', can be called commercial fare. Rest are to some degree touched by elements from parallel cinema. FIPRESCI has existed since 1930. It was founded on June 6 of that year in Brussels, Belgium. Its members are from 50 countries in the world. To recognise great talent in filmmaking, the organisation hands out awards in film festivals like the Vienna International Film Festival, the Toronto International Film Festival, the Cannes Film Festival, the Venice Film Festival, the Warsaw Film Festival, and the International Film Festival of Kerala.

Satyajit Ray's 'Pather Panchali' tops list of best Indian films of all time. Here are other films in the list

Satyajit Ray

To see Pather Panchali again today is still (as the great Lindsay Anderson once famously said) to go down on one’s knees in the dust, into the heart of the Indian reality and human condition. In the grinding poverty of the Indian village, Pather Panchali sees not the dismal ant heaps of Louis Malle but the individual human being, unique as much in his joy in love &amp; nature &amp; childhood as in the wrenching sorrow of death and in the endless struggle to live.

It is the human face of rural poverty and not its statistical horrors that makes us see Apu or Durga, Sarbajaya or Harihar as one of us. They become a part of our collective memory &amp; being and forever change a part of us &amp; our views on humanity.

Critics are of the opinion that unlike any other Indian filmmaker, Satyajit Ray is a classicist, an inheritor of a traditional Indian approach to art in which beauty is inseparable from truth and goodness. Despite his astonishing understanding of a wide range of western culture, it is his innate &amp; rooted Indianness which gives him his very special place in India...and world cinema.&nbsp;

Astute Ray-watchers have always commented on his unstinted affirmation of faith in human beings. There are no villains in Ray’s films. The oppressor and oppressed are both victims. Hence no matter what his role, he is in need of empathy and compassion – not anger or revenge.&nbsp;

At his best, Ray’s work has a sense of detachment, a distance from the event, an element of Indian fatalism. &nbsp;It is imbued with a sense that no man chooses the time or place of his birth or the circumstances that surround it. It is within the circle, pre-determined by these that he struggles to exist to make something of his opportunities. &nbsp;

Also Read | <a href="https://www.wionews.com/opinions-blogs/remembering-satyajit-ray-how-the-filmmaker-taught-the-world-about-futility-of-war-through-a-childrens-film-215306">Remembering Satyajit Ray: How the filmmaker taught the world about futility of war through a children's film</a>

The nobility of man lies in the effort itself. The knowledge gives it a serenity denied to those who believe they are life-changers. This philosophical outlook is both Indian and traditional. It finds joy in the flotsam and jetsam of the human condition. It accepts everything with grace. The distance combined with compassion, makes it possible for Ray the artist to see a wider arc of reality and to combine the largeness of canvas with fineness of detail. &nbsp;

The truth is: while Ray’s material happens to be Indian, his statements are about humanity. It transcends national boundaries and become both chronicler &amp; document of life.

His ground-breaking Pather Panchali – the first of his magical Apu trilogy – has an interesting back story. De Sica’s Bicycle Thieves (which he saw in London) totally mesmerised him with its powerful neo-realism and he decided then &amp; there to translate Bibhuti Bhusan’s classic to the screen. This was 1950.

Upon his return to Kolkata, he worked on his first treatment and took it around to several producers, all of whom summarily vetoed it. His scenario, accompanied by over 500 sketches didn’t help. All of them found it too weird, unconventional (hero, heroine, villain, comedian, music, romance, melodrama, happy ending) and way out, including new theatres who had bank-rolled many quality films in the thirties. &nbsp;

After a point, when Ray realised that no producer would help him, he decided to make the film at any cost by financing it himself.&nbsp;

His books, records, mother’s and wife’s jewellery...all went into the making of the first cut, soundless, of around forty minutes. This would suffice for anyone open to see it objectively and understand that a film could be made without great locales, established actors and on a shoestring budget...but to locate that open-minded 'anyone’ was the biggest task/challenge! When hope – and resources – were running out at break-neck speed, serendipity entered the scene. &nbsp;

Ray’s mother arranged a meeting with the erstwhile CM of West Bengal, Dr BC Roy. He saw the film’s first cut, liked it and arranged a subsidy [through the Road &amp; Public Works department] to complete it. One of Ray’s employers too, after seeing a few sequences, liked Pather Panchali so much that he granted Ray long leave of absence and even put money into the production. &nbsp;

After seven months of struggle when the film was finally complete, the government, who were the producers, saw the film, found it too depressing &amp; pessimistic and suggested Ray insert some sequences showing the development of the countryside outside of Bengal. Ray flatly refused, saying it would go against the spirit of the story and distort the great author’s narrative. They reluctantly agreed to retain the original version and authorised the first showing in 1955.

Contrary to the thinking of many people that Pather Panchali made waves in Kolkata and India only AFTER it received international recognition, Cannes heading the list, let’s hear it from the maestro himself.&nbsp;

“We got a first run showing for 6 weeks in a large cinema theatre in Calcutta. At first the film hardly did any business but after the third week, the box office jumped sharply and people queued up for tickets. The manager of the hall was willing to continue the showings, but he had already signed a contract for a blockbuster spectacle from the South produced by the tycoon SS Vasan, who refused to delay his opening. &nbsp;

Vasan subsequently came to see me in my house to tell me how much he loved Pather Panchali and would have definitely postponed his release if he had any knowledge of my film. Pather Panchali was taken up by another theatre where it ran for 7 weeks. The film was successful in all of Bengal before journeying out to other Indian cities. The government found itself generously re-paid for its investment. &nbsp;

As for me, I understood at once that I could henceforth, devote myself to cinema full-time and so left my advertising agency job. This was in 1955. &nbsp;

Cannes award – Prix du Document Humain – happened in 1956. Incidentally, Pather Panchali was the first of many national &amp; international awards bestowed on the master, revered and celebrated by the best of the best – critics, directors, actors – across the globe. &nbsp;

These include prestigious film critic Pauline Kael, Elia Kazan, Time magazine, Keanu Reeves, Richard Attenborough, Akira Kurasawa, Marlon Brando, Christopher Nolan, Robert de Nero, Alexander Payne, Richard Gere&nbsp;

While much will be written about Satyajit Ray’s spectacular sweep, covering varied genres, themes, plot lines &amp; subjects across the three and a half decades that his work graced the screen including the tone &amp; tenor, scale, scope &amp; canvas, what better way to conclude this homage than explaining the essence of his material. &nbsp;

Fact is, everything considered, the realism of his films is determined by an ethical, liberal and philosophical overview powered by a naturalistic style. &nbsp;

This is marked by complexity &amp; ambiguity through concern for character over action and imagery over symbolism. &nbsp;Our perception is thus enlarged by his amazing insight and this is his unique &amp; magical touchstone, the ultimate measure of the universality &amp; enduring quality of his art; local roots with global embrace that neither age can chill nor rivals steal. &nbsp;

That was Ray. When comes such another?

(Disclaimer: The views of the writer do not represent the views of WION or ZMCL. Nor does WION or ZMCL endorse the views of the writer.)

To see Pather Panchali again today is still (as the great Lindsay Anderson once famously said) to go down on one’s knees in the dust, into the heart of the Indian reality and human condition.

To see Pather Panchali again today is still (as the great Lindsay Anderson once famously said) to go down on one’s knees in the dust, into the heart of the Indian reality and human condition. In the grinding poverty of the Indian village, Pather Panchali sees not the dismal ant heaps of Louis Malle but the individual human being, unique as much in his joy in love & nature & childhood as in the wrenching sorrow of death and in the endless struggle to live. It is the human face of rural poverty and not its statistical horrors that makes us see Apu or Durga, Sarbajaya or Harihar as one of us. They become a part of our collective memory & being and forever change a part of us & our views on humanity. Critics are of the opinion that unlike any other Indian filmmaker, Satyajit Ray is a classicist, an inheritor of a traditional Indian approach to art in which beauty is inseparable from truth and goodness. Despite his astonishing understanding of a wide range of western culture, it is his innate & rooted Indianness which gives him his very special place in India...and world cinema. Astute Ray-watchers have always commented on his unstinted affirmation of faith in human beings. There are no villains in Ray’s films. The oppressor and oppressed are both victims. Hence no matter what his role, he is in need of empathy and compassion – not anger or revenge. At his best, Ray’s work has a sense of detachment, a distance from the event, an element of Indian fatalism. It is imbued with a sense that no man chooses the time or place of his birth or the circumstances that surround it. It is within the circle, pre-determined by these that he struggles to exist to make something of his opportunities. Also Read | Remembering Satyajit Ray: How the filmmaker taught the world about futility of war through a children's film The nobility of man lies in the effort itself. The knowledge gives it a serenity denied to those who believe they are life-changers. This philosophical outlook is both Indian and traditional. It finds joy in the flotsam and jetsam of the human condition. It accepts everything with grace. The distance combined with compassion, makes it possible for Ray the artist to see a wider arc of reality and to combine the largeness of canvas with fineness of detail. The truth is: while Ray’s material happens to be Indian, his statements are about humanity. It transcends national boundaries and become both chronicler & document of life. His ground-breaking Pather Panchali – the first of his magical Apu trilogy – has an interesting back story. De Sica’s Bicycle Thieves (which he saw in London) totally mesmerised him with its powerful neo-realism and he decided then & there to translate Bibhuti Bhusan’s classic to the screen. This was 1950. Upon his return to Kolkata, he worked on his first treatment and took it around to several producers, all of whom summarily vetoed it. His scenario, accompanied by over 500 sketches didn’t help. All of them found it too weird, unconventional (hero, heroine, villain, comedian, music, romance, melodrama, happy ending) and way out, including new theatres who had bank-rolled many quality films in the thirties. After a point, when Ray realised that no producer would help him, he decided to make the film at any cost by financing it himself. His books, records, mother’s and wife’s jewellery...all went into the making of the first cut, soundless, of around forty minutes. This would suffice for anyone open to see it objectively and understand that a film could be made without great locales, established actors and on a shoestring budget...but to locate that open-minded 'anyone’ was the biggest task/challenge! When hope – and resources – were running out at break-neck speed, serendipity entered the scene. Ray’s mother arranged a meeting with the erstwhile CM of West Bengal, Dr BC Roy. He saw the film’s first cut, liked it and arranged a subsidy [through the Road & Public Works department] to complete it. One of Ray’s employers too, after seeing a few sequences, liked Pather Panchali so much that he granted Ray long leave of absence and even put money into the production. After seven months of struggle when the film was finally complete, the government, who were the producers, saw the film, found it too depressing & pessimistic and suggested Ray insert some sequences showing the development of the countryside outside of Bengal. Ray flatly refused, saying it would go against the spirit of the story and distort the great author’s narrative. They reluctantly agreed to retain the original version and authorised the first showing in 1955. Contrary to the thinking of many people that Pather Panchali made waves in Kolkata and India only AFTER it received international recognition, Cannes heading the list, let’s hear it from the maestro himself. “We got a first run showing for 6 weeks in a large cinema theatre in Calcutta. At first the film hardly did any business but after the third week, the box office jumped sharply and people queued up for tickets. The manager of the hall was willing to continue the showings, but he had already signed a contract for a blockbuster spectacle from the South produced by the tycoon SS Vasan, who refused to delay his opening. Vasan subsequently came to see me in my house to tell me how much he loved Pather Panchali and would have definitely postponed his release if he had any knowledge of my film. Pather Panchali was taken up by another theatre where it ran for 7 weeks. The film was successful in all of Bengal before journeying out to other Indian cities. The government found itself generously re-paid for its investment. As for me, I understood at once that I could henceforth, devote myself to cinema full-time and so left my advertising agency job. This was in 1955. Cannes award – Prix du Document Humain – happened in 1956. Incidentally, Pather Panchali was the first of many national & international awards bestowed on the master, revered and celebrated by the best of the best – critics, directors, actors – across the globe. These include prestigious film critic Pauline Kael, Elia Kazan, Time magazine, Keanu Reeves, Richard Attenborough, Akira Kurasawa, Marlon Brando, Christopher Nolan, Robert de Nero, Alexander Payne, Richard Gere While much will be written about Satyajit Ray’s spectacular sweep, covering varied genres, themes, plot lines & subjects across the three and a half decades that his work graced the screen including the tone & tenor, scale, scope & canvas, what better way to conclude this homage than explaining the essence of his material. Fact is, everything considered, the realism of his films is determined by an ethical, liberal and philosophical overview powered by a naturalistic style. This is marked by complexity & ambiguity through concern for character over action and imagery over symbolism. Our perception is thus enlarged by his amazing insight and this is his unique & magical touchstone, the ultimate measure of the universality & enduring quality of his art; local roots with global embrace that neither age can chill nor rivals steal. That was Ray. When comes such another? (Disclaimer: The views of the writer do not represent the views of WION or ZMCL. Nor does WION or ZMCL endorse the views of the writer.)

Opinion: 100 cheers for Satyajit Ray

India may have the largest film industry in the world, but in a list of 100 best foreign language films of 21st century curated by the BBC, it has only managed to feature once. Satyajit Ray’s classic ‘Pather Panchali’ is the only India film that features in the long list which has films by Bergman, Kurosawa and Kiarostami.&nbsp;

Over 200 critics from 43 countries took part in the poll and Akira Kurosawa’s cult classic ‘Seven Samurai’ was adjudged as the number one film in the list. 
&nbsp; 
The poll featured 100 films from 67 different directors, from 24 countries, and in 19 languages. “27 of the highest-rated films were in French, followed by 12 in Mandarin, and 11 each in Italian and Japanese,” states BBC.&nbsp;

The only Indian film, Ray’s Pather Panchali, released in 1955 and is placed at number 15 on the list.

While a quarter of the films listed were from East Asia, it had a very poor representation of women directors on the list. Of the 100 films listed, only four films had women directors. Though, BBC noted, that 45% of those who responded to the poll were women.&nbsp;

Here's the full list:&nbsp;

100. Landscape in the Mist (Theo Angelopoulos, 1988) 
99. Ashes and Diamonds (Andrzej Wajda, 1958) 
98. In the Heat of the Sun (Jiang Wen, 1994) 
97. Taste of Cherry (Abbas Kiarostami, 1997) 
95. Floating Clouds (Mikio Naruse, 1955) 
94. Where Is the Friend’s Home? (Abbas Kiarostami, 1987) 
93. Raise the Red Lantern (Zhang Yimou, 1991) 
92. Scenes from a Marriage (Ingmar Bergman, 1973) 
91. Rififi (Jules Dassin, 1955) 
90. Hiroshima Mon Amour (Alain Resnais, 1959) 
89. Wild Strawberries (Ingmar Bergman, 1957) 
88. The Story of the Last Chrysanthemum (Kenji Mizoguchi, 1939) 
87. The Nights of Cabiria (Federico Fellini, 1957) 
86. La Jetée (Chris Marker, 1962) 
85. Umberto D (Vittorio de Sica, 1952) 
84. The Discreet Charm of the Bourgeoisie (Luis Buñuel, 1972) 
83. La Strada (Federico Fellini, 1954) 
82. Amélie (Jean-Pierre Jeunet, 2001) 
81. Celine and Julie go Boating (Jacques Rivette, 1974) 
80. The Young and the Damned (Luis Buñuel, 1950) 
79. Ran (Akira Kurosawa, 1985) 
78. Crouching Tiger, Hidden Dragon (Ang Lee, 2000) 
77. The Conformist (Bernardo Bertolucci, 1970) 
76. Y Tu Mamá También (Alfonso Cuarón, 2001) 
75. Belle de Jour (Luis Buñuel, 1967) 
74. Pierrot Le Fou (Jean-Luc Godard, 1965) 
73. Man with a Movie Camera (Dziga Vertov, 1929) 
72. Ikiru (Akira Kurosawa, 1952) 
71. Happy Together (Wong Kar-wai, 1997) 
70. L’Eclisse (Michelangelo Antonioni, 1962) 
69. Amour (Michael Haneke, 2012) 
68. Ugetsu (Kenji Mizoguchi, 1953) 
67. The Exterminating Angel (Luis Buñuel, 1962) 
66. Ali: Fear Eats the Soul (Rainer Werner Fassbinder, 1973) 
65. Ordet (Carl Theodor Dreyer, 1955) 
64. Three Colours: Blue (Krzysztof Kieślowski, 1993) 
63. Spring in a Small Town (Fei Mu, 1948) 
62. Touki Bouki (Djibril Diop Mambéty, 1973) 
61. Sansho the Bailiff (Kenji Mizoguchi, 1954) 
60. Contempt (Jean-Luc Godard, 1963) 
59. Come and See (Elem Klimov, 1985) 
58. The Earrings of Madame de… (Max Ophüls, 1953) 
57. Solaris (Andrei Tarkovsky, 1972) 
56. Chungking Express (Wong Kar-wai, 1994) 
55. Jules and Jim (François Truffaut, 1962) 
54. Eat Drink Man Woman (Ang Lee, 1994) 
53. Late Spring (Yasujirô Ozu, 1949) 
52. Au Hasard Balthazar (Robert Bresson, 1966) 
51. The Umbrellas of Cherbourg (Jacques Demy, 1964) 
50. L’Atalante (Jean Vigo, 1934) 
49. Stalker (Andrei Tarkovsky, 1979) 
48. Viridiana (Luis Buñuel, 1961) 
47. 4 Months, 3 Weeks and 2 Days (Cristian Mungiu, 2007) 
46. Children of Paradise (Marcel Carné, 1945) 
45. L’Avventura (Michelangelo Antonioni, 1960) 
44. Cleo from 5 to 7 (Agnès Varda, 1962) 
43. Beau Travail (Claire Denis, 1999) 
42. City of God (Fernando Meirelles, Kátia Lund, 2002) 
41. To Live (Zhang Yimou, 1994) 
40. Andrei Rublev (Andrei Tarkovsky, 1966) 
39. Close-Up (Abbas Kiarostami, 1990) 
38. A Brighter Summer Day (Edward Yang, 1991) 
37. Spirited Away (Hayao Miyazaki, 2001) 
36. La Grande Illusion (Jean Renoir, 1937) 
35. The Leopard (Luchino Visconti, 1963) 
34. Wings of Desire (Wim Wenders, 1987) 
33. Playtime (Jacques Tati, 1967) 
32. All About My Mother (Pedro Almodóvar, 1999) 
31. The Lives of Others (Florian Henckel von Donnersmarck, 2006) 
30. The Seventh Seal (Ingmar Bergman, 1957) 
29. Oldboy (Park Chan-wook, 2003) 
28. Fanny and Alexander (Ingmar Bergman, 1982) 
27. The Spirit of the Beehive (Victor Erice, 1973) 
26. Cinema Paradiso (Giuseppe Tornatore, 1988) 
25. Yi Yi (Edward Yang, 2000) 
24. Battleship Potemkin (Sergei M Eisenstein, 1925) 
23. The Passion of Joan of Arc (Carl Theodor Dreyer, 1928) 
22. Pan’s Labyrinth (Guillermo del Toro, 2006) 
21. A Separation (Asghar Farhadi, 2011) 
20. The Mirror (Andrei Tarkovsky, 1974) 
19. The Battle of Algiers (Gillo Pontecorvo, 1966) 
18. A City of Sadness (Hou Hsiao-hsien, 1989) 
17. Aguirre, the Wrath of God (Werner Herzog, 1972) 
16. Metropolis (Fritz Lang, 1927) 
15. Pather Panchali (Satyajit Ray, 1955) 
14. Jeanne Dielman, 23 Commerce Quay, 1080 Brussels (Chantal Akerman, 1975) 
13. M (Fritz Lang, 1931) 
12. Farewell My Concubine (Chen Kaige, 1993) 
11. Breathless (Jean-Luc Godard, 1960) 
10. La Dolce Vita (Federico Fellini, 1960) 
9. In the Mood for Love (Wong Kar-wai, 2000) 
8. The 400 Blows (François Truffaut, 1959) 
7. 8 1/2 (Federico Fellini, 1963) 
6. Persona (Ingmar Bergman, 1966) 
5. The Rules of the Game (Jean Renoir, 1939) 
4. Rashomon (Akira Kurosawa, 1950) 
3. Tokyo Story (Yasujirô Ozu, 1953) 
2. Bicycle Thieves (Vittorio de Sica, 1948) 
1. Seven Samurai (Akira Kurosawa, 1954)

India may have the largest film industry in the world, but in a list of 100 best foreign language films of 21st century curated by the BBC, it has only managed to feature once.

India may have the largest film industry in the world, but in a list of 100 best foreign language films of 21st century curated by the BBC, it has only managed to feature once. Satyajit Ray’s classic ‘Pather Panchali’ is the only India film that features in the long list which has films by Bergman, Kurosawa and Kiarostami. Over 200 critics from 43 countries took part in the poll and Akira Kurosawa’s cult classic ‘Seven Samurai’ was adjudged as the number one film in the list. The poll featured 100 films from 67 different directors, from 24 countries, and in 19 languages. “27 of the highest-rated films were in French, followed by 12 in Mandarin, and 11 each in Italian and Japanese,” states BBC. The only Indian film, Ray’s Pather Panchali, released in 1955 and is placed at number 15 on the list. While a quarter of the films listed were from East Asia, it had a very poor representation of women directors on the list. Of the 100 films listed, only four films had women directors. Though, BBC noted, that 45% of those who responded to the poll were women. Here's the full list: 100. Landscape in the Mist (Theo Angelopoulos, 1988) 99. Ashes and Diamonds (Andrzej Wajda, 1958) 98. In the Heat of the Sun (Jiang Wen, 1994) 97. Taste of Cherry (Abbas Kiarostami, 1997) 95. Floating Clouds (Mikio Naruse, 1955) 94. Where Is the Friend’s Home? (Abbas Kiarostami, 1987) 93. Raise the Red Lantern (Zhang Yimou, 1991) 92. Scenes from a Marriage (Ingmar Bergman, 1973) 91. Rififi (Jules Dassin, 1955) 90. Hiroshima Mon Amour (Alain Resnais, 1959) 89. Wild Strawberries (Ingmar Bergman, 1957) 88. The Story of the Last Chrysanthemum (Kenji Mizoguchi, 1939) 87. The Nights of Cabiria (Federico Fellini, 1957) 86. La Jetée (Chris Marker, 1962) 85. Umberto D (Vittorio de Sica, 1952) 84. The Discreet Charm of the Bourgeoisie (Luis Buñuel, 1972) 83. La Strada (Federico Fellini, 1954) 82. Amélie (Jean-Pierre Jeunet, 2001) 81. Celine and Julie go Boating (Jacques Rivette, 1974) 80. The Young and the Damned (Luis Buñuel, 1950) 79. Ran (Akira Kurosawa, 1985) 78. Crouching Tiger, Hidden Dragon (Ang Lee, 2000) 77. The Conformist (Bernardo Bertolucci, 1970) 76. Y Tu Mamá También (Alfonso Cuarón, 2001) 75. Belle de Jour (Luis Buñuel, 1967) 74. Pierrot Le Fou (Jean-Luc Godard, 1965) 73. Man with a Movie Camera (Dziga Vertov, 1929) 72. Ikiru (Akira Kurosawa, 1952) 71. Happy Together (Wong Kar-wai, 1997) 70. L’Eclisse (Michelangelo Antonioni, 1962) 69. Amour (Michael Haneke, 2012) 68. Ugetsu (Kenji Mizoguchi, 1953) 67. The Exterminating Angel (Luis Buñuel, 1962) 66. Ali: Fear Eats the Soul (Rainer Werner Fassbinder, 1973) 65. Ordet (Carl Theodor Dreyer, 1955) 64. Three Colours: Blue (Krzysztof Kieślowski, 1993) 63. Spring in a Small Town (Fei Mu, 1948) 62. Touki Bouki (Djibril Diop Mambéty, 1973) 61. Sansho the Bailiff (Kenji Mizoguchi, 1954) 60. Contempt (Jean-Luc Godard, 1963) 59. Come and See (Elem Klimov, 1985) 58. The Earrings of Madame de… (Max Ophüls, 1953) 57. Solaris (Andrei Tarkovsky, 1972) 56. Chungking Express (Wong Kar-wai, 1994) 55. Jules and Jim (François Truffaut, 1962) 54. Eat Drink Man Woman (Ang Lee, 1994) 53. Late Spring (Yasujirô Ozu, 1949) 52. Au Hasard Balthazar (Robert Bresson, 1966) 51. The Umbrellas of Cherbourg (Jacques Demy, 1964) 50. L’Atalante (Jean Vigo, 1934) 49. Stalker (Andrei Tarkovsky, 1979) 48. Viridiana (Luis Buñuel, 1961) 47. 4 Months, 3 Weeks and 2 Days (Cristian Mungiu, 2007) 46. Children of Paradise (Marcel Carné, 1945) 45. L’Avventura (Michelangelo Antonioni, 1960) 44. Cleo from 5 to 7 (Agnès Varda, 1962) 43. Beau Travail (Claire Denis, 1999) 42. City of God (Fernando Meirelles, Kátia Lund, 2002) 41. To Live (Zhang Yimou, 1994) 40. Andrei Rublev (Andrei Tarkovsky, 1966) 39. Close-Up (Abbas Kiarostami, 1990) 38. A Brighter Summer Day (Edward Yang, 1991) 37. Spirited Away (Hayao Miyazaki, 2001) 36. La Grande Illusion (Jean Renoir, 1937) 35. The Leopard (Luchino Visconti, 1963) 34. Wings of Desire (Wim Wenders, 1987) 33. Playtime (Jacques Tati, 1967) 32. All About My Mother (Pedro Almodóvar, 1999) 31. The Lives of Others (Florian Henckel von Donnersmarck, 2006) 30. The Seventh Seal (Ingmar Bergman, 1957) 29. Oldboy (Park Chan-wook, 2003) 28. Fanny and Alexander (Ingmar Bergman, 1982) 27. The Spirit of the Beehive (Victor Erice, 1973) 26. Cinema Paradiso (Giuseppe Tornatore, 1988) 25. Yi Yi (Edward Yang, 2000) 24. Battleship Potemkin (Sergei M Eisenstein, 1925) 23. The Passion of Joan of Arc (Carl Theodor Dreyer, 1928) 22. Pan’s Labyrinth (Guillermo del Toro, 2006) 21. A Separation (Asghar Farhadi, 2011) 20. The Mirror (Andrei Tarkovsky, 1974) 19. The Battle of Algiers (Gillo Pontecorvo, 1966) 18. A City of Sadness (Hou Hsiao-hsien, 1989) 17. Aguirre, the Wrath of God (Werner Herzog, 1972) 16. Metropolis (Fritz Lang, 1927) 15. Pather Panchali (Satyajit Ray, 1955) 14. Jeanne Dielman, 23 Commerce Quay, 1080 Brussels (Chantal Akerman, 1975) 13. M (Fritz Lang, 1931) 12. Farewell My Concubine (Chen Kaige, 1993) 11. Breathless (Jean-Luc Godard, 1960) 10. La Dolce Vita (Federico Fellini, 1960) 9. In the Mood for Love (Wong Kar-wai, 2000) 8. The 400 Blows (François Truffaut, 1959) 7. 8 1/2 (Federico Fellini, 1963) 6. Persona (Ingmar Bergman, 1966) 5. The Rules of the Game (Jean Renoir, 1939) 4. Rashomon (Akira Kurosawa, 1950) 3. Tokyo Story (Yasujirô Ozu, 1953) 2. Bicycle Thieves (Vittorio de Sica, 1948) 1. Seven Samurai (Akira Kurosawa, 1954)

Ray’s 'Pather Panchali' the only Indian film to feature in 100 best foreign language films list

A filmmaker who used to consider life as the biggest inspiration for his films, it is Satyajit Ray’s 97th birth anniversary today.

Born in Calcutta, Ray had interest in films and what went behind making them since he was a child. He went on to direct 36 films, including feature films, documentaries and shorts.

Ray was also a fiction writer, publisher, illustrator, calligrapher, music composer, graphic designer and film critic. He authored several short stories and novels, meant primarily for young children and teenagers.

On his birth anniversary today, we take a look at some of his best works:

Charulata (The Lonely Wife) (1964)

The film, more popularly known as "The Lonely Wife" embodies the transition that Bengal went through towards the later part of the nineteenth century.&nbsp;

The Apu Trilogy (Pather Panchali, Aparajito & Apur Sansar) (Song of the Little Road, The Unvanquished & The World of Apu) (1955, 1956 & 1959)

While “Pather Panchali” is the most well-known work in the trilogy, it is important to see the whole trilogy to understand the filmmaker’s vision. Universally applauded, “The Apu Trilogy” established Ray as the most potent force of Indian cinema.

Jalsaghar (The Music Room) (1958)

The film depicts the gradual decline of the feudal system in Bengal. Nuanced, layered and thematically rich; the movie chronicles the story of a Zamindar (landlord) who loves to dwell in the past and pass his time idly listening to Indian classical music.

Devi (The Goddess) (1960)

Adapted from a short story by renowned Bengali author Provatkumar Mukhopadhyay, “Devi” is a profound piece of work that explores the preeminence of superstition in 19th-century Bengal through a magnifying lens.

Aranyer Din Ratri (Days and Nights in the Forest) (1970)

A film that explores the themes of fidelity, narcissism, love and loss through a lot of other elements, the film is disturbing as it is moving.

 
Ray received many major awards in his career, including 32 Indian National Film Awards, a Golden Lion, a Golden Bear, 2 Silver Bears, a number of additional awards at international film festivals and award ceremonies, and an Academy Honorary Award in 1992. The Government of India awarded him the Bharat Ratna, the highest civilian award, in 1992.

&nbsp;

The legendary filmmaker was awarded with 32 Indian National Film Awards, along with several international awards and Bharat Ratna in 1992.

A filmmaker who used to consider life as the biggest inspiration for his films, it is Satyajit Ray’s 97th birth anniversary today. Born in Calcutta, Ray had interest in films and what went behind making them since he was a child. He went on to direct 36 films, including feature films, documentaries and shorts. Ray was also a fiction writer, publisher, illustrator, calligrapher, music composer, graphic designer and film critic. He authored several short stories and novels, meant primarily for young children and teenagers. On his birth anniversary today, we take a look at some of his best works: Charulata (The Lonely Wife) (1964) The film, more popularly known as "The Lonely Wife" embodies the transition that Bengal went through towards the later part of the nineteenth century. The Apu Trilogy (Pather Panchali, Aparajito & Apur Sansar) (Song of the Little Road, The Unvanquished & The World of Apu) (1955, 1956 & 1959) While “Pather Panchali” is the most well-known work in the trilogy, it is important to see the whole trilogy to understand the filmmaker’s vision. Universally applauded, “The Apu Trilogy” established Ray as the most potent force of Indian cinema. Jalsaghar (The Music Room) (1958) The film depicts the gradual decline of the feudal system in Bengal. Nuanced, layered and thematically rich; the movie chronicles the story of a Zamindar (landlord) who loves to dwell in the past and pass his time idly listening to Indian classical music. Devi (The Goddess) (1960) Adapted from a short story by renowned Bengali author Provatkumar Mukhopadhyay, “Devi” is a profound piece of work that explores the preeminence of superstition in 19th-century Bengal through a magnifying lens. Aranyer Din Ratri (Days and Nights in the Forest) (1970) A film that explores the themes of fidelity, narcissism, love and loss through a lot of other elements, the film is disturbing as it is moving. Ray received many major awards in his career, including 32 Indian National Film Awards, a Golden Lion, a Golden Bear, 2 Silver Bears, a number of additional awards at international film festivals and award ceremonies, and an Academy Honorary Award in 1992. The Government of India awarded him the Bharat Ratna, the highest civilian award, in 1992.

Remembering iconic filmmaker Satyajit Ray on his 97th birth anniversary

Christopher Nolan has recently watched legendary filmmaker Satyajit Ray's "Pather Panchali" and the ace Hollywood director says he is willing to learn more about Indian cinema.

The 47-year-old director, who is in India on a three day trip along with visual artist&nbsp;Tacita Dean to promote the cause of film preservation and restoration, said his aim during his stay is to meet Indian filmmakers and get the better understanding of cinema culture here.

"I have had the pleasure of watching Mr Ray's 'Pather Panchali' recently, which I hadn't seen before. I think it is one of the best films ever made. It is an extraordinary piece of work. I am interested in learning more about Indian film industry and that is the reason why I came.

"Obviously, Tacita and I want to spread our message about reframing the feature films as broadly as possible. And India being the largest film industry in the world is an essential part of that. The other reason why I wanted to come here was from selfish point of view. I wanted to meet Indian filmmakers and learn more about India. I am looking forward to watching more Indian films in future," Nolan said in a group interview.

The director filmed a pivotal sequence of his 2012 film "The Dark Knight Rises" in Jodhpur and he says, "I would love to come back to shoot for longer".

Nolan, who shot his latest release "Dunkirk" on 65mm stock and has been vocal about his fondness for the film as a medium, said it is important to preserve the traditional format for future generation.

"The film culture is always developing in ways we can't predict. The importance of this discussion about films is about preserving it as an option for future filmmakers. We can't say who is going to use or who is not. But one of the things worth pointing out that films as an acquisition medium is still vastly superior to digital imaging technology. Even if you then put out a DCP (Digital Cinema Package)," he said.

The "Inception" helmer met members of the Indian film fraternity today and discussed the various ways of preserving and archiving film as a medium.

Nolan said, "Photochemicals films are a very important cultural medium and it needs to have a place in the future of imaging."

The director believes filmmaking is an emotional process and as he works towards preserving films, he wants people to not analyse cinema on "logical terms".

"Film is a wonderful analogy for how we perceive the world and our dreams. Film is a tool for exploring time and that has always influenced me. It is about the subconscious and the emotional reaction.

"With this conversation of reframing the future of films (we are) trying to get rid of this idea of analysing the film in purely engineering terms or logical terms. The reality is no cinema should be analysed that way. Be it casting or music, these are all emotional decision and they should be that way," he said.

Christopher Nolan has recently watched legendary filmmaker Satyajit Ray's 'Pather Panchali' and the ace Hollywood director says he is willing to learn more about Indian cinema

Christopher Nolan has recently watched legendary filmmaker Satyajit Ray's "Pather Panchali" and the ace Hollywood director says he is willing to learn more about Indian cinema. The 47-year-old director, who is in India on a three day trip along with visual artist Tacita Dean to promote the cause of film preservation and restoration, said his aim during his stay is to meet Indian filmmakers and get the better understanding of cinema culture here. "I have had the pleasure of watching Mr Ray's 'Pather Panchali' recently, which I hadn't seen before. I think it is one of the best films ever made. It is an extraordinary piece of work. I am interested in learning more about Indian film industry and that is the reason why I came. "Obviously, Tacita and I want to spread our message about reframing the feature films as broadly as possible. And India being the largest film industry in the world is an essential part of that. The other reason why I wanted to come here was from selfish point of view. I wanted to meet Indian filmmakers and learn more about India. I am looking forward to watching more Indian films in future," Nolan said in a group interview. The director filmed a pivotal sequence of his 2012 film "The Dark Knight Rises" in Jodhpur and he says, "I would love to come back to shoot for longer". Nolan, who shot his latest release "Dunkirk" on 65mm stock and has been vocal about his fondness for the film as a medium, said it is important to preserve the traditional format for future generation. "The film culture is always developing in ways we can't predict. The importance of this discussion about films is about preserving it as an option for future filmmakers. We can't say who is going to use or who is not. But one of the things worth pointing out that films as an acquisition medium is still vastly superior to digital imaging technology. Even if you then put out a DCP (Digital Cinema Package)," he said. The "Inception" helmer met members of the Indian film fraternity today and discussed the various ways of preserving and archiving film as a medium. Nolan said, "Photochemicals films are a very important cultural medium and it needs to have a place in the future of imaging." The director believes filmmaking is an emotional process and as he works towards preserving films, he wants people to not analyse cinema on "logical terms". "Film is a wonderful analogy for how we perceive the world and our dreams. Film is a tool for exploring time and that has always influenced me. It is about the subconscious and the emotional reaction. "With this conversation of reframing the future of films (we are) trying to get rid of this idea of analysing the film in purely engineering terms or logical terms. The reality is no cinema should be analysed that way. Be it casting or music, these are all emotional decision and they should be that way," he said.

I am interested in learning more about Indian film industry: Christopher Nolan

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