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Amit Chaudhuri on Satyajit Ray’s very Indian modernity: Not a ‘beginning’ as much as a ‘fruition’
His humanism was noted in his heyday, but the encounter with Indian modernity that watching his films constituted was hardly mentioned. Pather Panchali (1955) | Government of West Bengal
It seems that there are all kinds of unresolved problems to do with Satyajit Ray – to do with thinking about him, with finding a language to speak about him that does not repeat the indubitable truisms about his humanism and lyricism. How does he fit into history, and into which history – the history of India; the history of filmmaking; some other – do we place him first?