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In fond remembrance of the colossus of Bengali cinema

paterfamilias of modern Bengali literature but I have felt a particular kinship with you. Perhaps this was because I was deeply attracted to your work at a time when you were living. Somehow that made you a more intimate presence. Of course, there is so much to like about you. A world-class filmmaker, juvenile story-teller, composer, typographer, illustrator, graphic artist, you had a keen intellect and an avid curiosity, with a formidable command of both English and Bengali you were a true renaissance man. There was another parochial reason. I took particular delight in the fact that your ancestral home was in East Bengal. Your grandfather Upendrakishore Roychowdhury, juvenile storyteller extraordinaire, was from Mymensingh, the land of the storied folk treasury of

Satyajit Ray s Devi : When It Was Still Possible To Interrogate the Primacy of Faith

Satyajit Ray s Devi : When It Was Still Possible To Interrogate the Primacy of Faith Two Satyajit Ray films made 20 years apart present searing critiques of the privileging of insular religiosity over humanity. Can we hope to see such films being made in India today? Sharmila Tagore in Debi. Photo: Satyajit Ray Productions Devi, 1960 and Ganashatru, 1990) and one short made for television ( Sadgati, 1981) – Satyajit Ray examines the intersection and overlap of unreasoning, blind faith and crushing superstition. There is a fourth film foregrounding the same theme, at any rate elements of the same theme: I am referring here to Mahapurush, one of the two segments making up the 1965 movie

সত্যজিৎ আমাদের ফিল্ম ইন্ডাস্ট্রিতে সূর্য ছিলেন, অন্যদের আলোকিত করেছিলেন তিনি

সত্যজিৎ আমাদের ফিল্ম ইন্ডাস্ট্রিতে সূর্য ছিলেন, অন্যদের আলোকিত করেছিলেন তিনি
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Satyajit Ray at 100: Revisiting the classic Jalsaghar, starring the brilliant Chhabi Biswas

Chhabi Biswas in Jalsaghar (1958) | Satyajit Ray Productions Astonishingly, folded in between the films that comprise the celebrated Apu Trilogy , are two movies inspired by Bengali literature and Satyajit Ray’s association with two outstanding Bengali character actors: Tulsi Chakraborty in Parash Pathar and Chhabi Biswas in Jalsaghar. The first is perhaps minor (in spite of Chakraborty’s phenomenal performance) and is now mostly forgotten. However the latter is among the three or four greatest films in Ray’s oeuvre, and Chhabi Biswas’s performance is unsurpassed in his own illustrious career. Elegiac in tone, Jalsaghar (The Music Room) is, to quote John Russell Taylor, “an atmospheric piece”. It occasionally reminds one of Orson Welles’s

Abhijaan seeks to explore multi-faceted personality of Soumitra Chattopadhyay: Parambrata

Abhijaan seeks to explore multi-faceted personality of Soumitra Chattopadhyay: Parambrata
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