New Delhi: Satyajit Ray Film and Television Institute organized the virtual convocation ceremony on Sunday, May 2, 2021. The day also marks the beginning of the yearlong birth centenary celebration of the film maestro Sh. Satyajit Ray. “This day is v
- Martin Scorsese
‘‘Not to have seen the cinema of Ray means existing in the world without seeing the sun or the moon.’’
-
Akira Kurosawa
One is an American master and the maker of timeless Hollywood classics like ‘Taxi Driver’ or ‘Goodfellas,’ the other the Japanese auteur who is regarded as one of the most influential filmmakers of the 20th century. The sense of respect and admiration for Ray, the man who was responsible for taking Indian cinema to the global audience, was one of the few factors they would have had in common.
It’s a pity that the Covid-19 pandemic, like so many other things in our lives, have deprived his family and Kolkata - his own city - from celebrating his 100th birth anniversary on Sunday (May 2). The fact that it’s also the day for counting of votes after a volatile, protracted assembly elections in West Bengal over March-April, means the opportunities for his retrospectives, appraisals in TV talk shows and what have you - will have
Kanika Majumdar in Teen Kanya (1961) | Satyajit Ray Productions
Satyajit Ray’s birth centenary will be celebrated on multiple fronts. Some will remember his movies, others his delightful stories for youngsters and adults, and yet other his film scores. Ray began composing his own music with
Teen Kanya
Shakespeare Wallah (1965) and
Baksha Badal (1970). Contemporary composer Alokananda Dasgupta tells
Scroll.in about what made Ray’s music unique and what can we learn from it today.
Satyajit Ray didn’t only focus on just the background score. He also created theme tracks.
My introduction to films and background score happened via Satyajit Ray. I didn’t understand what I watched or heard, but I picked up the music and the dialogue which I would discuss with friends and cousins.
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Amitabha Bhattacharya
Former Bureaucrat
THE birth centenary of Satyajit Ray (1921-1992) is an occasion to reflect on his creative output, mainly in cinema, as also in literature and related art forms. So far, the response has largely been unalloyed admiration in Bengali-speaking areas, and a respectful indifference in the rest of India, except among filmmakers and cinema enthusiasts. In the West, respect for Ray remained undimmed, but acclaim started waning for his later films. All this can be partially explained through the myths and images associated with the Ray phenomenon.
The first myth is that his films deal with poverty, perpetuated by Nargis Dutt’s puerile remark in Parliament in 1980, accusing Ray ‘of distorting India’s image abroad’. Ray’s biographer Andrew Robinson quotes her from an interview, “Ray portrays a region… which is so poor that it does not represent India’s poverty in its true form , that people abroad want to see India in an abject conditio