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How would Satyajit Ray have responded to the pandemic?

A marked shift in realising this moral decay on screen is apparent from
Aranyer Din Ratri to his Calcutta trilogy
Pratidwandi,
Jana Aranya. In
Pratidwandi, Dhritiman Chatterjee’s Siddhartha declares that he doesn’t want to leave Kolkata, no matter that he is unemployed, with his mind unable to find an ideological footing. The film coincided with the Naxalite movement that began in Bengal, with the caste system and land rights at its root.
Still from ‘Pratidwandi’.

It’s no coincidence that the trilogy charted the course of Indira Gandhi’s India as it inched towards Emergency, creating a swelling anger at the state. Ray’s films still focused on capturing the Bengali Brahmin’s, or more importantly, India’s ruling class’s frustration with itself and the country. The trilogy’s protagonists Siddhartha in ....

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Satyajit Ray understood the mystery in the atmosphere, both visually and aurally: Filmmaker Shoojit Sircar

UPDATED: May 6, 2021 07:42 IST
Portrait by Raghu Rai
Ray, for me, is a mythical being and that mythical quality reflects in his films. I discovered him quite late in life and am still understanding him. It was his Pather Panchali (1955) which changed my life and made me fall in love with cinema. The first time I tried watching it, I was in Class 5. My father had taken me to a theatre in Ichapur in 24 Parganas. I slept through it. During my second attempt, in Delhi, I, like my classmates, left the screening midway. Back then my passion lay more in sports. It was, finally, at my third attempt that I watched the film. That was at Siri Fort. I was howling by the end, especially when Durga died. I went home dazed, wondering how a film could be so simple yet magical. ....

West Bengal , Bhupati Shailen Mukherjee , Soumitra Chatterjee Amal , Apur Sansar , Gulabo Sitabo , Pather Panchali , Brahmo Samaj , Shailen Mukherjee , Soumitra Chatterjee , மேற்கு பெங்கல் , அப்புற சன்சார் , பாத்ேர் பஞ்சலி , பிரம்மோ சமாஜ் , ஷைலன் முகர்ஜி , சூமித்ரா சாட்டர்ஜி ,