Biosketch on satyajit ray 100 words
Answers
Born2 May 1921
Calcutta, Bengal Presidency, British India
Died23 April 1992(aged 70)
Calcutta, West Bengal, India
NationalityIndianAlma materUniversity of CalcuttaOccupationDirector, Producer, Screenwriter, Lyricist, Music composer, Calligrapher, Illustrator, WriterYears active1950–1992
Notable work
Pather Panchali
Apur Sansar
Sonar Kella
Hirak Rajar Deshe
Charulata
MahanagarHeight6 ft 4 in (1.93 m)[1]Spouse(s)
Bijoya Ray (m. 1949–1992)
ChildrenSandip Ray (son)Parent(s)Sukumar Ray (father)
Suprabha Ray (mother)RelativesUpendrakishore Ray Chowdhury(grandfather)AwardsFull listHonoursBharat Ratna (1992)Signature
Satyajit Ray, (born May 2, 1921, Calcutta, India—died April 23, 1992, Calcutta), Bengali motion-picture director, writer, and illustrator who brought the Indian cinema to world recognition with Pather Panchali (1955; The Song of the Road) and its two sequels, known as the Apu Trilogy. As a director Ray was noted for his humanism, his versatility, and his detailed control over his films and their music. He was one of the greatest filmmakers of the 20th century.
Ray was an only child whose father died in 1923. His grandfather was a writer and illustrator, and his father, Sukumar Ray, was a writer and illustrator of Bengali nonsense verse. Ray grew up in Calcutta and was looked after by his mother. He entered a government school, where he was taught chiefly in Bengali, and then studied at Presidency College, Calcutta’s leading college, where he was taught in English. By the time he graduated in 1940, he was fluent in both languages. In 1940 his mother persuaded him to attend art school at Santiniketan, Rabindranath Tagore’s rural university northwest of Calcutta. There Ray, whose interests had been exclusively urban and Western-oriented, was exposed to Indian and other Eastern art and gained a deeper appreciation of both Eastern and Western culture, a harmonious combination that is evident in his films.
Returning to Calcutta, Ray in 1943 got a job in a British-owned advertising agency, became its art director within a few years, and also worked for a publishing house as a commercial illustrator, becoming a leading Indian typographer and book-jacket designer. Among the books he illustrated (1944) was the novel Pather Panchali by Bibhuti Bhushan Banarjee, the cinematic possibilities of which began to intrigue him. Ray had long been an avid filmgoer, and his deepening interest in the medium inspired his first attempts to write screenplays and his cofounding (1947) of the Calcutta Film Society. In 1949 Ray was encouraged in his cinematic ambitions by the French director Jean Renoir, who was then in Bengal to shoot The River. The success of Vittorio De Sica’s The Bicycle Thief (1948), with its downbeat story and its economy of means—location shooting with nonprofessional actors—convinced Ray that he should attempt to film Pather Panchali.
But Ray was unable to raise money from skeptical Bengali producers, who distrusted a first-time director with such unconventional ideas. Shooting could not begin until late 1952, using Ray’s own money, with the rest eventually coming from a grudging West Bengal government. The film took two-and-a-half years to complete, with the crew, most of whom lacked any experience whatsoever in motion pictures, working on an unpaid basis. Pather Panchali was completed in 1955 and turned out to be both a commercial and a tremendous critical success, first in Bengal and then in the West following a major award at the 1956 Cannes International Film Festival. This assured Ray the financial backing he needed to make the other two films of the trilogy: Aparajito (1956; The Unvanquished) and Apur Sansar (1959; The World of Apu). Pather Panchali and its sequels tell the story of Apu, the poor son of a Brahman priest, as he grows from childhood to manhood in a setting that shifts from a small village to the city of Calcutta. Western influences impinge more and more on Apu, who, instead of being satisfied to be a rustic priest, conceives troubling ambitions to be a novelist. The conflict between tradition and modernity is the great theme spanning all three films, which in a sense portray the awakening of India in the first half of the 20th century.