satyajit ray th filmaker, music director writer and illustrator , were talented mam.
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Major films, comedies, and musicals
Ray’s major films about Hindu orthodoxy and feudal values (and their potential clash with modern Western-inspired reforms) include Jalsaghar (1958; The Music Room), an impassioned evocation of a man’s obsession with music; Devi (1960; The Goddess), in which the obsession is with a girl’s divine incarnation; Sadgati (1981; Deliverance), a powerful indictment of caste; and Kanchenjungha (1962), Ray’s first original screenplay and first colour film, a subtle exploration of arranged marriage among wealthy, westernized Bengalis. Shatranj ke Khilari (1977; The Chess Players), Ray’s first film made in the Hindi language, with a comparatively large budget, is an even subtler probing of the impact of the West on India. Set in Lucknow in 1856, just before the Indian Mutiny, it depicts the downfall of the ruler Wajid Ali at the hands of the British with exquisite irony and pathos.

Satyajit Ray (kneeling) during the filming of Kanchenjungha (1962).
Museum of Modern Art/Film Stills Archive, New York City
Although humour is evident in almost all of Ray’s films, it is particularly marked in the comedy Parash Pathar (1957; The Philosopher’s Stone) and in the musical Goopy Gyne Bagha Byne (1969; The Adventures of Goopy and Bagha), based on a story by his grandfather. The songs composed by Ray for the latter are among his best-known contributions to Bengali culture.
Films about Calcutta and later work
The rest of Ray’s major work—with the exception of his moving story of the Bengal Famine of 1943–44, Ahsani Sanket (1973; Distant Thunder)—chiefly concerns Calcutta and modern Calcuttans. Aranyer Din Ratri (1970; Days and Nights in the Forest) observes the adventures of four young men trying to escape urban mores on a trip to the country, and failing. Mahanagar (1963; The Big City) and a trilogy of films made in the 1970s—Pratidwandi (1970; The Adversary), Seemabaddha (1971; Company Limited), and Jana Aranya (1975; The Middleman)—examine the struggle for employment of the middle class against a background (from 1970) of revolutionary, Maoist-inspired violence, government repression, and insidious corruption. After a gap in which Ray made Pikoo (1980) and then fell ill with heart disease, he returned to the subject of corruption in society. Ganashatru (1989; An Enemy of the People), an Indianized version of Henrik Ibsen’s play, Shakha Prashakha (1990; Branches of the Tree), and the sublime Agantuk (1991; The Stranger), with their strong male central characters, each represent a facet of Ray’s own personality, defiantly protesting against the intellectual and moral decay of his beloved Bengal.