the challenges faced by satyajit ray as film making in the light of the eassy film making?
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Satyajit Ray (Bengali pronunciation: (About this soundlisten); 2 May 1921 – 23 April 1992) was an Indian film director, scriptwriter, documentary filmmaker, author, lyricist, magazine editor, illustrator, calligrapher, and music composer. He is widely considered to have been one of the greatest filmmakers of all time,[2] celebrated for works such as The Apu Trilogy (1955–59), The Music Room (1958), The Big City (1963) and Charulata (1964). Ray was born in Calcutta into a Bengali Kayastha family which was prominent in the field of arts and literature. Starting his career as a commercial artist, he was drawn into independent filmmaking after meeting French filmmaker Jean Renoir and viewing Vittorio De Sica's Italian neorealist film Bicycle Thieves (1948) during a visit to London.
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Among many challenges the few faced by Satyajit ray were the low budget and new crew.
- Satyajit Ray has created a magnificent world cinema work. As a film maker, though, he also encountered some difficulties.
1. Limited budget - There were no stars or songs/dances in film Pather Panchali, not even a plot or drama in the traditional sense. Producers turned the film down as it was not commercially viable. It was uneasy to make a low-budget film. Owing to the lack of sufficient resources, the camera and film stock were very costly, and the shooting took over two years to complete.
2. Amateur workers - Many crew members were working for the first time in a film. Thus, providing them with direction also posed as a challenge. Almost all the leading characters also were depicted by non-professional actors with little or no prior acting experience.
3. Location costs - At that time when the cameras and the other equipment were heavy and it was cumbersome to transport them to the spot, shooting outdoors and in proper locations was very difficult.