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Satyajit Ray

 

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Derek Malcolm's 5 Best Directors
 
501 Movie Directors: A Comprehensive Guide to the Greatest Filmmakers
 
See Also
Ingmar Bergman
Ken Loach
Deepa Mehta (External Link)
Mira Nair
Jean Renoir
Mrinal Sen (External Link)
Giuseppe Tornatore
Vittorio De Sica
Roberto Rossellini
View video clips relating to this director at YouTube.com

 

Director / Screenwriter / Composer / Producer
1921 - 1992 
Born May 2, Calcutta, West Bengal, India
Key Production Country: India 
Key Genres: Drama, Psychological Drama, Family Drama, Rural Drama, Comedy Drama, Urban Drama
Key Collaborators: Dulal Dutta (Editor), Bansi Chandragupta (Production Designer), Soumitra Chatterjee (Leading Player), Subrata Mitra (Cinematographer), Soumendu Roy (Cinematographer), Sharmila Tagore (Leading Player), Anil Chatterjee (Leading Player), Ravi Shankar (Composer), Ashoke Bose (Production Designer), Asim Dutta (Producer)
Highly Recommended: Aparajito (1956), The Music Room (1958), The World of Apu (1959), Charulata (1964)
Recommended: Pather Panchali (1955), The Big City (1963), Days and Nights in the Forest (1969), Distant Thunder (1973)
Links: [ IMDB ] [ All-Movie Guide[ Senses of Cinema: Great Directors ] [ Film Reference ] [ Satyajit Ray.org ] [ Satyajit Ray.com ] [ Satyajit Ray Film & Study Collection ] [ Asian Film Connections' Satyajit Ray Pages ] [ Manas Biography ] [ Guardian Unlimited Article ] [ Upperstall Profile ] [ Calcutta Web Profile ]
Books: [ The Cinema of Satyajit Ray: Between Tradition and Modernity ] [ Satyajit Ray ] [ Satyajit Ray: A Study of His Films ] [ Satyajit Ray: A Vision of Cinema ] [ Best of Satyajit Ray ] [ Satyajit Ray: The Inner Eye: The Biography of a Master Film-Maker ] [ Our Films Their Films ] [ Satyajit Ray: Beyond the Frame ]
DVD's: [ Amazon ]
1,000 Greatest Films: Pather Panchali (1955), Aparajito (1956), The World of Apu (1959), The Music Room (1958), Charulata (1964), Days and Nights in the Forest (1969)
 
Aparajito (1956)The Music Room (1958)The World of Apu (1959)Charulata (1964)
 
     
  "From the beginning of his career as a filmmaker, Satyajit Ray was interested in finding ways to reveal the mind and thoughts of his characters. Because the range of his sympathy was wide, he has been accused of softening the presence of evil in his cinematic world. But a director who aims to represent the currents and cross-currents of feeling within people is likely to disclose to viewers the humanness even in reprehensible figures." - Satti Khanna (The St. James Film Directors Encyclopedia, 1998)  
     
  "His reputation rests firmly on his detached, unsentimental humanism, and on an ability to derive subtle emotional nuances and ironies from a simple but effective marshalling of performance, dialogue, decor and composition. He has been his own scriptwriter, designer, composer and cameraman on many of his films; he is a consummate artist whose faith in the cinema as a medium to rank alongside the other art forms remains undimmed." - Geoff Andrew (The Film Handbook, 1989)  
     
  "Ray maintained a high artistic level in most of his subsequent films but found it impossible to match the authenticity, sincerity, beauty, and magic of the Apu trilogy. At the same time, Ray's later output boasts a bolder, more complex style and a sharper, more pointed voice. Above all, he sustained throughout his career the humanist values that have made his films universally appealing." - (The MacMillan International Film Encyclopedia, 1994)  
     
  "Has compassionately documented his people and culture for the world to see. This director essentially examines the social, political, and religious strata in Indian society." - William R. Meyer (The Film Buff's Catalog, 1978)  
     
  "When I'm shooting on location, you get ideas on the spot - new angles. You make not major changes but important modifications, that you can't do on a set. I do that because you have to be economical." - Satyajit Ray  
     
 

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