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Selected Articles on Ray
Indian
director's works find home in Santa Cruz
by Jeanene Harlick, San Francisco Chronicle
"Dilip Basu didn't realize it back then, but when he set off for India one March day in 1992, with an Oscar in his briefcase and a first-class plane ticket - his very first - clutched in his hand, he was embarking on a journey that would last more than a decade."
Politics of Vision: Satyajit Ray and His Cinema
by Dilip Basu
"Satyajit Ray was very much a product of his times and cultural heritage as well as his own creative self. His thirty-seven film oeuvre is at once a testimony to his diverse and multi-faceted creativity, and a record, a mirror image of sorts, of his times — the second half of the twentieth century in post-independent Bengal and India. Viewed in this perspective, I argue all his films are political; the degree of their political intensity increased as the social and economic crisis deepened in India."
Restoring Ray
by Aseem Chhabra, India Abroad
"...After an extensive search, Linden Chubin, associate director, cultural programs, Asia Society, tracked down one at the Satyajit Ray Film and Study [Center] at the University of California's Santa Cruz campus. The print was kept in a temperature-controlled vault at the Academy of Motion Picture Arts and Sciences' office in Beverly Hills, California."
Slumdog Millionaire v/s Pather Panchali
by Suresh Kumar
"I finally gave in to the hype and saw Slumdog Millionaire recently and I must confess I was less than elated. If I had not seen grippingly realistic classics like Satyajit Ray's Pahter Panchal or De Sica's Italian masterpiece, Bicycle Thieves before, I would have probably enjoyed Slumdog Millionaire more. But then these benchmarks are very hard to beat, let alone match." "
Ray's Actors
by Dilip Basu and Dayani Kowshik
"Ray had clear ideas as to what almost every character, certainly the main ones, ought to look like in his films. Ray always seemed to be interested in people and their faces."
Films of Satyajit Ray: Getting Started
by Dilip Basu
A brief history of how Ray began making films, and how his first film, Pather Panchali, was received.
Mastering the Language of Cinema
by Dilip Basu
"Even forty years after Pather Panchali made its first splash, proper appraisal of Ray's creativity and originality, whether in India or in the West, hangs in a precarious balance."
From Fiction to Film
by Dilip Basu
An examination of Ray's unique understanding of the language of cinema, and how it informed his adaptations of literary sources.
The unsung verses of Pather Panchali
by Dhritiman Chaterji
"It is said that up until a few years ago, every time there was a solar eclipse, Doordarshan Kolkata had a simple but sure way of keeping people indoors - it showed Pather Panchali."
Experiencing Ray's "The Apu Trilogy"
by Raj Karamchedu
"There is an inescapable sensation in the viewer's awareness that the love between the brother and sister is of a kind that can only reach its perfection through tragedy... Never in any movie have we seen so much life depicted by a narrative that is so regularly punctuated with death."
Who is the greatest Bengali?
by Anwer Mooraj
"I was truly astounded to learn that in [the BBC Bangla Service's survey], one of Calcutta's greatest sons, who happens to be one of the world's greatest film directors, did not even figure as an also-ran."
Translating Between Media: Rabindranath Tagore and Satyajit Ray
by Clinton Seely
A detailed, intriguing meditation on the process of creative translation, focusing on Ray's film adaptation of Tagore's Nashtanir (The Broken Nest).
Satyajit Ray and the Art of Universalism: Our Culture, Their Culture
by Amartya Sen
"In emphasizing the need to honor the individuality of each culture, Ray saw no reason for closing the doors to the outside world. Indeed, opening doors was an important priority of Ray's work. He was always willing to enjoy and to learn from ideas, art forms, and styles of life from anywhere, in India or abroad."
An Art Wedded To Truth
by Michael Sragow
"Satyajit Ray was the most sublimely relaxed and embracing moviemaker to emerge since Jean Renoir and Vittorio de Sica — and, unlike those two maestros, he did great or near-great work throughout his career. In Ray's twenty-nine features dramatic epiphanies sprout organically from the material when characters aren't looking and audiences are least expecting them."
Heritage Centre for Satyajit Ray
Sify Movies
"The idea is to have a centre that will be totally dedicated to Ray and have everything on him. As per our plan, the centre will have a seminar room, an exhibition hall, an auditorium, an archive for storage, preservation and display of Ray's papers and memorabilia, and a section with digitised version of Ray's films," said Sandip Ray, the maestro's son and a member of the Society for the Preservation of Satyajit Ray's Films."
Aparajito's Apu Dies
by Staff Writer, The Telegraph
"Smaran Ghosal, who played the teenaged Apu in Satyajit Ray’s Aparajito, died of cardiac failure at his south Calcutta residence on Thursday night. He was 64. Ghosal is survived by his wife and two daughters."
If I try to put logic in my life, I will lose my innocence
Interview With Aniruddha Roy Chowdhury
by Nandini Pal
