Bansi Chandragupta

Connect with us:

Vidya Balan at 'The Wrong Turn' book launch
Varun Dhawan promoting 'Badrinath Ki Dulhania'
Swara Bhaskar at 'Hawa Badlo' screening
Akshara Haasan at 'LKSMLD' trailer launch
Emma Stone at 89th Annual Academy Awards
Ragini Khanna at Kaamini Khanna's mono act 'JAAGO 2017'

Guess the Celeb

Who am I?

I am actress, still trying to make my foothold strong in Bollywood. I had made a debut in Bollywood in 2004 but that went unnoticed and I moved on to south industry.

Play this game

Club Members

No Members yet

 
Biography of

Bansi Chandragupta

Bansi Chandragupta biography, Biography of Bansi Chandragupta, career, films, awards

life of Bansi Chandragupta, know all about Bansi Chandragupta

  •  
    Dipen Guha
    Dipen Guhawrote on 16 Sep 2009

    Satyajit Ray had a close, lifelong friendship with Bansi Chandragupta, the Art Director of all the films from "Pather Panchal" to "Pratideandi" Thereafter he went away to Mumbai, where he was of course successful. Ray recalled him for his ambitious period film "Shatranj Ke Khilati" in 1977. The two had such a warm relationship and identity of views that they were able to work together as one, as it ewre.
    Chandragupta had given up his colleague studies in Srinagar. Kashmir during the 1942 agitatio. Around this time he met Subho Tagore, the artist, who urged him to become a painter. Off went Ghandragupta to Kolkata, then devasted by the man-made 1943 famine. He found work as assistant to an art director and acted in the film as well. Ray happened to see the film sometime later and liked Bansi's work in it. The met and became friends in no time. They saw together " Battleship Potemkin". It was around 1947 that Jean Renoir came to Kolkata to survey locations for his "The River". A reception given to him by the Calcutta FRilm Soceity brought Renoir together with Ray, Chandragupta and Subrata Mitra. Chandragupta became Assistant to Eugene Lourie, Renoir's Art Director. The next landmark eas to be the Rt Director of "Pather Panchali" Chandragupta was given the liberty of providing complete flexibility for the camera. "The set should be one seameless whole" This was the principle he applied in "Jalsaghar". A very important factor in doing so was the weathering of all elements to show the gradualty of the effect of aging upon various articles. He often used devices like burning a surface, sandpapering, bleaching with caustic soda etc.
    In fact, Bansi and Ray used to enjoy an infaliable psychlogical rapport. What Ray would conceptualise, coud seen through by Bansi. In "Teen Kanya" Bansi's designing the set for "Manihara" creates an elfish, Victorian ambiance. Whether indoors or oitdoors, Chandragupta put the director's canvass in practical execution. Such is the gase in "Goopi Gayen Bagha Bayen". But, " Shatranj Ke Khilari' is undoubedly the best of the lot.