Satyajit Ray
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Satyajit Ray

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    ! report abuseShiraj Dakshy
    Shiraj Dakshywrote on 25 Oct 2012

    Satyajit Ray was inspired by 1948 Italian film “The Bicycle Thieves”, directed by Vittorio De Sica which was shot completely around Rome in original locations. Hence while making his first feature film “Pather Panchali” Satyajit Ray also shot the entire film on location. “Pather Panchali” introduced Indian Cinema to the World.

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    ! report abuseAmitava Sengupta
    Amitava Senguptawrote on 06 Jun 2010

    Satyajit Ray and Soumitra came together in fourteen films. Soumitra's centrality to Ray's work is akin to other key collaborations in the history of cinema - Mifune & Kurosawa, Mastroianni & Fellini, De Niro & Scorsese, Dicaprio & Scorsese, Max von Sydow and Ingmar Bergman, Jerzy Stuhr and Kieslowski.

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    ! report abuseSquare on the Hypotenuse
    Square on the Hypotenusewrote on 17 Nov 2009

    Some dialogues from Ray's movies are inspired by his famous father Sukumar Ray. e.g. "chaati 26, komor 26, gola 26, apni ki moshayee suwor" in sonar kella is actually a dialog from Sukumar's "Haw-Jaw-Baw-Raw-Law" !!

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    ! report abuseDipen Guha
    Dipen Guhawrote on 17 Oct 2009

    "Samapti", the third and longest of the triptych, is less of a short story. Its theme of the rebellious young girl who refuses to give up her tomboy life and matures after marriage forced on her, could well have become a full-fledged film by itself. Handling it in an engaging light vein, Ray brings to it a gentle warmth and humour unique in his work . At the same time , the town and country relationship is further explored.

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    ! report abuseDipen Guha
    Dipen Guhawrote on 09 Jun 2009

    Some arm-chair critics are mouthy witth praises about the films like "Apu's Trilogy","Jalsaghar","Teen Kannya","Charulata"etc which Ray made during his "Salad Days" of film career. But these critics are either mute or frown at Ray's movies made at the last phase like "Ganasatru","Sakha Prasakha" and "Gana satru". These films are alleged to be very simple. But this simplicity can be attained when you descend after reaching the top. This simplification is from experience. No straight line..

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    ! report abuseDipen Guha
    Dipen Guhawrote on 09 Jun 2009

    In the Bengali film history Satyajit Ray was, par haps, the only tailor who championed himself in tailoring the "scrap-pieces" into tailor-made attires. He could measure the potentials of so many actors. who used to be put into insignificant roles. But Ray executed them as pivots or protagonists. "Jalsaghar" or "Kanchenjangha" was meant for Chhabi Biswas,. So is the case with Tulsi Chakroverty in "Parash Pathar". So is with Sailen Mukherjee as Bhupati in "Charulata". Discovery needs guts.

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    ! report abuseDipen Guha
    Dipen Guhawrote on 09 Jun 2009

    In "Mahanagar"(The Big City) made in '63, Arati(Madhabi Mukerjee)has to become a working-lady. Corporate culture has already crept in and capitalised feminine attractions for trade-encashment. In one scene Madhabi is wearing a transparent blouse displaying bra. As a sales-girl she has to be arresting in looks, and for a struggling lady it suggests exhibition. Satyajit has caught this moral decline, often done in the demand of times, and projected on the silver-screen.

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    ! report abuseDipen Guha
    Dipen Guhawrote on 08 Jun 2009

    In the film "Devi"(The Goddess) some critics unearth sexuality in Kalikinkar's bent to his dauhter-in-law Doyamoyee. Andrew Robinson opines, " With her father-in law, her devotion is almost palpable; not only in the way she ministers to his comfort by bringing him medicine and sherbat and message his feet, but by her careful readying of the family shrine for his worship of the goddess". Kalikinkar addresses Doya as "Ma"and takes sensual pleasure during message. Is it Oedipus complex? Freudian ?

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    ! report abuseDipen Guha
    Dipen Guhawrote on 08 Jun 2009

    Some film-makers tend to dig the surface of the story-line to exhume the skeleton of sex, while others tactfully project the tomb. Satyajit Ray belongs to the second community. Many films Ray has made are abound with the possibilities of fleshy exposures. In "Satranj Ke Khilari", for instance, the illicit connection between Farida Jalal and Farooq Shaik could have been brought on to bed. Shabana Azmi's solitude could have been translated into a course of lesbianism.

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    ! report abuseDipen Guha
    Dipen Guhawrote on 08 Jun 2009

    At times, Ray has underscored sextuality with some mute gestures without exposing flesh and blood. In Apur Sansar, Aparna (Sarmila Tagore) wakes up and is about to leave the bed, when she finds a part of her saree held stuck with her sleeping husband. The newly-married is blushed. In an amorous and affectionate gesture she just pats ( suggesting "You naughty") her husband. Her deformed "Sindoor"on forehead and eyes expressing nuptial experiences are enough to deduce what was what. True art !

 

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