Relaciones exteriores de PanamÃ¡

Youth

The genealogy of Satyajit Ray can be gone up up to ten generations. Upendrakishore Raychowdhury, the grandfather of Ray, was writer, illustrator, Philosophe, editor and amateur of Astronomie. It was also one of the chiefs of the Brahmo Samaj, a religious and social movement reforming of the 19th century in Bengal. Sukumar Ray, the son of Upendrakishore, was a writer innovating as regards poetry of the absurdity and children's literature, as well as a recognized literary illustrator and critical.

Ray is born in Calcutta de Sukumar and Suprabha Ray. His/her father dies whereas it is hardly three years old, and the family survives with the thin incomes of Suprabha. Later, Ray studies the economy with the Presidency College of Calcutta, although its tastes carry it towards the Art schools. In 1940, his/her mother pushes it to make studies in the university of Visva-Bharati , founded by Rabindranath Tagore in Santiniketan. Ray is reticent to leave, on the one hand because of its love for the town of Calcutta, and on the other hand for the poor idea that it has intellectual life with Santiniketan. The persuasion of his/her mother and the respect which it carries in Tagore are right finally of its preventions and convince it to try this way. Ray goes in Santiniketan to study graphic arts, but also to admire Eastern art there. Later, he will admit having learned much from the famous painters Nandalal Bose and Benode Behari Mukherjee, on which he will carry out documentary besides, The Inner Eye ( the interior Eye ). At the time of its visits of the caves of Ajantâ, Ellorâ and Elephanta, Ray a great admiration for the Indian art develops.

Ray leaves Santiniketan in 1943, before to have completed its five years course and returns in Calcutta, where it finds an employment in a British Advertizing agency, D.J. Keymer. It is engaged like junior to visualize (creative junior) and only 80 rupee S per month gains. Although the artistic part of this work is expensive in the middle of Ray, and that it is well treated generally, it reigns in this company a certain tension between the British and Indian employees (the first being remunerated well better), and Ray finds that “the customers are in general stupid”. Around 1943, Ray is engaged by Signet Close , a new publisher created by D.K. Gupta. Gupta requires of Ray to create the designs of the covers of books published by Signet Close and a whole artistic freedom leaves him. Ray carries out the covers of many works, of which Man-Eaters off Kumaon ( Man-eaters of Kumaon ), a book written by the hunter naturalist Jim Corbett on the tiger S and leopard S, like Discovery off India ( Découverte of India ) of Jawaharlal Nehru. He also works on an adaptation for the children of Pather Panchali , a traditional Bengali novel of Bibhutibhushan Bandopadhyay, which he renames Am Antir Bhepu ( the Whistle in mango core). This work influences Ray deeply, and will become the subject of its first film. In addition to the cover, it illustrates the book; many these drawings will find their place in his initial film.

Then, with Chidananda Dasgupta and others, it creates the Calcutta Film Society in 1947, a film club where many foreign films are projected. During the second world war, it had bound of friendship with American GI stationed to Calcutta, which of return on their premises will hold it with the current of the cinema news. It côtoie also an employee of RAF, Norman Clare, with which he shares the passion of films, the Jeu of failures and the Western classical music. In 1949, Ray marries Bijoya Das, a cousin distant and love from always. From this union will be born a son, Sandip, which became today in its turn a large scenario writer. The same year, Jean Renoir comes in Calcutta to make his film the River . Ray assistance to find places of turning in outside. It is at this time that Ray exposes to Renoir the project that it has at the head for a certain time: to film Pather Panchali . And Renoir encourages it to carry it out. In 1950, Ray is sent to London by D.J. Keymer to work at the head office. During its three months stay in London, it looks at 99 films. Among them, the Italian film neorealist Ladri di biciclette ( the Robber of bicycle ) realized in 1948 by Vittorio De Sica will make him strong impression. Ray will say later that it left the meeting with the firm intention to become realizer.

The years APU (1950-1958)

Ray thus decided that Pather Panchali , the traditional Bildungsroman of the Bengali literature, published in 1928 by Bibhutibhusan Bandopadhyay, will be the topic of its first film. This semi-autobiographical novel describes the youth of APU, a little boy of a village of Bengal. Ray completes the design of film at sea, while it returns from London to India.

Ray then joins together around him an inexperienced team, of which the Caméraman Subrata Mitra and the artistic director Bansi Chandragupta, which will know beautiful careers thereafter. Side actors, casting is mainly made up amateurs. The catches begin at the end of 1952, financed by equities of Ray. He hopes whereas once these first catches carried out, he will be able to find funds to continue the project however…, such a way of financing is not obvious. Also Pather Panchali is turned over one exceptionally long period, during three years, with catches organized from time to time, with the liking of the financial availabilities obtained by Ray or Indigo plant Chowdhury, the director of production. With a loan of the government of the Bengal-Westerner, the film is finally finished and can leave in 1955. It is received very favorably by criticism and gains a great popular success, gaining many prices. It is widely diffused, as well in India as abroad. During the assembly, Ray refuses to yield at the requests emanating of its financeurs, eager to modify the scenario or to supervise the producer. He is unaware of also the council of the government (which will finance film all the same) to include a happy end, in which the family of APU joined a development project. When Ray shows to a scene of film with John Huston, come to India in location for turning from the Man who wanted to be a king , the enthusiasm of this last is even more invaluable than the encouragements of Renoir. It is about the memorable scene which exposes the vision that Apu and its sister of the train crossing have the countryside. It is then the only one which Ray could assemble, taking into account its small budget. Huston informs Monroe Wheeler, of the Museum off Modern Art of New York that a major talent is being born. In India, the reactions are enthusiastic. The Times off India written “ It is absurd to compare it with any Indian cinema " Pather Panchali" is pure cinema ”. In the United Kingdom, Lindsay Anderson writes an eulogistic chronicle on film. Despite everything, the reactions are not uniformly positive. One pays thus that François Truffaut would have declared: “ I do not want to see a film of peasants who eat with the fingers. ” Bosley Crowther, then most influential criticizes NewYork Times , writes a so aggressive article that the distributer with the United States, ED Harrison, thinks that it will compromise the exit of film. But instead of that, it is the opposite which occurs, Pather Panchali is particularly appreciated and knows a long diffusion.

The international career of Ray really starts after the success of its following film, Aparajito ( Unconquered the ). This film tells the sempiternal fight between the ambitions of an young man, Apu, and the love of his/her mother. Many criticisms, whose Mrinal SEN and Ritwik Ghatak, classifies it a notch with the top of the first opus. Aparajito gains the Lion of Gold to Venice. Before completing its trilogy, Ray carries out two other films. Initially the comedy Parash Pathar ( the Philosopher's stone ), followed by Jalsaghar ( the Living room of music ), a film on the decline of the Zamindars, regarded as one of its most important works.

While it carries out Aparajito , Ray does not think yet of a trilogy, but this idea comes to him when one asks him the question in Venice. The last shutter, Apur Sansar ( Le Monde d' Apu ) is produced in 1959. For the two precedents opus, many critics regard it as the crowning of the trilogy (Robin Wood, Aparna SEN). Ray made there play two of its favorite actors, Soumitra Chatterjee and Sharmila Tagore. At the beginning of the intrigue, Apu lives in an unimportant house of Calcutta, with the limit of misery. It contracts with Aparna a not very ordinary marriage, and the scenes of their common life form “one of traditional cinema as regards description of the life of couple”, but a tragedy follows. Following a severe article of a critic Bengali, Ray answers by writing in its turn a paper to defend its film, fact rare in its career of realizer (the other notable occurrence will occur with Charulata , its favorite). Success has few effects on its personal life during the years which follow: it continues to live with his mother, her uncle and other members of his family extended in a house of hiring.

Of Devi to Charulata (1959-1964)

During this period, Ray composes of films on the Raj (like Devi ), documentary on Tagore, a comedy ( Mahapurush ) and its first film based on an original screenplay ( Kanchenjungha ). It carries out also a series of films which, taken together, are regarded by the critics as the most succeeded representation with the screen of the Indian women.

After Apur Sansar , Ray connects with Devi (the Goddess), a film in which it approaches the superstitions in the Hindu company. Sharmila Tagore interprets Doyamoyee, an young woman divinized by her father-in-law. Ray worries about a possible blocking of film by the office of the censure, or to be forced to cut certain scenes, but final the Devi is saved. In 1961, on the insistence of the Prime Minister Jawaharlal Nehru, Ray is engaged to carry out documentary on Rabindranath Tagore, at the time of the centenary of the birth of the poet. It is a homage to the person who probably influenced it the most. With the constraint a limited length of bands available of Tagore, Ray takes up the challenge to build a film starting from static materials primarily, and notes that represents an amount of work higher than three traditional films. During the same year, with Subhas Mukhopadhyay and others, Ray is able to make revive Sandesh , the magazine for children whom his grandfather had launched. Ray saved during several years to make possible this project. The polysemia of the title ( Sandesh means at the same time " nouvelles" in Bengali and a sweetened dessert appreciated in Bengal indicates) gives the tone of the magazine, at the same time educational and diverting. Ray is found in person to illustrate the magazine and to write stories and tests for the children. The writing becomes its independent source of incomes during the following years.

In 1962, Ray carries out Kanchenjungha , its first original screenplay, and first color film. It is about the history of a middle-class family, which remains with Darjeeling, a picturesque city on a hill of the Bengal-Westerner, in whom the family tries to bind her more young girl to a Engineer enjoying a good situation, and having studied to London… Initialement conceived to be held in a large manor, the film was finally made on the famous city with hillside, Ray deciding to use the many shades and lights, as well as the fogs, to reflect the tension of the drama. It is amused Ray which raises that, while its scenario makes it possible to film with all the possible conditions of light, the team of realization of a commercial film present at Darjeeling at the same time fails to carry out the only catch that it came to make, and who claims a full sun!

During the the Sixties, Ray visits the Japan and takes a pleasure particular to meet there the realizer Akira Kurosawa, for whom it has much respect. To the country, it agrees occasional retirements to Darjeeling or Purî, to escape a time agitation from the city and to finish a scenario quietly.

In 1964, Ray carries out Charulata ( the forsaken Wife ), the apogee of this period of artistic creation, and considered as many criticisms like its best film. Resting on Nastanirh , a news of Tagore, the film tells the history of a wife forsaken (Charu) in Bengal of the 19th century, and its feelings growing for his/her Amal brother-in-law. Often quoted like masterpiece mozartien of Ray, the scenario writer himself says of it that it is that which contains less defects of its work, and which if it had the possibility of remaking it, it would remake it with the identical one. The interpetation of Charu by Madhabi Mukherjee, as well as the work of Subrata Mitra and Bansi Chandragupta were preceded on several occasions. Among other films of this period one finds Mahanagar ( the Big city), Teen Kanya ( Three Girls ), Abhijan ( Forwarding ) and Kapurush O Mahapurush ( the Coward and the Saint ).

New orientations (1965-1982)

During the time which follows Charulata , Ray explores a large variety of kinds, energy of the Fantasy with the Science fiction, while passing by the police and the historical drama. Ray also carries out many experiments of form during this period. It takes also more counts the concerns of the contemporary Indian company of them, thus filling a gap of its preceding films on the matter. The first major film of this phase is Nayak ( the Hero ), the history of a movie star which travels by train, and meets a young journalist sympathetic nerve. With Uttam KUMAR and Sharmila Tagore in the first roles, the film explores, during the 24 hours of voyage, the interior conflict of the incipient idol, with the apparent success. In spite of a price decreed by criticism with Berlin, the film meets a mitigated success.

In 1967, Ray writes a scenario for a film entitled The Alien , according to its news Bankubabur Bandhu (" The Friend of Banku Babu") that he had written in 1962 for Sandesh , the family magazine. The Alien was to be a coproduction américano-Indian, produced by Columbia Pictures with Peter Sellers and Marlon Brando as heads of poster. However, Ray is surprised to discover that the script that it has writing was copyrighté and which the right S were deposited. Thereafter, Brando is isolated project, and in spite of an attempt to replace it by James Coburn, Ray returns disillusioned in Calcutta., Columbia expresses several times the wish to start again this project during the the Seventies and 80, but nothing leaves there. When E.T leaves on the screens in 1982, Ray sees resemblances to its original script - Ray analyzes the failure of the project in a number of Sight & Sound of 1980, and other additional details are provided by its biographer Andrew Robinson (in The Inner Eye , appeared in 1989). Ray is convinced that the film of Spielberg would not have been possible without its scenario, available in America in the form of photocopies (a charge that Spielberg challenges).

In 1969, Ray realizes what will be its greater business success. Being based on a tale for child written by his grandfather Goopy Gyne Bagha Byne ( Adventures of Goopy and Bagha ) is a musical history belonging to the kind fantasy . Goopy the singer and Bagha the percussionnist, provided with three bones lent by the King of the Phantoms, start a fantastic tour to try to prevent the release of an imminent war between two close kingdoms. One of its most expensive achievements, this film proves very difficult to finance. Ray ends up giving up turning colors, refusing a proposal which would have obliged it to give the main role to a certain actor of the Bollywood. Then, Ray signs a film inspired of the novel of a young poet writer, Sunil Gangopadhyay. Comprising a musical structure appreciated like more complex than that of Charulata , Aranyer DIN Ratri ( Of the days and the nights in the forest ) follows four urban young men energy to pass their vacation in forest, to try to leave behind them them unimportant existence downtown. Almost does everything significant meetings with women, which the critics regard as a revealing study of the middle-class in India. Ray chooses the actress of Bombay, Simi Garewal, to incarnate a tribal woman, and she says herself agreeably surprised which Ray chose somebody of as urban as she for this role.

After Aranyer , Ray makes an incursion into Bengali reality, then in full effervescence under the influence of mouvenement of extreme left naxalite. It completes the trilogy of Calcutta: Pratidwandi (1970), Seemabaddha (1971), and Jana Aranya (1975), three separately designed films, but whose connections sets of themes constitute a kind of trilogy. Pratidwandi ( the Adversary ) milked of an idealistic graduate who, although having lost his illusions, remains just until the end of film. Follows Jana Aranya ( the Intermediary ), or how an young man sinks gradually in the world of corruption to earn his living. Finally Seemabaddha ( Company Limited in English) milked of a prosperous man who gives up morals to grow rich more. The first among them, Pratidwandi , uses an elliptic style of narration never yet seen in films of Ray, calling upon scenes into negative, sequences oneiric and of precipice flashback S . In the Seventies, Ray adapts also two of its popular police film stories. Mainly intended for a public of children and young adults, as well Sonar Kella ( the Gold Fortress) and Joy Baba Felunath ( God Elephant ) find warm welcome in some criticisms.

Ray plans to make a film on the war of liberation of the Bangladesh, but gives up then this idea, explaining why as a realizer it is more interested by the efforts and the tours of the refugees that by the policies. In 1977, Ray finishes Shatranj Ke Khiladi (players of failure), a film in Ourdou according to a news of Munshi Premchand, which occurs to Lucknow in the area from the Awadh, one year before the Révolte of Cipayes (1857). Comment on the circumstances which allowed the colonization of India by the British, it is the first feature-length film of Ray in a language other than the Bengali. It is also of the largest budget and that which gathers the most high-speed motorboats, among which Sanjeev KUMAR, Saeed Jaffrey, Amjad Khan, Shabana Azmi, Victor Bannerjee and Richard Attenborough. Ray carries out one following Goopy Gyne Bagha Byne in 1980, the somewhat exaggeratedly political Hirak Rajar Deshe ( the Kingdom of diamonds ) - where the kingdom of the diabolic king of diamonds or Hirok Raj is an allusion to India during the state of emergency issued by Indira Gandhi. With its short film Pikoo , its film in Hindî one hour Sadgati constitutes the apogee of this period of its life.

The last period (1983-1992)

In 1983, while he works on Ghare Baire ( the House and the World ), Ray is struck by a Heart attack which will seriously limit its activities during the nine years which remain to him to be lived. Ghare Baire is completed in 1984 with the assistance of his/her son (who passes behind the camera as from this moment), because of his health. It for a long time wishes to put at the screen this novel of Tagore which treats dangers of the Nationalisme and in wrote the scenario (at least a first outline according to its dires) in the the Forties. In spite of summary connections due to its disease, the film is encensé by part of criticism. It contains the first true kiss of its catalog of films. In 1987, it carries out documentary on his father, Sukumar Ray.

The last three films of Ray, carried out after its re-establishment and with restrictions of a medical nature, are primarily made in interior, and have a style which is clean for them. They are verbeux than its preceding films and in general considered as lower than his former work. The first, Ganashatru ( an enemy of the people ) is an adaptation of the famous part of Henrik Ibsen, and considered as average of the three. Ray finds part of its form in 1990, in the film Shakha Proshakha ( Branches of the tree ). In this one, an old man, after an honest life, comes from there to learn corruption to which three of its sons are delivered… The final scene shows it finding comfort in the company of its fourth wire, noncorrupted but mentally ill. After Shakha Prashakha , it is the song of the swan of Ray: Agantuk ( the Big city), of lighter, but serious mood in the topic. The visit impromptue of a lost uncle of sight for a long time to his/her niece, in her house of Calcutta, makes grow suspicion as for its reasons and raises a range of questions in connection with civilization.

In 1992, the health condition of Ray worsens, because of cardiac complications. It enters to the hospital and will never be restored. A few weeks before its death, it receives an honorary Oscar, whereas it is seriously sick. He dies on April 23rd, 1992.

Cinema

Satyajit Ray always regarded the scenaristic writing as integral part of the realization. It is one of the reasons for which he a long time refused to make films in another language that the Bengali. For its two feature-length films which make exception to this rule, he writes the English scenario, then supervises the translation so that he can be played in Hindi or Urdu. The particular glance of Ray for the details is in agreement with that of its artistic director Bansi Chandragupta. The influence of this last on first films of Ray is so important that Ray always written its scenarios in English before creating the Bengali version, so that Chandragupta, non-bengalophone, can read them. The work of the camera in the first works of Ray causes many admirations for the skill of Subrata Mitra . Its departure (bitter) of the team of Ray, according to many criticisms, decreases the quality of the catch of sight in films. Although Ray does not hide to congratulate Mitra, its tenacity pushes it to take the orders of the camera starting from Charulata , with the result that Mitra will cease working for him after 1966. Among the innovations of Subrata Mitra, one finds the " bounce lighting" , a technique of lighting which makes reflect the light on a fabric to create a diffuse and realistic lighting, including on a plate. Ray recognizes readily its debt towards Jean-Luc Godard and François Truffaut of the New wave to have introduced cinematographic novel methods and innovations.

Although Ray has a faithful assembler in the person of Dulal Datta, it gives usually its instructions while Datta operates the modifications, in real-time. Indeed, for financial reasons and of organization meticulous person inherent in the character of Ray, its films for the majority are cut " on the caméra" (except notable for Pather Panchali ). At the beginning of its career, Ray works with traditional Indian musicians, among which Ravi Shankar, Vilayat Khan and Ali Akbar Khan. Nevertheless, the experiment is painful for him when he realizes that the first honesty of those goes to the musical traditions, and not with its films. Thus, its strong desire to use Western traditional rates/rhythms, that he regards as essential, in particular for its films made in urban environment, is in the dead end. That leads it to compose its own melodies starting from Teen Kanya . Ray calls upon very diverse actors of experiment, energy of celebrities of the cinema to people who never saw a film of their life (as in Aparajito ). Robin Wood and others celebrated it like the best director of the childish roles, underlining its memorable performances with Apu and Durga ( Pather Panchali ), Ratan ( Postmaster ) and Mukul ( Sonar Kella ). According to the experiment of the actor, the instructions of Ray can vary almost anything (actors like Utpal Dutt) with employment actor like a puppet (Subir Banerjee interpreting Apu or Sharmila Tagore playing Aparna). According to the actors who worked for him, its usual confidence in the actors was on the occasion compensated by its capacity to pay the incompetence of a total contempt.

Reception of the critic and the public

The work of Ray is described like an echo with the values of humanism and of universality, of a misleading simplicity with a deep subjacent complexity., Nombreux is those which covered it with praises. Even Akira Kurosawa lent itself to this play while declaring: “ not to have seen the cinema of Ray amounts existing in the world without to have seen the sun or the moon. ” Its detractors, on the other hand, find glacialement its films slow, progressing like a “ majestic snake ”. Some find its humanism naive, and its anti-modern work, and claim that it fishes for lack of novel modes of expression or experiments, that one finds at contemporaries of Ray, like Jean-Luc Godard. Like writes it Stanley Kauffman, some critical are convinced that Ray “ share of the principle the spectators can be interested in a film the intensity resides simply in its characters, rather than in one which imposes dramatic tests on their existences. ” Ray in person explains why it cannot anything as regards slowness, and Kurosawa defends it by declaring “ They films of Ray are not slow whole. That can be described like a relaxed flood, like that of a large river. ”

Criticisms often compared Ray with other artists of the cinema or other media, like Anton Chekhov, Renoir, De Sica, Howard Hawks or Mozart. Shakespeare was also quoted, for example by the writer V.S. Naipaul, which compares a scene of Shatranj Ki Khiladi ( Players of failures ) with a play shakespearien: “ only three hundred words are pronounced, but divinity! - terrifying things occur. ” It is generally allowed, including by those which are not sensitive to the esthetics of films of Ray, that it is a scenario writer except par as regards as a whole seizing a culture and with all its nuances through its films. A feeling which The Independent translates, in the heading obituary, while exclaiming: “ Which of other can take up this challenge? ” At all events, the opinion prevails that the films which it carried out after its heart attack lost vitality of the beginnings a little.

At the beginning of 1980, Ray is openly criticized by a deputy of the Indian Parliament, and ex-actress: Nargis Dutt shows Ray to export poverty and asks him to make films which represent modern India. On another side, a current charge formulated in its opposition by holding to the Indian Socialisme is that it is not engaged enough in the defense of the cause of the oppressed classes. Certain commentators show it of glorifier poverty in Pather Panchali and Asani Sanket through lyricism and esthetics. It is also shown not to provide a resolution to the conflicts of its stories, and not to manage to exceed its middle-class origins . During the disorders of the movements naxalites of the Seventies, his/her Sandip son escapes from little from a wound. In a public debate of the Seventies, Ray and the scenario writer openly Marxist Mrinal SEN polemizes. SEN critic to have engaged a starlet such as Uttam KUMAR, which he regards as a compromise, it with what Ray retorts by declaring that SEN is caught any only with easy targets, i.e. with the Bengali middle-classes. Its private life is never a media pewter subject, although some lend to him an adventure with Madhabi Mukherjee in the Sixties.

Artistic heritage

Satyajit Ray is a cultural icon in India and in the Bengali communities of the whole world. After its death, the agitation of the town of Calcutta like was suspended, while hundreds of thousands of people massed around her house in order to pay a last homage to him. The influence of Satyajit Ray on the Bengali cinema is broad is deep: many realizers, among whom one can quote Aparna SEN, Rituparno Ghosh, Gautam Ghose, Tareq Masud and Tanvir Mokammel in Bangladesh, were influenced by his manner of making films. On the other side of the chess-board, scenario writers such Buddhadev Dasgupta, Mrinal SEN and Adoor Gopalakrishnan recognized its contribution to the genesis of the Indian cinema. Apart from India, realizers like Martin Scorsese, James Ivory, Abbas Kiarostami and Elia Kazan, according to certain information, would have been influenced by its cinematographic style. Forty Shades off Blue , realized by Will go Sachs in 2005, is a rather free Remake of Charulata , and in the film My Family of 1995, the final scene is copied on the end of Apur Sansar . References similar to films of Ray are present, for example, in recent works such Sacred Evil , the trilogy of the elements ( Fire , Earth and Water ) of Deepa Mehta and even in films of Jean-Luc Godard.

The character Apu Nahasapeemapetilon of the American televisual series in cartoon Simpson was thus named in homage to Ray. At the same time with Madhabi Mukherjee, Ray was the first personality of the Indian cinema to have a foreign stamp with its effigy, in Dominique. Many literary works contain references to Ray or its achievements, among which Herzog , the novel of Saul Bellow and Youth , of J. Mr. Coetzee. In Haroun and the sea of the Stories , of Salman Rushdie, two fish name Goopy and Bagha , a homage to film of fantasy of Ray. In 1993, CPU Santa Cruz founded the collection of Films and Études of Satyajit Ray, and in 1995, the Indian government created the cinematographic Institute of study and televisual Satyajit Ray, for the studies in bond with the cinema. In 2007, BBC announced that two stories of Feluda would be adapted soon in radiophonic form. At the time of the Festival of film of London, a " Satyajit Ray Award" reward the realizer whose first measuring returns best the " the artistic talent, compassion and the humanity of the vision of Ray".

Price, rewards, honors…

Many prices and rewards were decreed in Ray throughout its life. By obtaining the title of honorary doctor of the University of Oxford, it is the second personality of the cinema world to being thus honoured, after Chaplin. It obtains the Prix Dadasaheb Phalke in 1985. In 1987, it is decorated with the Légion of Honor by French president François Mitterrand. Little before its death, it is the Indian government which gives most prestigious civil decoration to him, the Bhârat Ratna . For the whole of its work, the Academy of arts and sciences of the cinema rewarded Ray for an honorary Oscar in 1992. It also receives on a purely posthumous basis the Akira Kurosawa Award for its carière of realizer at the time of the Festival of film of San Francisco: it is the actress Sharmila Tagore who represents it on this occasion.

Catalog of films

Satyajit Ray is especially known like Réalisateur. However, it is also a author, which wrote stories and scenarios, as well as a type-setter of musics and a producer, in addition to other additional functions in some films (he for example was the assistant of Jean Renoir during the turning of the film the River).

Literary work

See too

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