PDF | On May 27, , Daniel L Selden and others published 'Our films, efficacy of post-imperialist cinema, Satyajit Ray offers a particularly. Satyajit Ray, Devi () 'OUR FILMS, THEIR FILMS' John Wilson, an anthropologist from the School of Oriental and African Studies in London, comes to. Read "Our Films Their Films" by Satyajit Ray available from Rakuten Kobo. Sign up today and get $5 off your first download. This book brings together Satyajit.
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Our films, their films by Satyajit Ray; 2 editions; First published in Our Films, Their Films book. Read 28 reviews from the world's largest community for readers. This book brings together Satyajit Ray's major writings and. Our Films Their Films is about all the major writings of Satyajit Ray on the biggest film makers and films of the world. This book gives the readers an insight into.
Ray later said that he came out of the theater determined to become a filmmaker.
The Apu Years Ray decided to use Pather Panchali , the classic bildungsroman of Bengali literature, as the basis for his first film. The semi-autobiographical novel describes the maturation of Apu, a small boy in a Bengal village. Ray gathered an inexperienced crew, although both his cameraman Subrata Mitra and art director Bansi Chandragupta went on to achieve great acclaim. The cast consisted of mostly amateur actors. He started shooting in late with his personal savings and hoped to raise more money once he had some passages shot, but did not succeed on his terms.
He also ignored advice from the government to incorporate a happy ending, but he did receive funding that allowed him to complete the film. The passage was of the vision which Apu and his sister have of the train running through the countryside, the only sequence which Ray had yet filmed due to his small budget.
With a loan from the West Bengal government, Ray finally completed the film. It was released in to great critical and popular success. It earned numerous prizes and had long runs in both India and abroad.
In India, the reaction to the film was enthusiastic; The Times of India wrote that "It is absurd to compare it with any other Indian cinema [ After watching the movie, Franois Truffaut is reported to have said, "I dont want to see a movie of peasants eating with their hands. Its American distributor Ed Harrison was worried Crowther's review would dissuade audiences, but the film had an exceptionally long run when released in the United States.
Ray's international career started in earnest after the success of his next film, Aparajito The Unvanquished. Before completing The Apu Trilogy, Ray directed and released two other films: Critics Robin Wood and Aparna Sen found this to be the supreme achievement of the trilogy. Ray introduced two of his favourite actors, Soumitra Chatterjee and Sharmila Tagore, in this film. It opens with Apu living in a Kolkata house in near-poverty.
He becomes involved in an unusual marriage with Aparna. The scenes of their life together form "one of the cinema's classic affirmative depictions of married life. After Apur Sansar was harshly criticised by a Bengali critic, Ray wrote an article defending it.
He rarely responded to critics during his filmmaking career, but also later defended his film Charulata, his personal favourite. He continued to live with his wife and children in a rented house, with his mother, uncle and other members of his extended family.
From Devi to Charulata During this period, Ray composed films on the British Raj period such as Devi , a documentary on Tagore, a comic film Mahapurush and his first film from an original screenplay Kanchenjungha.
He also made a series of films that, taken together, are considered by critics among the most deeply felt portrayals of Indian women on screen. Sharmila Tagore starred as Doyamoyee, a young wife who is deified by her father-in-law. Ray was worried that the censor board might block his film, or at least make him re-cut it, but Devi was spared. In , on the insistence of Prime minister Jawaharlal Nehru, Ray was commissioned to make a documentary on Rabindranath Tagore, on the occasion of the poet's birth centennial, a tribute to the person who likely most influenced Ray.
Due to limited footage of Tagore, Ray faced the challenge of making a film out of mainly static material. He said that it took as much work as three feature films.
Ray had been saving money for some years to make this possible. Ray began to make illustrations for it, as well as to write stories and essays for children. Writing became his major source of income in the years to come. In , Ray directed Kanchenjungha. Based on his first original screenplay, it was his first film in colour.
The film tells of an upper-class family spending an afternoon in Darjeeling, a picturesque hill town in West Bengal. They try to arrange the engagement of their youngest daughter to a highly paid engineer educated in London.
He had first conceived shooting the film in a large mansion, but later decided to film it in the famous hill town. He used the many shades of light and mist to reflect the tension in the drama. Ray noted that while his script allowed shooting to be possible under any lighting conditions, a commercial film contingent present at the same time in Darjeeling failed to shoot a single scene, as they only wanted to do so in sunshine. While at home, he would take an occasional break from the hectic city life by going to places such as Darjeeling or Puri to complete a script in isolation.
In Ray made Charulata The Lonely Wife ; it was the culmination of this period of work, and regarded by many critics as his most accomplished film. Critics have referred to this as Ray's Mozartian masterpiece. He said the film contained the least flaws among his work, and it was his only work which, given a chance, he would make exactly the same way.
New directions In the post-Charulata period, Ray took on projects of increasing variety, ranging from fantasy to science fiction to detective films to historical drama. Ray also made considerable formal experimentation during this period.
He expressed contemporary issues of Indian life, responding to a perceived lack of these issues in his films. The first major film in this period is Nayak The Hero , the story of a screen hero traveling in a train and meeting a young, sympathetic female journalist. Starring Uttam Kumar and Sharmila Tagore, in the twenty-four hours of the journey, the film explores the inner conflict of the apparently highly successful matine idol.
In spite of the film's receiving a "Critics prize" at the Berlin Festival, it had a generally muted reception. Columbia Pictures was the producer.
Satyajit Ray for what was a planned U. Ray found that his script had been copyrighted and the fee appropriated by Mike Wilson. Wilson had initially approached Ray through their mutual friend, Arthur C. Clarke, to represent him in Hollywood. Ray later said that he never received a penny for the script.
When E. Ray believed that Spielberg's film would not have been possible without copies of his script of The Alien having been available in the United States. Spielberg has denied this charge. Forster's novel A Passage to India. Goopy the singer and Bagha the drummer, equipped by three gifts allowed by the King of Ghosts, set out on a fantastic journey.
They try to stop an impending war between two neighbouring kingdoms. Among his most expensive enterprises, the film project was difficult to finance. Ray abandoned his desire to shoot it in colour, as he turned down an offer that would have forced him to cast a certain Bollywood actor as the lead.
Featuring a musical motif structure acclaimed as more complex than Charulata, Aranyer Din Ratri Days and Nights in the Forest traces four urban young men going to the forests for a vacation. They try to leave their daily lives behind. All but one of them become involved in encounters with women, which becomes a deep study of the Indian middle class.
According to Robin Wood, "a single sequence [of the film] He completed what became known as the Calcutta Trilogy: Pratidwandi , Seemabaddha , and Jana Aranya , three films that were conceived separately but had thematic connections. Jana Aranya The Middleman showed a young man giving in to the culture of corruption to make a living. Seemabaddha Company Limited portrayed an already successful man giving up his morality for further gains.
In the first film, Pratidwandi, Ray introduces a new, elliptical narrative style, such as scenes in negative, dream sequences, and abrupt flashbacks. He said that, as a filmmaker, he was more interested in the travails of the refugees and not the politics.
It was set in Lucknow in the state of Oudh, a year before the Indian rebellion of A commentary on issues related to the colonization of India by the British, this was Ray's first feature film in a language other than Bengali.
The last phase In , while working on Ghare Baire Home and the World , Ray suffered a heart attack; it would severely limit his productivity in the remaining 9 years of his life. Ghare Baire was completed in with the help of Ray's son who operated the camera from then on because of his health condition.
He had wanted to film this Tagore novel on the dangers of fervent nationalism for a long time, and wrote a first draft of a script for it in the s. It had the first kiss fully portrayed in Ray's films. In , he made a documentary on his father, Sukumar Ray. Ray's last three films, made after his recovery and with medical strictures in place, were shot mostly indoors, and have a distinctive style.
They have more dialogue than his earlier films and are often regarded as inferior to his earlier body of work. The final scene shows the father finding solace only in the companionship of his fourth son, who is uncorrupted but mentally ill. Ray's last film, Agantuk The Stranger , is lighter in mood but not in theme.
When a long-lost uncle arrives to visit his niece in Kolkata, he arouses suspicion as to his motive. This provokes far-ranging questions in the film about civilization.
He was admitted to a hospital, and would never recover. An honorary Oscar was awarded to him weeks before his death, which he received in a gravely ill condition. He died on 23 April at the age of Film craft Satyajit Ray considered script-writing to be an integral part of direction. Initially he refused to make a film in any language other than Bengali. In his two non-Bengali feature films, he wrote the script in English; translators interpreted it in Hindi or Urdu under Ray's supervision.
Ray's eye for detail was matched by that of his art director Bansi Chandragupta. His influence on the early films was so important that Ray would always write scripts in English before creating a Bengali version, so that the non-Bengali Chandragupta would be able to read it. The craft of Subrata Mitra garnered praise for the cinematography of Ray's films. A number of critics thought that his departure from Ray's crew lowered the quality of cinematography in the following films.
Mitra developed "bounce lighting", a technique to reflect light from cloth to create a diffused, realistic light even on a set. Because of financial reasons and Ray's meticulous planning, his films were mostly cut "on the camera" apart from Pather Panchali. He found that their first loyalty was to musical traditions, and not to his film. He had a greater understanding of western classical forms, which he wanted to use for his films set in an urban milieu.
He used actors of diverse backgrounds, from famous film stars to people who had never seen a film as in Aparajito. Depending on the talent or experience of the actor, Ray varied the intensity of his direction, from virtually nothing with actors such as Utpal Dutt, to using the actor as "a puppet" Subir Banerjee as young Apu or Sharmila Tagore as Aparna.
Ray, writing this piece in has some of the most prophetic insights: 'The early stages of evolution of any language must necessarily be a process of trial and error; in other words, of experiment. The true artist is recognizable in his style and his attitude, not in his idiosyncrasies. It also did something else. By introducing the spoken word, it took away some of its universality and introduced an element of regionalism.
While he sounded like a schoolteacher annoyed with his students in the first half of the book, here he sounds like an enthusiastic student. Written in , sometime after he had returned from his almost yearlong stay in London where he had claimed to have watched films, mostly films of the Italian Neo-realist movement that finally convinced him that a film can be made on a shoe string budget and outside of a vast film studio.
Having said that, I feel that the inclusion of a few of his book reviews was a mistake as they produce a jarring shift from a man reflecting on cinema, to one dissecting books and personalities instead.
Lastly, I have to add that the official Kindle edition that I read was full of errors that were annoying and oftentimes so horrifyingly amusing that you laugh out loud, thus breaking the spell of Ray's persuasive writing.
Charlie Chaplin's The Gold Rusk, anyone? Surely, the works of someone who can be considered one of the few renaissance artists of India deserves more than this kind of shoddy editorship. This book exposed one to the finer cinema that one can truly pursue if one is interested. You wish he were still alive and able to give you insights into movie making of the current day. May 24, Yashwanth Gonavaram rated it really liked it Informative,Interesting Aug 26, Avishek Bhattacharjee rated it it was amazing Our films,Their Films The intro of the book starts with "A filmmaker rarely writes about films"-This would have been a huge loss if not written.
This book divided into two sects Our films and their films. This is an awesome collection of film articles,critical comments about different world movies,books and autobiographies related to books and the cine-future. Though written long back but he was a visionary and pointed out the right reason of the present standard of Indian movies-elementary confusi Our films,Their Films The intro of the book starts with "A filmmaker rarely writes about films"-This would have been a huge loss if not written.
Though written long back but he was a visionary and pointed out the right reason of the present standard of Indian movies-elementary confusion and too much influence of American cinema.
The superficial style of American movies have been imitated with reverence-didn't matter how outlandish and irrelevant was the content.
Though the "Pather Panchali" episodes should be well known to most of them since Apur Panchali has been read by every cine-lovers.