name	জহির রায়হান Zahir Raihan
birth name	Mohammad Zahirullah
birth date	August 19, 1935
death date	On January 30, 1972, he went to Mirpur slaughtering ground to look for the deadbody of his brother, Shahidullah Kaiser, and never returned.
birth place	Feni, Noakhali, Bangladesh
occupation	filmmaker, novelist, writer
yearsactive	1962–present }}

Zahir Raihan was a Bangladeshi novelist, writer and filmmaker. He is perhaps best known for his documentary Stop Genocide made during the Bangladesh Liberation War. He disappeared on December 30, 1972 trying to locate his brother, the famous writer Shahidullah Kaiser, who was captured and killed by the Pakistan army and/or local collaborators during the last days of the war. Evidences have been found that he was killed among many others when some armed Bihari collaborators and disguised soldiers of Pakistan Army fired on them when they went to Mirpur, a distant place from the main city of Dhaka that was still being held by Pakistani/Bihari collaborators.

Biography

Zahir Raihan was born on 19 August 1935, as Mohammad Zahirullah, in the village Majupur, now in Feni District, Bangladesh. After the Partition of Bengal in 1947, he, along with his parents, returned to his village from Calcutta. He obtained Bachelor of Arts (Honours) in Bangla from Dhaka University. He had been married twice, to Sumita Devi in 1961 and Shuchonda in 1968, both of whom were film actresses.

Early life and professional career

Zahir Raihan received his post graduate degree in Bengali Literature. Along with literature works Raihan started working as a journalist when he joined ''Juger Alo'' in 1950..Later he also worked in newspapers, namely ''Khapchhara'', ''Jantrik'', and ''Cinema''. He also worked as the editor of ''Probaho'' in 1956. His first collection of short stories, titled ''Suryagrahan'', was published in 1955. He worked as an assistant in the film ''Jago Huya Sabera'' in 1957. This was his first foot print in film. He also assisted Salahuddin in the film ''Je Nodi Morupothay''. The filmmaker Ehtesham also took him for his movie ''A Desh Tomar Amar'', for which he wrote the title song. In 1960 he arrived as a director with his film ''Kokhono Asheni''. In 1964, he made Pakistan's first colour movie, ''Sangam'', and completed his first CinemaScope movie, ''Bahana'', the following year.

He was an active worker of the Language Movement of 1952 and was present at the historical meeting of Amtala on February 21, 1952. The effect of language movement was so high on him that he made his legendary film "Jibon Theke Neya" based on it. He also took part in the "Gano Obhyuthyan" in 1969. In 1971 he joined in the Liberation War of Bangladesh and created documentary films on this great event. During the war of liberation Raihan went to Kolkata where his film "Jibon Theke Neya" were shown. His film was highly acclaimed by Satyajit Ray, Mrinal Sen, Tapan Sinha and Ritwik Ghatak. Though he had his financial problem going on that time, he gave all his money to the Freedom Fighters trust that he got from the show.

Books

''Surya Grahan'' (The eclipse), 1954

''Shesh Bikeler Meye'' (The Girl from the Afternoon)

''Hajar Bachhar Dhare'' (Through Thousand Years)

''Arek Falgun'' (Another Falgun Day), based on the Language Movement of 1952

''Baraf Gala Nadi'' (The River of Icy Waters)

''Ar Kata Din'' (For How Long)

''Koyekti Mrittu'' (A Few Deaths)

''Trishna'' (Thirst)

Movies and documentaries

''Kokhono Asheni'', 1961 (his first film as director)

''Sonar Kajol'', 1962 (jointly directed with Kolim Sharafi)

''Kancher Deyal'', 1963

''Sangam'', 1964 (the first colour film made in Pakistan)

''Bahana'', 1965

''Behula'', 1966

''Anowara'', 1966

''Dui Bhai'', 1968

''Jibon Theke Neya'', 1969

''Let There Be Light''

Documentary Films

"Stop Genocide", Documentary on the genocide by Pakistani Army in the Bangladesh Liberation War, 1971

"Birth of A Nation"

"Liberation Fighters"(Production)

"Innocent Milions"(Production)

Awards

Adamjee Literature Award

Bangla Academy Award (1972)

See also

Banglapedia article on Raihan

References

External links

Category:1935 births Category:1972 deaths Category:Bangladeshi film directors Category:Bangladeshi writers Category:Bangladeshi dramatists and playwrights Category:Bangladeshi novelists Category:People from Dhaka Category:University of Dhaka alumni

bn:জহির রায়হান

Bgcolour	silver
Name	Satyajit Ray
Birth date	May 02, 1921
Birth place	Kolkata, West Bengal, India
Death date	April 23, 1992
Death place	Kolkata, West Bengal, India
Occupation	Film director, producer, screenwriter, writer, music director, lyricist
Years active	1950–1991
Spouse	}}

Satyajit Ray ( ; 2 May 1921 – 23 April 1992) was an Indian Bengali filmmaker. He is regarded as one of the greatest auteurs of 20th century cinema. Ray was born in the city of Kolkata into a Bengali family prominent in the world of arts and literature. Starting his career as a commercial artist, Ray was drawn into independent filmmaking after meeting French filmmaker Jean Renoir and viewing the Italian neorealist film ''Bicycle Thieves'' of Vittorio De Sica during a visit to London.

Ray directed thirty-seven films, including feature films, documentaries and shorts. He was also a fiction writer, publisher, illustrator, graphic designer and film critic. Ray's first film, ''Pather Panchali'' (1955), won eleven international prizes, including ''Best Human Documentary'' at the Cannes film festival. Alongside ''Aparajito'' (1956) and ''Apur Sansar'' (1959), the three films form ''The Apu Trilogy''. Ray did the scripting, casting, scoring, cinematography, art direction, editing and designed his own credit titles and publicity material. Ray received many major awards in his career, including 32 Indian National Film Awards, a number of awards at international film festivals and award ceremonies, and an Academy Honorary Award in 1991.

Early life and background

Satyajit Ray's ancestry can be traced back for at least ten generations. Ray's grandfather, Upendrakishore Ray was a writer, illustrator, philosopher, publisher, amateur astronomer and a leader of the Brahmo Samaj, a religious and social movement in nineteenth century Bengal. Sukumar Ray, Upendrakishore's son and father to Satyajit, was a pioneering Bengali writer of nonsense rhyme and children's literature, an illustrator and a critic. Ray was born to Sukumar and Suprabha Ray in Kolkata.

Sukumar Ray died when Satyajit was barely three, and the family survived on Suprabha Ray's meager income. Ray studied at Ballygunge Government High School, Calcutta, and completed his B.A. (Hons.) in economics at Presidency College of the University of Calcutta, though his interest was always in fine arts. In 1940, his mother insisted that he study at the Visva-Bharati University at Santiniketan, founded by Rabindranath Tagore. Ray was reluctant due to his love of Kolkata, and the low opinion of the intellectual life at Santiniketan His mother's persuasion and his respect for Tagore finally convinced him to try. In Santiniketan, Ray came to appreciate Oriental art. He later admitted that he learned much from the famous painters Nandalal Bose and Benode Behari Mukherjee. Later he produced a documentary film, ''The Inner Eye,'' about Mukherjee. His visits to Ajanta, Ellora and Elephanta stimulated his admiration for Indian art.

Early career

In 1943, Ray started work at D.J. Keymer, a British-run advertising agency, as a "junior visualiser," earning eighty rupees a month. Although he liked visual design (graphic design) and he was mostly treated well, there was tension between the British and Indian employees of the firm. The British were better paid, and Ray felt that "the clients were generally stupid."

Ray also worked for Signet Press, a new publishing house started by D. K. Gupta. Gupta asked Ray to create cover designs for books to be published by Signet Press and gave him complete artistic freedom. Ray designed covers for many books, including Jim Corbett's ''Maneaters of Kumaon,'' and Jawaharlal Nehru's ''Discovery of India.'' He worked on a children's version of ''Pather Panchali,'' a classic Bengali novel by Bibhutibhushan Bandopadhyay, renamed as ''Am Antir Bhepu'' (''The mango-seed whistle''). Designing the cover and illustrating the book, Ray was deeply influenced by the work. He used it as the subject of his first film, and featured his illustrations as shots in his groundbreaking film.

Along with Chidananda Dasgupta and others, Ray founded the Calcutta Film Society in 1947. They screened many foreign films, many of which Ray watched and seriously studied. He befriended the American GIs stationed in Kolkata during World War II, who kept him informed about the latest American films showing in the city. He came to know a RAF employee, Norman Clare, who shared Ray's passion for films, chess and western classical music.

Renoir and London

In 1949, the French director Jean Renoir came to Kolkata to shoot his film ''The River''. Ray helped him to find locations in the countryside. Ray told Renoir about his idea of filming ''Pather Panchali'', which had long been on his mind, and Renoir encouraged him in the project. In 1950, D.J. Keymer sent Ray to London to work at its headquarters office. During his three months in London, Ray watched 99 films. Among these was the neorealist film ''Ladri di biciclette'' (''Bicycle Thief'') (1948) by Vittorio De Sica, which had a profound impact on him. Ray later said that he came out of the theater determined to become a filmmaker.

Marriage and family

Earlier in 1949, Ray married Bijoya Das, his first cousin and longtime sweetheart. The couple had a son, Sandip, who is now a film director.

The Apu Years (1950–1959)

Ray decided to use ''Pather Panchali'' (1928), 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 1952 with his personal savings and hoped to raise more money once he had some passages shot, but did not succeed on his terms. As a result, Ray shot ''Pather Panchali'' over three years, an unusually long period, based on when he or his production manager Anil Chowdhury could raise additional funds. He refused funding from sources who wanted a change in script or supervision over production. He also ignored advice from the government to incorporate a happy ending, but he did receive funding that allowed him to complete the film.

Ray showed an early film passage to the notable Anglo-Irish director John Huston, who was in India scouting locations for ''The Man Who Would Be King''. 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. Huston notified Monroe Wheeler at the New York Museum of Modern Art (MOMA) that a major talent was on the horizon.

With a loan from the West Bengal government, Ray finally completed the film. It was released in 1955 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 [...] ''Pather Panchali'' is pure cinema." In the United Kingdom, Lindsay Anderson wrote a glowing review of the film. But, the reaction was not uniformly positive. After watching the movie, François Truffaut is reported to have said, "I don’t want to see a movie of peasants eating with their hands." Bosley Crowther, then the most influential critic of ''The New York Times'', wrote a scathing review of the film. 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''). This film shows the eternal struggle between the ambitions of a young man, Apu, and the mother who loves him. Critics such as Mrinal Sen and Ritwik Ghatak rank it higher than Ray's first film. ''Aparajito'' won the Golden Lion at the Venice film festival, bringing Ray considerable acclaim.

Before completing ''The Apu Trilogy'', Ray directed and released two other films: the comic ''Parash Pathar'' (''The Philosopher's Stone''), and ''Jalsaghar'' (''The Music Room''), a film about the decadence of the Zamindars, considered one of his most important works.

When making ''Aparajito'', Ray had not planned a trilogy, but after he was asked about the idea in Venice, it appealed to him. He finished the last of the trilogy, ''Apur Sansar'' (''The World of Apu'') in 1959. The 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." They suffer tragedy. 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.

Ray's film successes had little influence on his personal life in the years to come. 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'' (1959–1964)

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.

Ray followed ''Apur Sansar'' with ''Devi'' (''The Goddess''), a film in which he examined the superstitions in the Hindu society. 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 1961, 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.

In the same year, together with Subhas Mukhopadhyay and others, Ray was able to revive ''Sandesh'', the children's magazine which his grandfather once published. Ray had been saving money for some years to make this possible. A duality in the name (''Sandesh'' means both "news" in Bengali and also a sweet popular dessert) set the tone of the magazine (both educational and entertaining). 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 1962, 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.

In the sixties, Ray visited Japan and took particular pleasure in meeting the filmmaker Akira Kurosawa, for whom he had very high regard. 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 1964 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. Based on "Nastanirh", a short story of Tagore, the film tells of a lonely wife, Charu, in 19th-century Bengal, and her growing feelings for her brother-in-law Amal. 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. Madhabi Mukherjee's performance as Charu, and the work of both Subrata Mitra and Bansi Chandragupta in the film, have been highly praised. Other films in this period include ''Mahanagar'' (''The Big City''), ''Teen Kanya'' (''Three Daughters''), ''Abhijan'' (''The Expedition'') and ''Kapurush o Mahapurush'' (''The Coward and the Holy Man'').

New directions (1965–1982)

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 matinée idol. In spite of the film's receiving a "Critics prize" at the Berlin Festival, it had a generally muted reception.

In 1967, Ray wrote a script for a film to be called ''The Alien'', based on his short story "Bankubabur Bandhu" ("Banku Babu's Friend") which he wrote in 1962 for ''Sandesh'', the Ray family magazine. Columbia Pictures was the producer for what was a planned U.S.-India co-production, and Peter Sellers and Marlon Brando were cast as the leading actors. 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. Wilson copyrighted the script credited to ''Mike Wilson & Satyajit Ray'', although he contributed only one word. Ray later said that he never received a penny for the script. After Brando dropped out of the project, the project tried to replace him with James Coburn, but Ray became disillusioned and returned to Kolkata. Columbia expressed interest in reviving the project several times in the 1970s and 1980s, but nothing came of it. When ''E.T.'' was released in 1982, Clarke and Ray saw similarities in the film to his earlier ''Alien'' script. In a 1980 ''Sight & Sound'' feature, Ray had discussed the collapse of his American co-project. His biographer Andrew Robinson provided more details in ''The Inner Eye'' (1989). 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. Besides ''The Alien'', two other unrealized projects which Ray had intended to direct were adaptations of the ancient Indian epic, the ''Mahābhārata'', and E. M. Forster's 1924 novel ''A Passage to India''.

In 1969, Ray released what would be commercially the most successful of his films. Based on a children's story written by his grandfather, ''Goopy Gyne Bagha Byne'' (''The Adventures of Goopy and Bagha''), it is a musical fantasy. 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.

Ray made a film from a novel by the young poet and writer, Sunil Gangopadhyay. 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 express their characters. Critics thought the film to be a revealing study of the Indian middle class. Ray cast Bombay-based actress Simi Garewal as a tribal woman. She was pleased that he could envision someone as urban as she in that role.

After ''Aranyer'', Ray addressed contemporary Bengali life. He completed what became known as the ''Calcutta Trilogy'': ''Pratidwandi'' (1970), ''Seemabaddha'' (1971), and ''Jana Aranya'' (1975), three films that were conceived separately but had thematic connections. ''Pratidwandi'' (''The Adversary'') is about an idealist young graduate; if disillusioned at the end of film, he is still uncorrupted. ''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. In the 1970s, Ray adapted two of his popular stories as detective films. Though mainly addressed to children and young adults, both ''Sonar Kella'' (''The Golden Fortress'') and ''Joy Baba Felunath'' (''The Elephant God'') found some critical following.

Ray considered making a film on the Bangladesh Liberation War but later abandoned the idea. He said that, as a filmmaker, he was more interested in the travails of the refugees and not the politics. In 1977, Ray completed ''Shatranj Ke Khiladi'' (''The Chess Players''), a Hindi film based on a story by Munshi Premchand. It was set in Lucknow in the state of Oudh, a year before the Indian rebellion of 1857. 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. It is his most expensive and star-studded film, featuring Sanjeev Kumar, Saeed Jaffrey, Amjad Khan, Shabana Azmi, Victor Bannerjee and Richard Attenborough.

In 1980, Ray made a sequel to ''Goopy Gyne Bagha Byne'', a somewhat political ''Hirak Rajar Deshe'' (''Kingdom of Diamonds''). The kingdom of the evil Diamond King, or ''Hirok Raj,'' is an allusion to India during Indira Gandhi's emergency period. Along with his acclaimed short film ''Pikoo'' (''Pikoo's Diary'') and hour-long Hindi film, ''Sadgati,'' this was the culmination of his work in this period.

The last phase (1983–1992)

In 1983, 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 1984 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 1940s. In spite of rough patches due to Ray's illness, the film did receive some critical acclaim. It had the first kiss fully portrayed in Ray's films. In 1987, 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 first, ''Ganashatru'' (''An Enemy of the People'') is an adaptation of the famous Ibsen play, and considered the weakest of the three. Ray recovered some of his form in his 1990 film ''Shakha Proshakha'' (''Branches of the Tree''). In it, an old man, who has lived a life of honesty, comes to learn of the corruption of three of his sons. 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.

In 1992, Ray's health deteriorated due to heart complications. 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 1992 at the age of seventy-one.

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. Though Ray openly praised Mitra, his single-mindedness in taking over operation of the camera after ''Charulata'' caused Mitra to stop working for him after 1966. Mitra developed "bounce lighting", a technique to reflect light from cloth to create a diffused, realistic light even on a set. Ray acknowledged his debts to Jean-Luc Godard and François Truffaut of the French New Wave for introducing new technical and cinematic innovations.

Ray's regular editor was Dulal Datta, but the director usually dictated the editing while Datta did the actual work. Because of financial reasons and Ray's meticulous planning, his films were mostly cut "on the camera" (apart from ''Pather Panchali''). At the beginning of his career, Ray worked with Indian classical musicians, including Ravi Shankar, Vilayat Khan and Ali Akbar Khan. 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. Starting with ''Teen Kanya'', Ray began to compose his own scores.

He used actors of diverse backgrounds, from famous film stars to people who had never seen a film (as in ''Aparajito''). Robin Wood and others have lauded him as the best director of children, pointing out memorable performances in the roles of Apu and Durga (''Pather Panchali''), Ratan (''Postmaster'') and Mukul (''Sonar Kella''). 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). Actors who had worked for Ray praised his customary trust but said he could also treat incompetence with "total contempt".

Literary works

Ray created two very popular characters in Bengali children's literature—Feluda, a sleuth, and Professor Shonku, a scientist. He was a prominent writer of science fiction. Feluda often has to solve a puzzle to get to the bottom of a case. The Feluda stories are narrated by Topshe, his cousin, something of a Watson to Feluda's Holmes. The science fictions of Shonku are presented as a diary discovered after the scientist had mysteriously disappeared. Ray also wrote a collection of nonsense verse named ''Today Bandha Ghorar Dim,'' which includes a translation of Lewis Carroll's "Jabberwocky". He wrote a collection of humorous stories of Mullah Nasiruddin in Bengali.

His short stories for adults were published as collections of 12 stories, in which the overall title played with the word twelve (for example ''Aker pitthe dui'', or literally "Two on top of one"). Ray's interest in puzzles and puns is reflected in his stories. Ray's short stories give full rein to his interest in the macabre, in suspense and other aspects that he avoided in film, making for an interesting psychological study. Most of his writings have been translated into English, and are finding a new group of readers.

Most of his screenplays have been published in Bengali in the literary journal ''Eksan''. Ray wrote an autobiography about his childhood years, ''Jakhan Choto Chilam'' (1982).

He also wrote essays on film, published as the collections: ''Our Films, Their Films'' (1976), along with ''Bishoy Chalachchitra'' (1976), ''Ekei Bole Shooting'' (1979). During the mid-1990s, Ray's film essays and an anthology of short stories were also published in English in the West. ''Our Films, Their Films'' is an anthology of film criticism by Ray. The book contains articles and personal journal excerpts. The book is presented in two sections: Ray first discusses Indian film, before turning his attention toward Hollywood, specific filmmakers (Charlie Chaplin and Akira Kurosawa), and movements such as Italian neorealism. His book ''Bishoy Chalachchitra'' was published in translation in 2006 as ''Speaking of Films''. It contains a compact description of his philosophy of different aspects of the cinema. Satyajit Ray designed four typefaces for roman script named Ray Roman, Ray Bizarre, Daphnis, and Holiday Script, apart from numerous Bengali ones for the Sandesh magazine. Ray Roman and Ray Bizarre won an international competition in 1971. In certain circles of Kolkata, Ray continued to be known as an eminent graphic designer, well into his film career. Ray illustrated all his books and designed covers for them, as well as creating all publicity material for his films. He also designed covers of several books by other authors.

Critical and popular response

Ray's work has been described as full of humanism and universality, and of a deceptive simplicity with deep underlying complexity. The Japanese director Akira Kurosawa said, "Not to have seen the cinema of Ray means existing in the world without seeing the sun or the moon." But his detractors find his films glacially slow, moving like a "majestic snail." Some find his humanism simple-minded, and his work anti-modern; they criticize him for lacking the new modes of expression or experimentation found in works of Ray's contemporaries, such as Jean-Luc Godard. As Stanley Kauffman wrote, some critics believe that Ray "assumes [viewers] can be interested in a film that simply dwells in its characters, rather than one that imposes dramatic patterns on their lives." Ray said he could do nothing about the slow pace. Kurosawa defended him by saying that Ray's films were not slow, "His work can be described as flowing composedly, like a big river".

Critics have often compared Ray to artists in the cinema and other media, such as Anton Chekhov, Renoir, De Sica, Howard Hawks or Mozart. The writer V. S. Naipaul compared a scene in ''Shatranj Ki Khiladi'' (The Music Room) to a Shakespearean play; he wrote, "only three hundred words are spoken but goodness! – terrific things happen." Even critics who did not like the aesthetics of Ray's films generally acknowledged his ability to encompass a whole culture with all its nuances. Ray's obituary in ''The Independent'' included the question, "Who else can compete?"

Political ideologues took issue with Ray's work. In a public debate during the 1960s, Ray and the Marxist filmmaker Mrinal Sen engaged in an argument. Sen criticized him for casting a matinée idol such as Uttam Kumar, whom he considered a compromise. Ray said that Sen only attacked "easy targets", i.e. the Bengali middle-classes. Advocates of socialism said that Ray was not "committed" to the cause of the nation's downtrodden classes; some critics accused him of glorifying poverty in ''Pather Panchali'' and ''Ashani Sanket'' (Distant Thunder) through lyricism and aesthetics. They said he provided no solution to conflicts in the stories, and was unable to overcome his bourgeoisie background. During the naxalite movements in the 1970s, agitators once came close to causing physical harm to his son, Sandip. Early in 1980, Ray was criticized by an Indian M.P. and former actress Nargis Dutt, who accused Ray of "exporting poverty." She wanted him to make films to represent "Modern India."

Legacy

Satyajit Ray is a cultural icon in India and in Bengali communities worldwide. Following his death, the city of Kolkata came to a virtual standstill, as hundreds of thousands of people gathered around his house to pay their last respects. Satyajit Ray's influence has been widespread and deep in Bengali cinema; a number of Bengali directors, including Aparna Sen, Rituparno Ghosh and Gautam Ghose in India, Tareq Masud and Tanvir Mokammel in Bangladesh, and Aneel Ahmad in England, have been influenced by his film craft. Across the spectrum, filmmakers such as Budhdhadeb Dasgupta, Mrinal Sen and Adoor Gopalakrishnan have acknowledged his seminal contribution to Indian cinema. Beyond India, filmmakers such as Martin Scorsese, James Ivory, Abbas Kiarostami, Elia Kazan, François Truffaut, Carlos Saura, Isao Takahata and Danny Boyle have been influenced by his cinematic style, with many others such as Akira Kurosawa praising his work. Gregory Nava's 1995 film ''My Family'' had a final scene that repeated that of ''Apur Sansar''. Ira Sachs's 2005 work ''Forty Shades of Blue'' was a loose remake of ''Charulata.'' Other references to Ray films are found, for example, in recent works such as ''Sacred Evil'', the ''Elements trilogy'' of Deepa Mehta and even in films of Jean-Luc Godard. According to Michael Sragow of ''The Atlantic Monthly'', the "youthful coming-of-age dramas that have flooded art houses since the mid-fifties owe a tremendous debt to the Apu trilogy". The trilogy also introduced the bounce lighting technique. ''Kanchenjungha'' (1962) introduced a narrative structure that resembles later hyperlink cinema. ''Pratidwandi'' (1972) helped pioneer photo-negative flashback and X-ray digression techniques.

The character Apu Nahasapeemapetilon in the American animated television series '' The Simpsons'' was named in homage to Ray's popular character from ''The Apu Trilogy''. Together with Madhabi Mukherjee, Ray was the first Indian film figure to be featured on a foreign stamp (Dominica).

Many literary works include references to Ray or his work, including Saul Bellow's ''Herzog'' and J. M. Coetzee's ''Youth''. Salman Rushdie's ''Haroun and the Sea of Stories'' contains fish characters named ''Goopy'' and ''Bagha'', a tribute to Ray's fantasy film. In 1993, UC Santa Cruz established the Satyajit Ray Film and Study collection, and in 1995, the Government of India set up Satyajit Ray Film and Television Institute for studies related to film. In 2007, British Broadcasting Corporation declared that two ''Feluda'' stories would be made into radio programs. During the London Film Festival, a regular "Satyajit Ray Award" is given to a first-time feature director whose film best captures "the artistry, compassion and humanity of Ray's vision". Wes Anderson has claimed Ray as an influence on his work; his 2007 film, ''The Darjeeling Limited'', set in India, is dedicated to Ray.

Awards, honours and recognitions

Numerous awards were bestowed on Ray throughout his lifetime, including 32 National Film Awards by the Government of India, in addition to awards at international film festivals. At the Berlin Film Festival, he was one of only three filmmakers to win the Silver Bear for Best Director more than once and holds the record for the most number of Golden Bear nominations, with seven. At the Venice Film Festival, where he had previously won a Golden Lion for ''Aparajito'' (1956), he was awarded the Golden Lion Honorary Award in 1982. That same year, he received an honorary "Hommage à Satyajit Ray" award at the 1982 Cannes Film Festival.

Ray is the second film personality after Chaplin to have been awarded honorary doctorates by Oxford University. He was awarded the Dadasaheb Phalke Award in 1985 and the Legion of Honor by the President of France in 1987. The Government of India awarded him the highest civilian honour, Bharat Ratna shortly before his death. The Academy of Motion Picture Arts and Sciences awarded Ray an honorary Oscar in 1992 for Lifetime Achievement. It was one of his favourite actresses, Audrey Hepburn, who represented the Academy of Motion Picture Arts and Sciences on that day in Calcutta. Ray, unable to attend the ceremony due to his illness, gave his acceptance speech to the Academy via live video feed in his home. In 1992 he was posthumously awarded the ''Akira Kurosawa Award for Lifetime Achievement in Directing'' at the San Francisco International Film Festival; it was accepted on his behalf by actress Sharmila Tagore.

In 1992, the ''Sight & Sound'' Critics' Top Ten Poll ranked Ray at #7 in its list of "Top 10 Directors" of all time, making him the highest-ranking Asian filmmaker in the poll. In 2002, the ''Sight & Sound'' critics' and directors' poll ranked Ray at #22 in its list of all-time greatest directors, thus making him the fourth highest-ranking Asian filmmaker in the poll. In 1996, ''Entertainment Weekly'' magazine ranked Ray at #25 in its "50 Greatest Directors" list. In 2007, ''Total Film'' magazine included Ray in its "100 Greatest Film Directors Ever" list.

See also

Bengali cinema

* Cinema of West Bengal

Cinema of India

* Parallel Cinema

Notes

References

. . . .

Ishaghpour, Y (2002). ''Satyajit Ray, l'Orient et l'Occident'', Editions de la Différence, collection : Les essais, France. ISBN 2729114017

. . . . . . . . . . . .

External links

Satyajit Ray, Ray's Films and Ray-Movie

Experiencing Ray's "The Apu Trilogy"

Satyajit Ray Foundation

SatyajitRay.org

Biography at Calcuttaweb.com

BBC-h2g2 Entry: Satyajit Ray's Goopy-Bagha Trilogy

"Remembering Ray, frame by frame"

Satyajit Ray Film and Study Collection

article by Andrew Robinson

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ar:ساتياجيت راي an:Satyajit Ray bn:সত্যজিৎ রায় be:Сацьяджыт Рэй be-x-old:Сат’яджыт Рай bs:Satyajit Ray br:Satyajit Ray bg:Сатяджит Рей ca:Satyajit Ray cy:Satyajit Ray da:Satyajit Ray de:Satyajit Ray et:Satyajit Ray es:Satyajit Ray eo:Satyajit Ray fa:ساتیاجیت رای hif:Satyajit Ray fr:Satyajit Ray gl:Satyajit Ray gu:સત્યજીત રે ko:사티야지트 레이 hi:सत्यजित राय hr:Satyajit Ray id:Satyajit Ray is:Satyajit Ray it:Satyajit Ray he:סטיאג'יט ריי kn:ಸತ್ಯಜಿತ್ ರೇ la:Satyajit Ray lv:Satjadžits Rejs lt:Satjadžitas Rėjus ml:സത്യജിത് റേ mr:सत्यजित रे arz:ساتياجيت راى nl:Satyajit Ray ne:सत्यजित राय ja:サタジット・レイ no:Satyajit Ray nn:Satyajit Ray oc:Satyajit Ray pnb:ستیہ جیت راۓ pl:Satyajit Ray pt:Satyajit Ray rue:Сатьяджит Рей ru:Рай, Сатьяджит sa:सत्यजित राय simple:Satyajit Ray sl:Satjadžit Raj sr:Сатјађит Рај sh:Satyajit Ray fi:Satyajit Ray sv:Satyajit Ray ta:சத்யஜித் ராய் roa-tara:Satyajit Ray te:సత్యజిత్ రే th:สัตยาจิต เรย์ tr:Satyajit Ray uk:Сатьяджит Рай ur:ستیہ جیت رائے vi:Satyajit Ray war:Satyajit Ray zh:萨蒂亚吉特·雷伊

name	Khan Ataur Rahman
birth name	Khan Ataur Rahman
birth date	December 11, 1928
birth place	Singair, Manikganj Bangladesh
death date	December 01, 1997
death place	Dhaka, Bangladesh
othername	Tara Anis Khan Ata
occupation	Actor, Film director, Music composer, Singer
yearsactive	(1963–1997)
spouse	Shirley Mahabuba Hasnat Nilufar Yasmin (1968–1997) }}

Khan Ataur Rahman () (December 11, 1928 – December 1, 1997) was a Bangladeshi film actor, director, producer, screenplay writer, music composer, and singer. He is mostly famous for his role in the film ''Jibon Theke Neya'' (1970). In this film, his rendition of the song ''E Khancha bhangbo ami kemon kore'' echoed the national psyche on East Pakistan's ongoing disparity and tyranny. He is mostly known as Khan Ata to the mass population of Bangladesh.

Early life and education

The son of Ziarat Hossain Khan and Zohra Khatun, who lived in Singair Upazila, Manikganj District, Khan Ataur Rahman was born on December 11, 1928. When Khan Ata was student of class three, he won the first prize of Dhaka Zilla Music Competition. He rendered the song ''Mon paban-er dinga baiyya''.

Khan Ata attended Dhaka Collegiate School, Dhaka College, and Dhaka University, completing a Bachelor of Science degree. Rahman was extremely obsessed with films. After enrolling in Dhaka Medical College, a career he later decided not to pursue, he made an attempt to escape from house and join films. He had only Taka 60 in his possession that time. Accidentally his brother-in-law spotted Rahman in the Rail Station. He was forced back to home.

As of Rahman's Bohemian type attitude, he left Dhaka University in 1949 and ran away from house for the second time. This time he went to Mumbai (former Bombay). He started frequented the film industry and slept on the side walks. He met Jyoti Studio's cameraman Jal Irani, and he gave Rahman the chance to work as an apprentice but it was not satisfying enough for him.

Career

In 1950 Khan Ataur Rahman went to Karachi and took a job as a News Presenter in Radio Pakistan. Here he met with another notable Bengali media personality Foteh Lohani. Khan Ata was very interested in film, that is why he started taking music lessons from renowned Pakistani ''Sarnagi'' (a kind of musical instrument) player Jawahari Khan. After some days Foteh Lohani moved to London. In 1952 Khan Ata went London as well. There he performed as a singer and actor in several Bengali programs. He met with artist SM Sultan and helped him with his savings to buy art supplies for the artist. Rahman and his companions also made arrangements for displaying and selling Sultan's paintings.

In 1953 Rahman enrolled in the Theatre department at City Literary Institute. Rahman studied in the Netherlands when he was awarded a UNESCO fellowship in 1954. Thereafter, he worked as a teacher in London but also took to the stage for several years. In 1956, he returned to home and starred in a film called ''Jago Hua Sabera'' (1956) directed by AJ Kader. He played many roles with notable Bengali actress Tripti Mitra. In 1963 he made his directorial debut with the film ''Onek Diner Chena'', and continued making many notable films like ''Nawab Sirajuddaula'' (1967), ''Saat Vai Champa'' (1968), ''Arun Barun Kironmala'' (1968), ''Abar Tora Manush Ho'' (1973), ''Sujon Sokhi'' (1976), ''Ekhono Onek Raat'' (1997).

In addition to acting, Khan Ataur Rahman was a songwriter with over 500 compositions, some of which remain popular.

Personal life

Khan Ataur Rahman married three times. When he was in London, completing a higher course in Cinematography, he met an English girl named Shirley and married her. On their return to Bangladesh and after having a child, they got divorced. Shirly returned to London with the child. Then Khan Ata married Mahabuba Hasnat. They met in a Radio Station. They had a daughter named Rumana Islam, a Bangladeshi singer. In 1968, Khan Ata married Nilufar Yasmin, a famous Bangladeshi singer. They had a boy from this family, named Agun, who is also a notable singer of Bangladesh.

Filmography

As director

As actor

As composer

Awards

Pakistan Film Festival Award

Nigar Award

International film festival awards at Moscow and Tashkent

National Film Award of Bangladesh

References

External links

Khan Ataur Rahman at the Banglapedia

Category:1928 births Category:1997 deaths Category:Bangladeshi film directors Category:Bangladeshi actors Category:University of Dhaka people Category:Bangladeshi male singers

bn:খান আতাউর রহমান