Satyajit Ray has directed films which have been released and earned fame abroad as well. It’s a testament to Ray’s piercing artistry wherein many contemporary western critics will speak to the emotional universality of Ray’s films.
Kanchenjunga: The winding mountaineering trails of Darjeeling properly pictured in the postcard setting little wonder why Satyajit Ray chose Kanchenjungha as his first most colour production. It was also Ray’s first original screenplay and also first film to feature a score of his own composition. The title of the movie refers to mighty Himalayan mountain, a sort of rosebud i.e a group of upper-crust Calcuttans on the last day of holiday have been unable to catch the beautiful sight of through the cloud cover. The film is all about ambulatory discussion basically related to an arranged marriage in the making and critique of well-to-do Bengali society.
Three Daughters: In the year of 1964, Satyajit Ray would make one of his most acclaimed films called Charulata, an adaptation of a 1901 novel by Nobel prize-winning Bengali poet Rabindranath Tagore. Before that, he had an ambitious notion of dual projects for the occasion of the philosopher-poet centenary. Three daughters is a triptych of an hour-long episode taken from Tagore’s short fiction which would stand among Satyajit Ray’s finest achievements as a director.
The ultimate adventure of Goopy and Bagha: Within the exception of The Music Room, the entire adventure of Goopy and Bagha and its sequel released in 1980 named The Kingdom of Diamonds are the only musicals portrayed in Ray’s filmography. The adventure of Goopy and Bagha received the longest ever continuous run for a famous Bengali film.
Distant Thunder: Satyajit Ray had been planning to make a movie about the Bengal famine of 1943-1944 for a few years. After he returned to the village landscapes he had been left behind with Three Daughters. The movie Distant Thunder examines the actual cause of cataclysm. Shooting in the vibrant colour, Ray had fielded accusation about the glamorous or astheticised the famine and it’s true that cinematographer Soumendu Roy had captured the lushness of natural world in pure vibrant detail.
The Middleman: A tale of an ambitious executive seeking for promotion-before the conclusion with a bustling story of urban entrepreneurship. The middleman is hardly a moral fable or you can also say Ray’s spin on rake’s progress.
Here is what to watch next from one of India's greatest filmmakers movies that captured the hearts of Indians in a unique way which is rare to find.
