सत्यजित राय  हिन्दी देवनागरी में पढ़ें।

satyajit ray vishay soochi
satyajit ray
Satyajit-Ray.jpg
poora nam satyajit 'sukumar' ray
any nam satyajit re, shaauttojit raauy
janm 2 mee, 1921
janm bhoomi kalakatta
mrityu 23 apral, 1992
mrityu sthan kolakata
abhibhavak pita- sukumar ray
mata- suprabha ray
pati/patni bijoya das
karm-kshetr film nirmata-nirdeshak, gitakar, sahityakar aur chitrakar
mukhy filmen pather panchali, apur snsar, aparajito, jalasa ghar, abhiyan adi.
puraskar-upadhi bharat ratn, padm vibhooshan, dadasahab phalake puraskar
prasiddhi san 1992 men vishv sinema men abhootapoorv yogadan ke lie satyajit ray ko manad aauskar avaaurd se alnkrit kiya gaya.
vishesh yogadan vishv men bharatiy filmon ko nee pahachan dilaee.
nagarikata bharatiy
any janakari filmakar ke alava vah kahanikar, chitrakar aur film alochak bhi the.

satyajit ray / satyajit re / shaauttojit raauy (angrezi: Satyajit Ray, janm:2 mee, 1921 - mrityu: 23 apral, 1992) bisavin shatabdi ke vishv ki mahanatam filmi hastiyon men se ek the, jinhonne yatharthavadi dhara ki filmon ko nee disha dene ke alava sahity, chitrakala jaisi any vidhaon men bhi apani pratibha ka parichay diya. satyajit ray pramukh roop se filmon men nirdeshak ke roop men jane jate hain, lekin lekhak aur sahityakar ke roop men bhi unhonne ullekhaniy men khyati arjit ki hai. satyajit ray film nirman se snbndhit kee kam khud hi karate the. inamen nirdeshan, chhayankan, patakatha, parshv sngit, kala nirdeshan, snpadan adi shamil hain. filmakar ke alava vah kahanikar, chitrakar aur film alochak bhi the. satyajit ray kathanak likhane ko nirdeshan ka abhinn ang manate the. satyajit ray ne apane jivan men 37 filmon ka nirdeshan kiya, jinamen fichar filmen, vritt chitr aur laghu filmen shamil hain. inaki pahali film 'pather panchali' ko kan filmotsav men mile “sarvottam manaviy pralekh” puraskar ko milakar kul gyarah antarrashtriy puraskar mile. vishv men bharatiy filmon ko nee pahachan dilane vale satyajit ray bharat ratn (1992) ke atirikt padm shri (1958), padm bhooshan (1965), padm vibhooshan (1976) aur reman maigsese puraskar (1967) se sammanit hain. vishv sinema men abhootapoorv yogadan ke lie satyajit ray ko manad 'aauskar avaaurd' se alnkrit kiya. isake alava unhonne aur unake kam ne kul 32 rashtriy film puraskar prapt kiye.

vishv sinema ke pitamah mane jane vale mahanh nirdeshak akira kurosava ne ray ke lie kaha tha "satyajit ray ke bina sinema jagat vaisa hi hai jaise sooraj-chand ke bina asaman"

jivan parichay

apane mata-pita ki ikalauti sntan satyajit ray ke pita 'sukumar ray' ki mrityu sanh 1923 men huee jab satyajit ray mushkil se do varsh ke the. unaka palan-poshan unaki man 'suprabha ray' ne apane bhaee ke ghar men mamere bhaee-bahanon, mama-mamiyon vale ek bhare-poore aur phaile hue kunabe ke bich kiya. unaki man jo lnbe sadhe vyaktitv ki svamini thin,
bal satyajit ray
vo ravindr sngit ki mnji huee gayika thin aur unaki avaz kafi damadar thi. satyajit ray ke dadaji 'upendrakishor ray' ek lekhak evn chitrakar the aur inake pitaji bhi bangla men bachchon ke lie rochak kavitaen likhate the aur vah ek chitrakar bhi the. yah parivar aparihary roop se taigor gharane ke najadik tha. presidensi kaaulej kalakatta se snatak hone ke bad ray penting ke adhyayan ke lie jisamen ve prarnbhik avastha men hi apani yogyata pradarshit kar chuke the, ravindranath taigor dvara sthapit ravindr bharati vishvavidyalay, shantiniketan chale ge.

shantiniketan men shiksha

us samay par shantiniketan sahity aur kala ki nayi bharatiy chetana ke kendr ke roop men n keval desh men balki vishv bhar men charchit tha. ravindranath taigor ke prati akarshan samooche bharat se chhatr aur adhyapakon ko yahan khinch lata tha. any deshon se bhi chhatr yahan ate the aur is tarah ek aisi nayi bharatiy snskriti ke vikas ki paristhitiyan nirmit ho rahi thin jo apani svayn ki parnparaon par adharit thin. shantiniketan men satyajit ray ne nndalal bos aur vinod bihari mukhopadhyay jaise siddhahast kalakaron se shiksha prapt ki, jin par bad men unhonne ‘inar aee’ film bhi banaee.

pres aur prakashan snsthan

san 1942 men madhy bharat ke kala smarakon ke bhraman ke bad ray ne shantiniketan chhod diya. shighr hi unhen ek british vigyapan ejensi 'di .je. kemar end knpani' men vanijyik kalakar (kamarshiyal artist) ke roop men rozagar mil gaya jahan kam karate hue unhonne pustakon ke avaran prishthon ki saj sajja (dijaining) aur rekhankan kary paryapt matra men kiya. yah kam unhonne bharatiy pustak prakashan ke kshetr men ne manak sthapit karane vale agrani prakashan snsthan 'sainet pres' ke lie kiya. jin pustakon ka unhonne rekhankan kiya unamen se ek 'vibhooti bhooshan bndyopadhyay' ki pather panchali ka snkshipt snskaran bhi tha.

sinema men ruchi aur prashikshan

yuvavastha men satyajit ray

is samay tak, filmon men unaki ruchi paryapt roop se ujagar ho chuki thi. sanh 1947 men unhonne any logon ke sath 'kalakatta film sosayati' ki sthapana ki aur bharatiy sinema ki samasyaon tatha sinema kis tarah ka chahie, vishay par lekh likhe. kalakatta film sosayati ne badi snkhya men sine premiyon ko jutaya jinamen se kuchh pramukh film nirmata bane. ray ki pahal ne n keval unhen film shikshan pradan kiya balki any ko bhi filmi shiksha pradan ki, kyonki kalakatta film sosayati ne vishv sinema ki bahut si aisi pramukh kritiyon ka pradarshan kiya jo isase poorv bharat men kabhi nahin dikhaee gee thin.

videsh men prashikshan

san 1950 men unake niyoktaon ne unhen agrim prashikshan ke lie lndan bheja. yah unaki lindse endarsan aur gavin lambart se mitrata huee aur unhonne apane sadhe char mah ke pravas ke dauran lagabhag sau filmen dekhin jinamen baisikil thivas tatha any italavi nav-yatharthavadi filmen shamil thin, jinhonne satyajit ray ke oopar gahara prabhav chhoda. jalayan dvara bharat vapas lautate samay hi unhonne pather panchali ki patakatha likhana shuroo kiya. sanh 1952 men bharat ke pahale antarrashtriy film mahotsav ka ayojan hua jisamen unhonne ek bar phir italavi nav-yatharthavadi filmon se sakshatkar kiya. sath hi japan sahit any deshon ki filmon bhi unhonne dekhin.

prarnbhik prashikshan haaulivud filmon se

satyajit ray ka sinema ka prarnbhik prashikshan haaulivud filmon ke adhyayan ke roop men hua- vastav men azadi se poorv ve ye hi filmen dekh sakate the. jaisa ki unhonne bar-bar kaha- unhonne film nirman mukhyat: amariki filmon ko bar-bar dekhakar sikha. tarkik aur (kam se kam satah par) yatharthavadi varnan ki haaulivud shaili ne unake oopar gahara prabhav chhoda.

pather panchali ki saphalata
film 'pather panchali' ka ek drishy

pather panchali ki nirvivad saphalata ke bad hi hua ki satyajit ray ne, jinhen film nirman ke dauran kuchh mahinon ki chhutti savetan pradan ki gee thi, antat: di.je. kemar end knpani ki apani naukari chhod di. vigyapan men unaki ruchi poori tarah kabhi bhi samapt nahin huee, apani prathamik filmon ke lie prachar samagri khud hi taiyar karane ke alava ve kee varshon tak kleriyan edavarataijing sarvisej (di.je. kemar ke uttaradhikari, aur karmachariyon ke svamitv vali) ke ek nideshak ke roop men kary karate rahe. yahan unake kee purane sathi abhi kary karate hain.
pather panchali ke bad ray aksar kaha karate the ki unhonne film nirman filmen dekhakar sikha. jo baten filmen nahin sikha paeen ve unhonne kam ke dauran sikhin. yadyapi 'pather panchali' ko sanh 1956 men kens men ek puraskar diya gaya tha, par vastav men sanh 1957 men 'venis mahotsav' men 'aparajito' ko mila grand prais puraskar hi tha jo pather panchali ko antarrashtriy alok men laya. nyooyark men pather panchali sitnbar sanh 1958 se pahale pradarshit (riliz) nahin ho paee.

film kritiyon ka sajiv varnan

apani kary yatra ke adhobindu tak pahunchane se poorv satyajit ray ne nayak (1966) ka nirman kiya, isaki kahani svayn unhonne likhi thi aur isamen nayak ke roop men bngal ke pratibhashali sine abhineta uttam kumar ko liya gaya tha. knchanajngha ki tarah ve ek bar phir shreshth sammiti poorn kase hue aur vargakar dhanche ka nirman karate hain. film ka samoocha abhinay nayak ka apani ek bhoomika ke lie puraskar lene jane ki dilli ki ek rat ki rel yatra ke daurana ghatit hota hai. uttam kumar jo samuchit bauddhikata, vinamrata aur lokapriyata vale abhineta hain, ek tarah se svayn apane apako hi abhinit kar rahe hain. sharmila taigor jo bad men akhil bharatiy hindi filmon ki ek badi star bani, yahan ek patrakar ki bhoomika men hai jo usi relagadi men yatra kar rahi hai aur film abhineta ka sakshatkar leti hai.

aparajito (1956)

film 'aparajito' ka ek drishy

aparajito men apani poorvavarti film ke tatvik gun nahin hain, n isaki snrachana ise vaisi hi sntoshakari poorn kriti bana pati hai. yah film apekshakrit tin bhagon men bnt jati hai, snrachanatmak roop se aparajito mukhyat: pather panchali aur 'apur snsar' ke bich pul ke roop men arthapoorn hai. svayn apane ap men yah paryapt sntulit nahin hai, banaras jivnt ho uthata hai apani darshanik gaharaee aur bhavanatmak pratyakshata men aparajito ray ki filmon men asadharan hai, khasataur par banaras ke drishyon men.

apur snsar (1959)

satyajit ray ke snrachanatmak dridhata ke gun ki or vapas mudati hai aur aparajito ki drishtikon ki shuddhata ko jari rakhati hai aur usase age bhi pahunchati hain film ek aise dridh prakritik tark ke sath age badhati hai jo isake kavy ko poori tarah auchityapoorn thaharata hai, svayn ghatanaon men se ubharata hua jaisa ki vah hai n ki ghatanaon ke oopar film nirmata dvara thopa hua.

jalasa ghar (1958)

vastavik marmikata ka khoobasoorat ahvan. film donon hi kam karati hai, unaki kshamataon ka vikas karati hai aur unhen unaki pahali do filmon ke nav yatharthavadi dayaron se bahar bhi le jati hai. jalasa ghar yatharth parak mukhyat: lokeshan shaaut vali tatha gair peshevaron dvara abhinit film hai. jalasa ghar men unhonne stoodiyon ke parivesh ko adhik mahattv diya aur bngali sinema ki ek badi hasti chhavi vishvas ko nirdeshit kiya. yahan ve vishranti aur nav yatharthavad ki manyataon ko chhodakar vaiyaktik charitr aur paristhiti ke prati unake sammohan ke adhik nikat ae.
film 'apur snsar' ka ek drishy
jalasa ghar aur paras patthar donon men apani pahali do filmon ke viparit satyajit ray adhikadhik snbhavit bhinn-bhinn vastuon ko sadhane ki koshish karate hain. vah nirdhanata ke shokakul nav yatharthavadi itihasakar ke roop men svayn ko roodh karane se inkar kar dete hain. phir bhi jalasa ghar usi tarah se samajik parivartan ki ek kahani hai jaise ki trayi ki pahali do filmen hain, aur ek nirdhan vyakti ki tarah hi paras patthar ka klark bhi hamari sahanubhooti jit leta hai.

devi

film devi ne roodhivadiyon men apane prati kuchh virodh paida kiya aur sath hi udarapnthiyon ko bhi vichalit kiya, par yah film ‘pragati’ ka paksh nahin leti. sanh 1960 ka varsh ravindranath taigor ka janm shatabdi varsh tha. satyajit ray ne isako ek fichar film aur ek dirgh vrittachitr ke sath manaya. yah us vyakti ke pati ek shraddhanjali thi jo bharatiyon, vishesh roop se bngaliyon ki kuchh pidhiyon ka path-pradarthak raha tha. badi snkhya men likhi gee taigor ki kahaniyon men se bahut-si kahaniyan utkrisht shilpabaddh hain, phir bhi unamen sahajata, manavata hai jo unhen ek vishal pathak varg men lokapriy bana deti hai.

post mastar

post mastar men satyajit ray ek bar phir apane roop men dikhaee dete hain. chalis minat ki yah film apane snkshipt lekin kushalata se shilpabaddh kie ge apane roopakar ke bhitar manaviy garima se aplavit hai.

knchanajngha (1962)

satyajit ray ki pahali rngin film thi, jo unaki apani kahani par adharit thi aur is drishti se bhi pahali ki isamen tatkalin samaj ko sadha gaya tha. paras patthar men kalakatta ke jivan ki jhalakiyan hain lekin yatharth aur phaintesi ka mishran ise kinare kar deta hai, aur use tatkalin samajik riti-rivajon par tippani ke roop men mushkil se hi vyakhyayit kiya ja sakata hai. lekin paras patthar ke kuchh drishyon ki tarah knchanajngha men bhi samaj ke vibhinn vargon ke bich ki, bhale hi yah saumy kyon n ho, takarahat ko ujagar kiya gaya hai.

abhiyan (1962)

film 'mahanagar' ka ek drishy

satyajit ray ke kairiyar men ek aise vichalan ka pratinidhitv karati hai jisaki vyakhya isi roop men ki ja sakati hai ki satyajit ray jis kam ke lie prashnsit hote hain, kuchh samay bad ve us kam ki simaon ko todakar bahar ana chahate hain aur kisi ne aur aprachalit par hath azamana chahate hain, taiksi draivaron, taskaron aur rakhail auraton ki duniya ray ke madhyavargiy anubhav se utani hi door hai jitani ki koee bhi vastu ho sakati hai.
satyajit ray ki agali tin filmon- mahanagar (1963), charulata (1964) aur laghu fichar film kapurush (1965)- men aurat ke prati ek naya bodh dikhaee deta hai, purush ki parachhaeen ke roop men nahin balki usaki apani nijata ke roop men. mahanagar men pahali bar aisa hota hai ki ham aisi aurat ko samane pate hain jo apani svayn ki zindagi ki disha nirdharit karane ki snbhavanaon ke prati jagarook hai. vishishtata yah hai ki jagriti ka yah sparsh pati ki or se ata hai, kyonki parnparik roop se purush svatntr hai thik usi tarah jaise ki ve striyon ko gulam banae hue hain. satyajit ray ka vishleshanatmak tariqa aur kam shabdon tatha satikata ke sath manasik ghatana ko abhivyakt karane ki unaki kshamata charulata men apane shikhar par pahunchati hai. unaka tariqa is kathan ko uchit thaharata hai ki bharatiy parnpara men sajja aur abhivyakti do alag alag vastuen n hokar ek hain. unaka shilp vivaran ki aisi utkrishtata tak pahunchata hai jo kaushal ko kala men, matra ko gun men aur sajja ko bhavanatmak abhivyakti men badal deta hai. charulata men jo poori dosharahit hai, kuchh aise mahattvapoorn drishy bhi hain jinaka ullekh kiya jana chahie. charu ke akelepan ko darshane vala prarnbhik drishy shabdarahit charitr chitran ka utkrisht udaharan hai jisaki tulana jalasa ghar ke drishy se ki ja sakati hai.

Blockquote-open.gif sinema vah madhyam hai jo bharatiy sngit ki tulana men pashchimi sngit ke adhik nikat hai kyonki bharatiy parnpara men aparivartaniy samay ki avadharana maujood nahin hai- vahan ‘snyojan’ rachana nahin hai- avadhi parivartaniy hai aur sngitakar ki man sthiti par nirbhar karati hai. lekin sinema samayabaddh snyojan hai. yahi karan hai ki main mahasoos karata hoon ki pashchimi roopon ki meri janakari mere lie ek suvidha ke bataur rahi hai. ek labh yah hai ki ‘sonata ka roopakar ek natakiy roopakar hai jisake sath vikas (devalapament), kathy aur lay ki punaravritti (rikepituleshan), aur ‘koda’ (ek vishesh sngit rachana se jude hue) sinphani ya sonata jaisi sngit vidhaon ne meri filmon ki snrachana ko kafi prabhavit kiya hai. Blockquote-close.gif

- satyajit ray

yahan is drishy ko ek doorabin (opera glas) ki vikasit takanik dvara snpann kiya gaya hai. film ka jhoole ka drishy film ka sarvadhik prabhavashali drishy hai aur renevan jaise prakash chhaya chitran se raushan hai, is drishy ko sookshmata se tarasha gaya hai jahan har bar kshanansh ke lie charu ka pair zamin ka sparsh karata hai taki jhoole ki gati ko atirikt bal diya ja sake. phir vah kshan hai jab charu jhoole ki gati ko dhima karati hai apani doorabin amal par sthir karati hai aur, syah hote chehare ke sath, anubhav karati hai ki vah usase prem karane lagi hai. satyajit ray ki shabdarahit snpreshan ki shaili men yah ek badi upalabdhi hai, bachapan ke dinon ko usake smrit karane ke lnbe drishyon men, jisamen ek khoobasoorat lay hai jise jhoole ke mndadolan ke sath us nav ke dolan ko milakar gadha gaya hai jisaka pal kushalata se taiyar kiya gaya hai aur jisamen usaka chehara dhire se vilin ho jata hai. yah ek layatmak sthanantaran hai jo hamen charu ki us man:sthiti ke samantar khada kar deta hai jisamen vah atit ki lalak se bhari huee hai aur jis bare men vah likhana chahati hai. varnan ka yah shreshth gun hi ray ki film ko sadharan roop rekha ke sath kahi gee kahani se saundary ki drishti se oopar utha deta hai.

'nayak' aur 'knchanajngha'

nayak aur knchanajngha men gahari samanata hai. pahad ki bhavyata ko filmi nayak ki bhavyata se sthanantarit kiya gaya hai. film ke patron ki drishti se aur darshakon ki drishti se filmi abhineta ko vaisi hi pratishtha prapt hai jaisi ki knchanajngha men. sthan darjiling ki jagah relagadi, donon hi sthan patron ko niyamit dainik jivan se katate hain aur snkshipt avadhi ke lie unhen ek sath kar dete hain. dainik jivan se alagav donon hi mamalon men unaki niji samasyaon ko satah par lane men madad karata hai. rng aur nirntar parivartit prakash ke sthan par yahan relagadi ki sthayi gati hai. isaka atirikt pahaloo isaki badalati dhvaniyan hain.

chidiyakhana (1967)

film 'chidiyakhana' ka ek drishy

mahapurush ke sath-sath, chidiyakhana (1967) aisi film hai jise ray ki kriti ke roop men svikar karana kisi ke lie bhi kathin ho sakata hai. isako ray ke ek sahayak dvara nirdeshit kiya jana tha lekin nirmata ke dabav ke karan satyajit ray ko svayn ise apane hath men lena pada tha. ek drishy ko chhodakar jaisa ki pahale kaha gaya hai, samoochi film ek samany ausat bngali film ke star par chalati hai, yadi nayak men isake khoobasoorat shilp aur manaviy pahaluon ke pichhe samany stariyata hai to isake bad ane vali film inase bhi vnchit hai. ek shatabdi se bhi adhik tak phaile kalakhnd men ae samajik parivartan ke ve mahanh itihasakar the. unhonne ise snpoornata men dekha kyonki yah dekhana ek fasale se tha. lekin is fasale ne unhen vastuon ki tatkalik vastavikata khasataur se tatkalin samaj ki vastavikata se door rakha. svayn apane likhe hue ka uddharan (sait end saund, vintar 1966-67)- jalati huee tramon, sanpradayik dngon, berozagari, badhati huee kimaton, khady ki kami vala kalakatta ray ki filmon men maujood nahin hai, halanki ray is shahar men rah rahe hote hain lekin unake aur ‘pida ka kavy’ ke bich jo ki pichhale das varshon se bangla sahity par chhaya hua hai, koee snbndh nahin hai. jaise jaise vaqt gujarata gaya ray ke prati yah shikayat ek phusaphusahat ke star se badhakar karn katu shor men badal gayi.

kapurush aur mahapurush

kapurush un poorv filmon ki kamazor punaravritti hai jinaka ant apani svatntrata ki khoj men badhit aur ahat tatha apekshakrit adhik buddhiman aurat dvara apane svachchhndatavadi premi ke asvikar men hota hai. nayi ubharati aurat ki vishayavastu vali shrinkhala ke ek bhag ke roop men hi kapurush ka mahattv nihit hai. kapurush ke lagabhag katutapoorn ant ke bad bhi mahapurush (film ke doosare bhag ki kahani) ki adhamani aur anupayukt khar masti ko svikar karana kathin hai. satyajit ray ka vyngy hamesha prabhavakari hota hai lekin unaki vinodapriyata men unake pita ki us pratibha ka abhav dikhata hai jisamen ve mauj masti aur moorkhata, asngati, katuta aur vidroopata ka anndadayi mishran taiyar kar diya karate the. 'kapurush aur mahapurush' ko mahattvahin manakar nakar diya gaya. nayak baauks afis par saphal nahin huee aur chidiyakhana tippani ke yogy nahin mani gayi. bngal tatha any sthanon ke kuchh samoohon ne ritvik ghatak ke kam men adhik jivnt samasamayikata ko dekhana shuroo kar diya.

film 'aguntak' ka ek drishy

ghatak ki ajantrik (1958)

apane bahut hi (abhiyan ke draivar ki tulana men) vishvaniy taiksi draivar ke sath, meghe dhaka tara (1960) poorvi pakistan se ae sharanarthiyon ke jivan ki tikhi tasvir aur ant men ‘main jina chahata hoon’ ki oonchi avaz ke sath aur antat: svarn rekha (1965) ne apani prabal spashtata aur patit krantikariyon ki tikhi vidnbana ke sath, bangla manas par gahara prabhav chhoda. jab ray ki prerana dhimi ho rahi thi tab ghatak ko bngali sinema ke vastavik bhavishy ka pratinidhitv karane vale kahin adhik mahanh vyaktitv ke roop men sthapit karane ke zoradar dave kie ge. videshon men ghatak ki pahachan bahut kam thi jabaki ray apani poorv filmon ke bal par, bharat ki tulana men kahin adhik videshon men qad ooncha bana rahe the.

bhuvan shom (1969)

mrinal sen bhuvan shom (1969) hindi men, ke sath akhil bharatiy paridrishy par roshani men ae. unake nav-phransisi sinema ke prati lagav ne antat: ek aisi shaili ka vikas kiya jo satyajit ray ki shaili se bhinn thi. in sab ne ray ko kitana prabhavit kiya yah kahana kathin hai aur isaka anuman lagana nirarthak hai. isaka parinam gopi gayane bagha bayane (1968) ke nirman men hua. yah upendr kishor ray chaudhari dvara likhit manornjak fntasi par adharit thi. bachchon ki duniya men ve mooly, jo satyajit ray ne taigoravadi adarshon se bani pahale ki duniya se prapt kie the, poori tarah samapt nahin hue the. satyajit ray ki bal filmon men vah nirdoshita aur apane hone ka vah shreshth bhav hai jo unaki prarnbhik vayask filmon men tha. atm sajagata ka bhav pray: apu aur paresh baboo, vishvnbhar ray aur kali kinkar ray, arati aur charulata men saman roop se maujood pravritti hai. ve sab bachchon aur janavaron ki tarah apane ap men tallin hain, poori tarah apane apane bhagy vidhanon se jude rahe. bachchon ki filmon men manushyetar jo bhi prani milate hain ve pari katha roop men milate hain, ray ki in filmon men annd ki ek gopan anubhooti chhipi rahati hai. inamen maujartavadi sngit ka gun hai jahan bachche buraee se prabhavit nahin hote, vahan agar badal hain to isalie ki unamen se chamakata hua soory bahar a sake.

athavan dashak

film 'sadgati' ke ek drishy men om puri aur smita patil

jab tak satyajit ray ne vayask duniya men nayi samajh aur nayi pahachan shuroo ki tab tak athavan dashak shuroo ho chuka tha. sanh 1969 men jab aranyer dinaratri banaee gee, bngal ka vayask vishv lapaton se ghir chuka tha. ‘jalati tramon vala kalakatta’ jo satyajit ray ki filmon men kabhi nahin dekha gaya, ek agnipunj men badal chuka tha. har roz hatyaen ho rahi thin, desi bam aur bndooken am drishy aur dhvaniyon ke hisse ban ge the, yuvakon ka tikha asntosh naksalavadi andolan men ubhar raha tha jisamen bahut se pratibhavan vishvavidyalayin yuvak shamil ho ge the. n keval is nayi parighatana ko hi balki punarjagaran ke avashisht gaurav ko pichhe chhod aee thi aur unhen lekar adhir hone lagi thi. lekin zimmedari ka path aranyer dinaratri ke manornjan ka sabase chhota ansh hai. charulata se har tariqe se bhinn hone ke bavajood is film men snrachana aur sngitatmak lay men vaisi hi paripoornata hai. isamen vaisi hi gitatmakata, punaravrittiyon aur anugoonjon ka vaividhy aur vaisi hi svaranukram ki satikata maujood hai. film ka roop anek prakar se jyan renevan ki film ‘rools aph d gems’ ki yad dilata hai. bharatiy khasataur par bngali buddhijiviyon ki drishti men vishayavastu svayn ko vidhan se asani se alag kar leti hai, bharatiy buddhijivi snrachana aur vivaran ke avalokan ko vishayavastu ki tarah hi kala ke avashyak tattv ke roop men mushkil se hi dekh pata hai. bargamain ki d seven sil ko vah pasnd karata hai aur smail af e samar nait ke jaduee akarshan ko vah mahasoos nahin kar pata. jab aranyer dinaratri ko pahale pahal pradarshit kiya gaya tha to ise bahut logon ne atisamany batakar kharij kar diya tha. pray: ray ke darshak hi adhik sahityik siddh hote hain, unaki is film men charan dar charan nirmiti itani paripoorn hai jitani ki charulata men thi. isaki lay men adhik vaividhy hai, is patr ke pas snchalan ki apani gati aur shaili hai jo is gut ki laparavah tatha alag alag pravritti, antarik dayitv bodh ki kami ko ujagar karati hai. patron ki ye bhinnaen un gunon ke bavajood hain jo unamen saman roop men maujood hain.

samakalin vastavikata se sakshatkar

film 'ghare bayare' ka ek drishy

satyajit ray ki peshevar zindagi men pratidvndvi kee mayanon men pratham muqam hai. pahali dafa is film men ve us takanik ka prayog karate hain jise ve kabhi mrinal sen ke sath hue ek tikhe sarvajanik vivad men chaloo lataka kahakar kharij kar chuke the. kahani ek nakar se shuroo hoti hai, nakar se hi anek binduon ko pakadati hain, khasakar us drishy men yah nakar apani parakashtha par hai jahan nars veshya apani knchuki kholane ko udyat dikhaee padati hai. bich bich men siddharth ki medikal shiksha ki chhaviyan achanak aur snkshipt roop men dikhati hain udaharan ke lie jab sugathit kaya vali ek ladaki gali se gujarati hai to parde par ‘stri vakshasthal’ ka dayagram ubharata hai jisaki takaniki vyakhya ek shikshak kar raha hota hai. phir kalpanik kamanapoorti ke drishyon ki jhankiyan bhi hain, jaise ek drishy men siddharth dvara apani bahan ke baaus ko pitate hue dikhaya jata hai. yahan aisa lagata hai mano ray yah siddh karane ke lie kritasnkalp hon ki agar latakon-jhatakon ki bat hai, to unake prayog men bhi ve utane hi siddhahast hain jitane ki doosare ya snbhavat: unase behatar.

Blockquote-open.gif satyajit ray ka priy lens 40 em.em. tha jo samany manaviy drishti ke sarvadhik anukool hota hai. ve atyadhik nikatavarti shat aur atyadhik dirghakon (vaid aingil) se bachane ki pravritti rakhate the, unake vichar se ye donon hi ek prakar ke uddipak the, ek ekant ka atikraman karata hua aur doosara pariprekshy ko banavati banata hua. Blockquote-close.gif

satyajit ray ki doosari mahattvapoorn kriti shantiniketan ke apane poorv shikshak-chitrakar vinod bihari mukhopadhyay par bana vrittapoorn hai. drishti kho dene ke bad bhi shri mukhopadhyay sakriy chitrakari men lage rahe the. bis minat ke is vrittachitr di inar ai (1972) men ray ne chitrakar ke jivan aur kritiyon ke bare men tathyaparak janakari apani vishisht shaili men di hai. yahan chitrakar ke netrahin hone ke sath vyarth ki bhavukata kahin bhi nahin dikhati. natijatan, tathyon ki bariq prastuti tab atynt marmik ho uthati hai jab chitrakar ko ham usake andhepan ke daur men pate hain aur dekhate hain ki kaise yah netrahin chitrakar ghar ke ird-gird ghoom leta hai, kaise bina kisi ki sahayata ke apane lie chay bana leta hai adi adi.

hindi film

satyajit ray varshon tak hindi men film banane ke prastavon ki anasuni karate rahe. hindi bhasha ki unhen koee janakari nahin thi aur isilie ve janate the ki bhasha ki yah gairajanakari film-nirman ki unaki niji shaili ko ras nahin aegi. abhi tak unaki filmon men ek bhi snvad nahin tha, jise unhonne khud n likha ho. lekin 'shatarnj ke khiladi' men ve aisa nahin kar sake. anshat: rngin madhyam men kam karane ki zaroorat se to shayad anshat us vishisht kalavadhi aur paridrishy ki vyapakata ke akarshan se anupranit hokar ray ne n keval hindi varanh vajid ali shah ke jamane ki shisht urdoo men film banana svikar kiya.
film 'shatarnj ke khiladi' ka ek drishy
munshi premachnd ki yah mashahoor kahani apane kalevar men atynt snkshipt hai. kahani ek mahattvapoorn virodhabhas ka mahaj rekhankan karati hai ki kaise, tab angrezon dvara lakhanoo padadalit kiya ja raha tha, do navabon ne shatarnj ke khel men apani poori zindagi khapa di. bhasha ki janakari nahin hone ka hi natija tha ki satyajit ray ko is film men doosaron ki sahayata leni padi, tathapi unhonne is film men khyatilabdh aur nipun kalakaron ko hi bhoomikaen saunpi thin. navab ki bhoomika men amajad khan jo ki samakalin lokapriy hindi filmon ke thappedar khalanayak ke roop men mashahoor the tatha jinase darshak snehit ghrina karate the, khase umda lage. donon navabon ki bhoomikaon men jinhen kramash: snjiv kumar tatha seed jafari ne nibhaya hai, bhi abhinay ki drishti se utkrisht hain. phir bhi jafari ke abhinay men lakhanoo ki shisht vakpatuta tatha snskar (parishkaran) ki zyada sachchi abhivyakti huee hai. halanki yah satyajit ray ki kisi bhi any film se zyada bajat ki film thi jisamen hindi filmon ke ati lokapriy sitaron ne bhoomikaen ki thin, phir bhi kalakatta ko chhodakar jahan isane kamobesh achchha vyavasay diya tha, shatarnj ke khiladi kahin bhi ekamusht bade mane par riliz nahin ho paee. dher sari alochanaen bhi milin, khasakar un logon ki jo vajid ali shah ko ‘bharat ka antim svayatt shasak’ ke roop men mahimamndit hote dekhana chahate the. is vishay par ek sakshatkar ke dauran apani ray zahir karate hue satyajit ray ne kaha tha:
bahut hi snbhav hai ki avadh ke atikraman ki ghatana koee aisa chitran kare jisamen vajid ali shah ka mahimamndan ho tatha ataraim ki bhartsana. aise chitran se, zahir hai, film ki lokapriyata men svat: izafa ho jata. meri film is ayatharthavadi chitran se mukt hai. yah film us pravritti ko bhi hatotsahit karati hai jo samntavad aur upaniveshavad ke prati mayoos kintu ‘svikrit prakriya’ ke roop men aksar unaki kamiyon ko nazarandaj kar deti hai ya phir unaki buraiyon ko samajhane ke sath-sath unake charitron men khas manaviy pravrittiyan dekhane ka agrah karati hai. in manaviy pravrittiyon ka anveshan nahin kiya jata, balki aitihasik sakshy se unhen pusht kiya jata hai. main janata tha ki aise chitran se manovritti ka dvaidh paida hoga tathapi shatarnj ke khiladi ko main aisi kahani nahin manata jisamen asani se kisi ek paksh ka himayati bana ja sake. yah kahani mere lie vicharottejak zyada hai jisamen do snskritiyon ki takarahat hai- ek nishpran aur aprabhavi snskriti hai to doosari amngalakari kintu oorjvasit. in do dhur chhoron ki un arddh arthachchhayaon ko bhi pakadane ki koshish ki hai jo in donon chhoron ke bich jhalakati hain.

shatarnj ke khiladi

premachand ki yah kahani azadi se bahut pahale likhi gee thi. satyajit ray ki film bhi usi yatharth ko darshati hai jo tab se lekar ab tak aparivartit rahi hai. sach hi, aj ke is daur men jab punarutthanavadi hindoo kattarata tatha harijanon ke viruddh daman ki varadaten badh rahi hain, film ne roop men prasngik ho jati hai. satyajit ray premachnd ki kahani men koee bhi parivartan nahin karate, shirshak se lekar pnkti-dar-pnkti ve premachand ka anusaran karate hain aur kahana n hoga ki ray ke lie yah pravidhi asvabhavik hai. tathapi satyajit ray is film ko prabhavit kar dene vali vishvasaniyata se lais kar dete hain- ek aisi vishvasaniyata jise koee siddhahast vyakti hi chalachitron ke madhyam se vyakt kar sakata hai. shatarnj ke khiladi ki anuvarti ray ki filmen ya to ullasakari hain. ya bachchon ke lie upadeshatmak kahaniyan, (jay baba phelunath, hirak rajar deshe) ya phir dooradarshan ke lie banaee gee laghu filmen (pikoo, sadgati) jabaki log unase yah as lagae baithe the ki ve manav man ki gahari anubhootiyon par adharit koee mahati kriti lekar upasthit honge.

film soochi

satyajit ray dvara nirdeshit filmon ki soochi
varsh film vivaran kalakar
1955 pather panchali nirmata- pashchim bngal sarakar patakatha- vibhooti bhooshan banarji ke upanyas pather panchali se satyajit ray dvara chhayankan- subrat mitra snpadan- dulal datta kala nirdeshan- bnsi chndragupta sngitakar- ravi shnkar dhvani- bhoopen ghosh avadhi- 115 minat kanu banarji (harihar), karuna banarji (sarvajaya), subir banarji (apu), uma das gupta (durga), chunnibala devi (indar thakuran), runaki banarji (balapan men durga), reva devi (seja thakuran), aparna devi (nilamani ki patni), tulasi chakravarti (prasanna, vidyalay ka shikshak), vinay mukharji (baidyanath majoomadar), haren banarji (chinibas, mithaee bechanevala), harimohan nag (daktar), haridhan nag, (chakravarti), nibhanoni devi (dasi), kshirodh ray (pujari), roma ganguli (roma).
1956 aparajito nirmata- epik films (satyajit ray) patakatha- vibhooti bhooshan banarji ke upanyas pather panchali se satyajit ray dvara chhayankan- subrat mitra snpadan- dulal datta kala nirdeshan- bnsi chndragupta sngitakar- ravi shnkar dhvani- durgadas mitra avadhi- 113 minat kanu banarji (harihar), karuna banarji (sarvajaya), pinaki sen gupta (bachcha apu), smaran ghoshal (kishor apu), shanti gupta (lahidi ki patni), ramani sen gupta (bhavataran), ranibala (telt), sudipt ray (nirupama), ajay mitra (anil), charuprakash ghosh (nnda), subodh ganguli (hed mastar), moni shrimani (nirikshak), hemnt chatarji (prophesar), kali banarji (kathak), kalicharan ray (akhil: pres ka malik), kamala adhikari (mokshada), lalachnd banarji (lahidi) ke es pande (pande), minakshi devi (pande ki patni), anil mukharji (avinash), harendr kumar chakravarti (daktar).
1958 paras patthar nirmata- pramod lahidi patakatha- parashuram ki laghukatha paras pather se satyajit ray dvara chhayankan- subrat mitra snpadan- dulal datta kala nirdeshan- bnsi chndragupta sngitakar- ravi shnkar dhvani- durgadas mitra avadhi- 111 minat tulasi chakravarti (paresh chndr datta), ranibala (usaki patni), kali banarji (priyatosh hainari vishvas) gngapad bos (kachaloo), haridhan (inspektar chatarji), jahar ray (bhazahari) vireshvar sen (pulis adhikari), moni shrimani (da. nndi) chhavi vishvas, jahar ganguli, pahadi sanyal, kamal mitra , nitish mukharji, subodh ganguli, tulasi lahidi, amar mallik (kakatel parti ke purush mehaman), chndravati devi, renuka ray, bharati devi (kakatel parti ki mahila mehaman).
1958 jalasa ghar nirmata- satyajit ray prodakshns patakatha- tarashnkar banarji ki laghu kahani jalasa ghar se satyajit ray dvara chhayankan- subrat mitra snpadan- dulal datta kala nirdeshan- bnsi chndragupta sngitakar- vilayat khan, begam akhtar aur roshan kumari, vahid khan, bismilla khan aur knpani dvara parde par tatha dakshinamohan thakar, ashish kumar, robin majoomadar aur imarat khan dvara sngit aur nrity ki prastuti, (parde ke pichhe) dhvani- durgadas mitra avadhi- 100 minat chhavi vishvas (vishvnbhar ray), padma devi (unaki patni mahamaya), pinaki sen gupta (unaka beta vireshvar), gngapad bos (mahim ganguli), tulasi lahidi (tara prasann, baira), kali sarakar (annta, rasoiya), vahid khan (ustad ujir khan), roshan kumari (krishna baee).
1959 apur snsar nirmata- satyajit ray prodakshns patakatha- vibhooti bhooshan ke upanyas aparajit se satyajit ray dvara chhayankan- subrat mitra snpadan- dulal datta kala nirdeshan- bnsi chndragupta sngitakar- ravishnkar dhvani- durgadas mitra avadhi- 106 minat saumitr chatarji (apu), sharmila taigor (aparna), alok chakravarti (koyal), svapn mukharji (puloo), dhiresh majumadar (shashinarayan), shephalika devi (shashinarayan ki patni) dhiren ghosh (jamindar).
1960 devi nirmata- satyajit ray prodakshns patakatha- ravindranath taigor ki parikalpana par adharit prabhav kumar mukharji ki laghukatha devi se satyajit ray dvara chhayankan- subrat mitra snpadan- dulal datta kala nirdeshan- bnsi chndragupta sngitakar- ali akabar khan dhvani- durgadas mitra avadhi- 93 minat chhavi vishvas (kalikinkar ray), saumitr chatarji (chhota ladaka,uma prasad), sharmila taigor (dayamayi), poornedu mukharji (bada ladaka, tara prasad), karuna banarji (harasundari, usaki patni) aparna chaudhari (khoka, bachcha), anil chatarji (bhoodeb), kali sarakar (pro. sarakar), nagendranath kavyabhyakaran tirth (pujari), shanta devi (sarala).
1961 tin kanya nirmata- satyajit ray prodakshns patakatha- ravindranath taigor ki tin laghu kahaniyon se satyajit ray dvara chhayankan- somendu ray snpadan- dulal datta kala nirdeshan- bnsi chndragupta sngitakar- satyajit ray dhvani- durgadas mitra avadhi- postamastar- 50 minat, manihara- 61 minat aur snpati- 56 minat. nil chatarji (nndalal), chndan banarji (ratan), nripati chatarji (vishay), khagen pathak (khagen), gopal ray (vilas). manihar (guma hua ratn) kali banarji (phanibhooshan saha), kanika majoomadar (manimalika), kumar ray (madhusoodan), govinda chakravarti (skool mastar aur prastutakarta). snpati (nishkarsh) sita mukharji (jogamaya), gita de (nistarini), sntosh datta (kishori), mihir chakravarti (rakhal), devi niyogi (haripad).
1961 ravindranath taigor nirmata- film prabhag, bharat sarakar patakatha aur vyakhya- satyajit ray chhayankan- somendu ray snpadan- dulal datta kala nirdeshan- bnsi chndragupta sngitakar- jyotirindr moitra parde ke pichhe se git aur nrity ki prastuti : ashesh banarji (isaraj) aur gitabitan. avadhi- 54 minat raya chatarji, sovanalal ganguli, smaran ghoshal, poornendu mukharji, kallol bos, subir, phani nana, narman ilis.
1962 knchanajngha nirmata- en. si. e. prodakshns mool patakatha- satyajit ray chhayankan- subrat mitra snpadan- dulal datta kala nirdeshan- bnsi chndragupta sngitakar- satyajit ray, dhvani- durgadas mitra avadhi- 102 minat chhavi vishvas (indranath ray), anil chatarji (anil), karuna banarji (lavany), anubha gupta (anima), subrat sen (shnkar), shivani sinh (tukalu), alakannda ray (manisha), arun mukharji (ashok), en vishvanathan (shri banarji), pahadi sanyal (jagadish), nilima chatarji v vidya sinha (anil ki mahila mitr).
1962 abhijan nirmata- abhijatrik patakatha- tarashnkar banarji ke upanyas abhijan se satyajit ray dvara chhayankan- somendu ray snpadan- dulal datta kala nirdeshan- bnsi chndragupta sngitakar- satyajit ray, dhvani- durgadas mitra, nripen pal, sujit sarakar avadhi- 150 minat saumitr chatarji (narasinh), vahida rahaman (gulabi), rooma gula thakurata (nili), ganesh mukharji (joseph), charuprakash ghosh (sukhanaram), ravi ghosh (rama), arun ray (naskar), shekhar chatarji (rameshvar), ajit banarji (banarji), reva devi (joseph ki man), abani mukharji (vakil).
1963 mahanagar nirmata- ar di bi end knpani (ar di bnsal) patakatha- narendranath mitra ki laghukatha abataranika se satyajit ray dvara chhayankan- subrat mitra snpadan- dulal datta kala nirdeshan- bnsi chndragupta sngitakar- satyajit ray, dhvani- devesh ghosh, atul chatarji, sujit sarakar avadhi- 131 minat anil chatarji (subrat majoomadar), madhavi mukharji (arati majoomadar), jaya bhadudi (vani), haren chatarji (priyagopal, subrat ke pita), shephalika devi (sarojini, subrat ki man), prasonajit sarakar (pintoo), haradhan banarji (himanshu mukharji), viki redavud (edith).
1964 charulata nirmata- ar di bi end knpani (ar di bnsal) patakatha- ravindranath taigor ke upanyas nastenir se satyajit ray dvara chhayankan- subrat mitra snpadan- dulal datta kala nirdeshan- bnsi chndragupta sngitakar- satyajit ray, dhvani- nripen pal, atul chatarji, sujit sarakar avadhi- 117 minat saumitr chatarji (amal), madhavi mukharji (charu), shailen mukharji (bhoopati), shyamal ghoshal (umapad), gitali ray (mndakani), bholanath koyal (braj), suku mukharji (nishikant), dilip bos (shashank), subrat sen sharma (motilal), jayadev (nilatapal de), bnkim ghosh (jaganath).
1964 too nirmata- esso varld thiyetar mool patakatha- satyajit ray chhayankan- somendu ray snpadan- dulal datta kala nirdeshan- bnsi chndragupta sngitakar- satyajit ray, dhvani- sujit sarakar avadhi- 15 minat ravi kiran
1965 kapurush aur mahapurush nirmata- ar di bi end knpani (ar di bnsal) patakatha- premendr mitra ki laghukatha janayako kapurusher kahani aur parashuram ki birinchi baba se satyajit ray dvara chhayankan- somendu ray snpadan- dulal datta kala nirdeshan- bnsi chndragupta sngitakar- satyajit ray, dhvani- nripen pal, atul chatarji, sujit sarakar avadhi- kapurush (75 minat), mahapurush : (65 minat) kapurush- saumitr chatarji (amitav ray), madhavi mukharji (karuna gupta), haradhan banarji (vimal gupta). mahapurush- charuprakash ghosh (birinchi baba), ravi ghosh (unaka sahayak), prasad mukharji (gurupad miter), gitali ray (buchaki), satindr bhattachary (saty), somane bos (nivaran), sntosh datta (prophesar nani), renuka ray (nani ki patni).
1966 nayak nirmata- ar di bi end knpani (ar di bnsal) mool patakatha- satyajit ray chhayankan- subrat mitra snpadan- dulal datta kala nirdeshan- bnsi chndragupta sngitakar- satyajit ray, dhvani- nripen pal, atul chatarji, sujit sarakar avadhi- 120 minat. uttam kumar (arindam mukharji) sharmila taigor (aditi sen gupta), vireshvar sen (mukund lahidi) somen bos (shnkar), nirmal ghosh (jyoti), premanshu bos (viresh), sumita sanyal (promila), rnjit sen (shri bos), bharati devi (manorama, unaki patni), lali chaudhari (bulabul, unaki beti), kamu mukharji (pritish sarakar), sushmita mukharji (mauli, unaki patni), subrat sen sharma (ajay), jamuna sinha (shephalika, unaki patni), hiralal (kamal mishra), jogesh chatarji (aghore, bujurg patrakar), satya banarji (svami ji), gopal de (kndaktar).
1967 chidiyakhana nirmata- star prodakshan (harendranath bhattachary) patakatha- sharadindu banarji ke upanyas chidiyakhana se satyajit ray dvara chhayankan- somendu ray snpadan- dulal datta kala nirdeshan- bnsi chndragupta sngitakar- satyajit ray, dhvani- nripen pal, atul chatarji, sujit sarakar avadhi- 125 minat lagabhag. uttam kumar (vyomakesh bakshi), shailen mukharji (ajit), sushil majoomadar (nishanath sen), kanika majoomadar (damaynti, unaki patni), shubhendu chatarji (vijay), shyamal ghoshal (da. bhujngadhar das), prasad mukharji (nepal gupta), subira ray (mukul, usaki beti), nripati chatarji (mushkil miya), subrat chatarji (nasara bibi, unaki patni), gitali ray (banalakshmi), chinmay ray (panagopal), nilatapal de (inspektar).
1968 gopi gayane bagha bayane nirmata- poornima pikchars (nepal datta, asim datta) patakatha- upendrakishor ray ki kahani se satyajit ray dvara chhayankan- somendu ray snpadan- dulal datta kala nirdeshan- bnsi chndragupta sngitakar- satyajit ray, nrity nirdeshan= shnbhoonath bhattachary dhvani- nripen pal, atul chatarji, sujit sarakar avadhi- 132 minat. tapan chatarji (gopi), ravi ghosh (bagha), sntosh datta (shundi ka raja/halla ka raja), jahar ray (halla ka pradhanamntri), shanti chatarji (halla ka kamandar-in-chiph), harindranath chatarji (baraphi, jadoogar), chinmay ray (halla ka jasoos), durgadas banarji (amaloki ka raja), govinda chakravarti (gopi ka pita), prasad mukharji (ganv ke bujurg), jayakrishn sanyal, tarun mitra, ratan banarji, kartik chatarji (shundi rajadarabar ke gayak), gopal de (jallad), ajay banarji, shailen ganguli, moni shrimani, vinay bos, kartik chatarji (halla ke agntuk).
1969 aranyer din ratri nirmata- priya films (nepal datta, asim datta) patakatha- sunil ganguli ke upanyas aranyer dinaratri se satyajit ray dvara chhayankan- somendu ray, poornendu bos snpadan- dulal datta kala nirdeshan- bnsi chndragupta sngitakar- satyajit ray, dhvani- sujit sarakar avadhi- 115 minat. saumitr chatarji (asim), shubhendu chatarji (snjay), smit bhnj (harinath), ravi ghosh (shekhar), pahadi sanyal (sadashiv tripathi), sharmila taigor (aparna) kaveri bos (jaya) simi greval (duli), aparna sen (atashi).
1970 pratidhvani nirmata- priya films (nepal datta, asim datta) patakatha- sunil ganguli ke upanyas pratidhvani se satyajit ray dvara chhayankan- somendu ray, poornendu bos snpadan- dulal datta kala nirdeshan- bnsi chndragupta sngitakar- satyajit ray, dhvani- sujit sarakar avadhi- 115 minat. dhritaman chatarji (siddharth chaudhari), indira devi (sarojini), devaraj ray (tunu) krishn bos (sutapa), kalyan chaudhari (shiven), jayashri ray (keya), shephali (lotika), soven lahidi (sanyal), pisoo majoomadar (keya ka pita), dhara ray (keya ki chachi), mamata chatarji (sanyal ki patni).
1971 simabaddh nirmata- chitranjali (bharat ramasher jng bahadur rana) patakatha- shnkar ke upanyas simabaddh se satyajit ray dvara chhayankan- somendu ray snpadan- dulal datta kala nirdeshan- ashok bos sngitakar- satyajit ray, dhvani- je di eerani, durgadas mitra avadhi- 112 minat. varuna chnda (shyamal chatarji), sharmila taigor (sudarshana, tutal ke nam se charchit), parumita chaudhari (shyamal ki patni), harindranath chatarji (sar viren ray), haradhan banarji (talukadar), indira ray (shyamal ki man), pramod (shyamal ke pita).
1971 sikkim nirmata- sikkim ke chaugyal alekh aur tika- satyajit ray chhayankan- somendu ray snpadan- dulal datta sngitakar- satyajit ray, dhvani- satyajit ray avadhi- 60 minat.
1972 d inar ai nirmata- film prabhag, bharat sarakar alekh aur tika- satyajit ray chhayankan- somendu ray snpadan- dulal datta sngitakar- satyajit ray, dhvani- satyajit ray avadhi- 20 minat.
1973 ashani snket nirmata- balak moovij (sarvani bhattachary) patakatha- vibhooti bhooshan banarji ke upanyas ashani snket se satyajit ray dvara chhayankan- somendu ray snpadan- dulal datta kala nirdeshan- ashok bos sngitakar- satyajit ray, dhvani- je di eerani, durgadas mitra avadhi- 101 minat. saumitr chatarji (gngacharan chakravarti), babita : (anng, usaki patni), ramesh mukharji (vishvas), chitra banarji (moti), govinda chakravarti (dinabndhu), sndhya ray (chutaki), nogi ganguli (daravana, jadoo), seli pal (mokshada), suchita ray (khenti, anil ganguli (nivaran), devatosh ghosh (adhar).
1974 sonar kella nirmata- pashchim bngal sarakar patakatha- satyajit ray dvara svayn ke upanyas sonar kella se chhayankan- somendu ray snpadan- dulal datta kala nirdeshan- ashok bos sngitakar- satyajit ray, dhvani- je di eerani, anil talukadar avadhi- 120 minat. saumitr chatarji (phelu ke nam se charchit pradosh mittar), sntosh datta (jatayu ke nam se charchit lalamohan ganguli), siddharth chatarji (tapesh mittar urph tapase), kushal chakravarti (mukul dhar), shailen mukharji (da. hemansh hajara), ajay banarji (amiyanath barman), kamu mukharji (mndar bos), shantanu bagachi (mukul 2), harindranath chatarji (siddhoo chacha), sunil sarakar (mukul ka pita), siyuli mukharji (mukul ki man), haradhan banarji (tapesh ka pita), rekha chatarchi (tapesh ki man), ashok mukharji (patrakar), vimal chatarji (vakil).
1975 jan arany nirmata- indas films (subir guha) patakatha- shnkar ke upanyas jan arany se satyajit ray dvara chhayankan- somendu ray snpadan- dulal datta kala nirdeshan- ashok bos sngitakar- satyajit ray, dhvani- je di eerani, anil talukadar, adinath nag, sujit ghosh avadhi- 131 minat. pradip mukharji (somanath chatarji), satya banarji (somanath ke pita), dipankar de (bhomabol), lili chakravarti (kamala, unaki patni), aparna sen (somanath ki mahila mitr),gautam chakravarti (sukumar), sudeshana das (juthika urph karuna), utpal datt (vishu), ravi ghosh (shri mittar), vimal chatarji (adok), arati bhattachary (shrimati ganguli), padma devi (shrimati vishvas), shoven lahidi (goyanaka), sntosh datta (hiralal), vimal dev (jagabndhu, vidhayak /sansad), ajey mukharji (dalal), kalyan sen (shri bakshi), alokendu de (fakir chnd, daftari).
1976 bala nirmata- neshanal sentar phar paramarming art tatha tamilaladu sarakar alekh tika- satyajit ray chhayankan- somendu ray snpadan- dulal datta sngitakar- satyajit ray, dhvani- es pi ramanathan, sujit sarakar, devid avadhi- 33 minat.
1977 shatarnj ke khiladi nirmata- devaki chitr prodakshns (suresh chindal) patakatha- premachnd ki laghukatha shatarnj ke likhadi se satyajit ray dvara snvad- satyajit ray, rama jaidi, javed siddaki snpadan- dulal datta kala nirdeshan- bnsi chndragupta sahayogi kala nirdeshak- ashok bos vastr-sajja- shama jaidi, sngitakar- satyajit ray, gayak- reva muhuri, birajoo maharaj, kalakatta yooth kor nrity nirdeshan- birajoo maharaj nrity kalakar- shasvati sen, gitanjali, kathak bele trup dhvani- narendr sinh, samir majoomadar avadhi- 113 minat. snjiv kumar (mirja sajjad ali), seed japhari (mir roshan ali), amajad khan (vajid ali shah), richard etanabaro (janalaral otaram), shabana ajami (khurshid), pharida jalal (naphisa), vina (aliya begam, rani man), devid abraham (munshi nndalal), viktar banarji (ali naki khan, pradhanamntri), farukh shekh (akil), tam altar (keptan vestan), lila mishra (hiriya), beri jan (da. joseph pherar), samarth narayan (kalloo), budho adavani (imtiyaj husain), kamu mukharji (bukki).
1978 jay baba pheloonath nirmata- ar di bi end knpani (ar di bnsal) patakatha- satyajit ray dvara svayn ke upanyas jay baba pheloonath se chhayankan- somendu ray snpadan- dulal datta kala nirdeshan- ashok bos sngitakar- satyajit ray, dhvani- robin sen gupta avadhi- 112 minat. saumitr chatarji (pradosh mitter urph pheloo), sntosh datta (lalamohan ganguli urph jatayu), siddharth chatarji (tapesh mittar urh tapasen), utpalal datt (maganalal megharaj), jit bos (ruku ghoshal), haradhan banarji (umanath ghoshal), vimal chatarji (anbika ghoshal), viplav chatarji (vikas sinha), satya banarji (nivaran chakravarti), malay ray (gunamay bagachi), sntosh sinha (shashi pal), manu mukharji (machali baba), indubhooshan gujaral (inspektar tivari), kamu mukharji (arjun).
1980 hirak rajar deshe nirmata- pashchim bngal sarakar mool patakatha- satyajit ray chhayankan- somendu ray snpadan- dulal datta kala nirdeshan- ashok bos sngitakar- satyajit ray, dhvani- robin sen gupta, durgadas mitra avadhi- 118 minat. saumitr chatarji (udayan, skool ka shikshak), utpal datt (raja hirak), tapen chatarji (gupi), ravi ghosh (bagha), sntosh datta (shundi ka raja), pramod ganguli (udayan ke pita), alpana gupta (udayan ki man), robin majoomadar (charanadas), sunil sarakar (phajal miyan), nani ganguli (balaram), ajay banarji (vidooshak), kartik chatarji (darabari kavi), haridhan mukharji (darabari-jyotish), vimal dev, tarun mitra, gopal de, shelen ganguli, samir mukharji (sabhi mntrigan).
1980 pikoo nirmata- hainari phraees patakatha- satyajit ray dvara svayn ki laghukatha pikoor dayari se chhayankan- somendu ray snpadan- dulal datta kala nirdeshan- ashok bos sngitakar- satyajit ray, dhvani- robin sen gupta, sujit sarakar avadhi- 26 minat. arjun guhathakurata (pikoo), aparna sen (sima, usaki man), shoven lahidi (rnjan), pramod ganguli (dadaji lokanath), viktar banarji (chacha hitesh).
1981 sadgati nirmata- dooradarshan, bharat sarakar patakatha- premachnd ki laghukatha sadgati se satyajit ray dvara snvad- satyajit ray aur amrit ray chhayankan- somendu ray snpadan- dulal datta kala nirdeshan- ashok bos sngitakar- satyajit ray, dhvani- amooly das avadhi- 52 minat. om puri (dukhi chamar), smita patil (jhuriya, dukhi ki patni), richa mishra (dhaniya, dukhi ki beti), mohan agashe (ghasiram), gita siddharth (lakshmi, ghasi ram ki patni), bhaee lal hedao (gond).
1984 ghare bahare nirmata- rashtriy film vikas nigam, bharat sarakar patakatha- ravindranath taigor ke upanyas ghare bahare se satyajit ray dvara chhayankan- somendu ray snpadan- dulal datta kala nirdeshan- ashok bos sngitakar- satyajit ray, dhvani- robin sen gupta, jyoti chatarji, anoop mukharji avadhi- 140 minat. saumitr chatarji (sndip), viktar banarji (nikhilesh), svatilekha (vimala), gopa aeech(nikhilesh ki sali), jeniphar kapoor kendal) (kumari gilbi, angrez gavarnes), manoj mitra (pradhan adhyapak), indapramit ray (amooly), vimal chatarji (kulada).
1987 sukumar ray nirmata- pashchim bngal sarakar patakatha- satyajit ray tika- somendu ray chhayankan- varun baba snpadan- dulal datta sngitakar- satyajit ray, dhvani- sujit sarakar avadhi- 30 minat. saumitr chatarji, utpal datt, sntosh datta, tapan chatarji.
1989 ganashatru nirmata- rashtriy film vikas nigam, bharat sarakar patakatha- hainarik ibsan ke natak en enimi aph d pipul se satyajit ray dvara chhayankan- varun raha snpadan- dulal datta kala nirdeshan- ashok bos sngitakar- satyajit ray, dhvani- sujit sarakar avadhi- 100 minat. saumitr chatarji (da. ashok gupta), rooma guha thakurata (maya, unaki patni)mamata shnkar (indrani, unaki beti), dhritiman chatarji (nishith), dipankar de (haridas bagachi), shubhendu chatarji (viresh), manoj mitra (adhir), viv guha thakurata (ranen haladar), rajaram yagnik (bhargav), satya banarji (manamotha), govinda mukharji (chndan).
1990 shakha prashakha nirmata- satyajit ray prodakshns (indiya), gerrad deparadey aur deniyal toskan dyoo phalenatar (peris) patakatha- satyajit ray chhayankan- varun raha snpadan- dulal datta kala nirdeshan- ashok bos sngitakar- satyajit ray, dhvani- sujit sarakar avadhi- 121 minat. pramod ganguli, ajit banarji, saumitr chatarji, haradhan banarji, dipankar de, rnjit malik, mamata shnkar, lili chakravarti.
1991 agntuk nirmata- rashtriy film vikas nigam, bharat sarakar patakatha- satyajit ray chhayankan- varun raha snpadan- dulal datta kala nirdeshan- ashok bos sngitakar- satyajit ray, dhvani- sujit sarakar avadhi- 100 minat. utpal datt, dipankar de, mamata shnkar.

shastriyatavad

satyajit ray ki un filmon ko chhodakar jo unaki apani kahaniyon par thin, satyajit ray ki filmen khyati prapt sahityik mool kathaon, adhikanshat: pratishthit kritiyon par adharit thin. shrilnka ke nirdeshak lestar perij ko likhe ek patr men (mairi setan ke potret af ek dayarektar, satyajit ray men uddhrit) satyajit ray ne khed vyakt kiya hai ki-

film ke bahy ka mahattv pahale ki tulana men adhik badhana shuroo ho raha hai. log is bare men chintit hote hue nahin dikhate ki ap kya kahate hain, yadi ap jo kah rahe hain use paryapt aspasht ya apratyaksh aur gairaparnparik tarike se kah rahe hain to- aur ek samany dikhane vali film kamatar ank li jati hai- mera ashay yah nahin hai ki sabhi ne yooropiy film nirmata pratibhavihin hain lekin yah meri gnbhir ashnka avashy hai ki kya ve seks ke atyadhik udar dohan ke bina, jisaki anumati unaki samajik snhita unhen deti huee pratit hoti hai, ajivika kamana jari rakh sakate the.[1]

rachanatmak drishti

satyajit ray ki film ki pandulipi ki n kabhi pratilipi taiyar ki gee, n use jildabaddh kiya gaya aur n vitarit. satyajit ray jab ise apani avadharana samajhane ke lie abhinetaon ke samane padhate the to use apani chhati ke nikat rakhate the. isamen snvad, abhinay ki tippaniyan aur avasthan (lokeshan) ke alava bhi bahut kuchh hota tha, isamen rekhankan, akhyayan, sngitatmak parikalpanaen, vistrit vivaran jo unaki mool dharana ko smrit karaen, aur snbndh, chehare, sthan adi hote the jo filmankan aur snpadan ke samay tak ke lie tay rahate the. varshon ke anubhav ke sath satyajit ray ne film nirman ke kee vibhagon men apana pravesh kara liya tha.

patakatha lekhan

satyajit ray

satyajit ray apani patakatha (skript) hamesha svayn likhate the, kabhi-kabhi apani kahaniyan bhi ve taiyar karate the, ve kisi aur ki skript par film banane ki svapn men bhi nahin soch sakate the. pather panchali ke dinon men bhi unhen mashin par kam karate hue snpadak ke pichhe khada hua dekha ja sakata tha. jab ve film dekh rahe hote the to apane roomal ko chaba dalate the aur film snpadak kabhi kabhi rachanatmak sujhav de diya karata tha, jinamen se kuchh ko ve bal sulabh romanch ke sath svikar kar liya karate the aur any ko apane nirbhav chehare se asvikar kar diya karate the. abhinay ka nirdeshan aisi chiz hai jahan adhikansh film nirmata poore vistar men jate hain. satyajit ray shooting se pahale snvadon ki riharsal nahin karavate the jaise ki any nirdeshak karavate hain. snvad unaki filmon men natak se bahut bhinn bhoomika nibhate hain, aur ye vatavaran ka itana avibhajy hissa hote hain ki ek kamare ke bhitar inaki riharsal karana inhen arthahin bana sakata hai. doosari or, pramukh roop se gair vyavasayikon ke sath, ve sir ke pratyek kon, har chhoti se chhoti bhav bhngima ka nirdesh dete the. apane patr ko sahi sahi dhal chukane ke bad ve abhineta ki prakritik kshamata aur abhivyakti par bharosa karate the ki inhonne jo kuchh bhi manaviy mahattv ke sath bataya hai use vah apane hav-bhav se abhivyakt kare. bachchon ke sath ve ghutanon ke bal jhuk jaya karate the aur ek shadyntrakari ke jaise dhng se phusaphusaya karate the, lekin unase har snbhav saman roopata prapt karane ki koshish karate the. keval shesh (jo kafi kuchh rah jata tha) ko hi bachche ke apane sahaj vyavahar par chhodate the.

satyajit ray ka lens

satyajit ray ka priy lens 40 em.em. tha jo samany manaviy drishti ke sarvadhik anukool hota hai. ve atyadhik nikatavarti shat aur atyadhik dirghakon (vaid aingil) se bachane ki pravritti rakhate the, unake vichar se ye donon hi ek prakar ke uddipak the, ek ekant ka atikraman karata hua aur doosara pariprekshy ko banavati banata hua. sngit ke prati apane jivanaparynt lagav ke rahate (prarnbhik dinon men pramukhat: pashchimi sngit), ve suprasiddh sngitgyon- ravi shnkar, ali akabar khan, vilayat khan dvara apani filmon men kie ge yogadan ko svikar karane men kathinaee mahasoos karane lage the. in sngitgyon ke sath vistrit vichar-vimarsh hone tatha unaki ichchha par apani ichchha thopane ke thakaoo prayason ke bavajood unaki yah kathinaee badhati gee thi.

Blockquote-open.gif satyajit ray shooting se pahale snvadon ki riharsal nahin karavate the jaise ki any nirdeshak karavate hain. snvad unaki filmon men natak se bahut bhinn bhoomika nibhate hain, aur ye vatavaran ka itana avibhajy hissa hote hain ki ek kamare ke bhitar inaki riharsal karana inhen arthahin bana sakata hai. Blockquote-close.gif

hirak rajar deshe, gopi gayane bagha bayane ke bad ki fntasi film ke lie ray ne vastr vinyas, svayn apane dvara chayanit samagri adi sahit tatha pratyek rekhankan ke bad vale prishth par tnkit, ke jildabaddh snskaran taiyar karae the. satyajit ray ke lie rachanatmakata avibhajy thi. ve apane kam ke vaise hi sarvasiddh karta the jaisa ki koee bhi any vyakti ho sakata tha. samoohik kary ke lie pahachane jane vale ek prakhyat madhyam par manograstata ki had tak ek karmikata aropit kie jane ki kunji, pather panchali ki shooting ke dauran ke ek prakaran men talashi ja sakati hai jisaka varnan unhonne avar films dear films ke ek lekh men kiya hai:

"us pahale din ek shat jo mujhe lena tha vah apane bhaee apu-jo usaki upasthiti se anabhigy tha- ko lnbe laharate narakulon ke pichhe se dekhati huee ladaki durga ka tha. mainne ek samany lens se ek madhy darjen ka nikat drishyabndh (klojap) lene ki yojana banaee thi jisamen use kamar ke oopar se dikhana tha. us din hamare sath ek mitr tha jo vyavasayik kaimaramain tha. jab main narakulon ke pichhe khada hokar durga ko yah bata raha tha ki use kya karana hai, tabhi meri udati huee drishti lenson se chhedachhad karate hue apane mitr par padi, usane yah kiya ki kaimare se samany lens nikal liya tha aur usake sthan par ‘lnbi phokas lenth’ vala lens laga diya tha. jab main vyoo phaindar se dekhane ke lie vahan aya to vah bola, ‘‘is lens se usake oopar ek nazar dalo.’’ isase pahale main bahut kuchh achal chhayankan (stil fotographi) kar chuka tha. lekin karyitar bresan ke prati apani achal nishtha ke chalate mainne ‘lang lens’ ke sath kabhi kam nahin kiya tha. ab vyoo phaindar jo dikha raha tha vah durga ke chehare ka ek bada drishyabndh (klojap) tha, chehara pichhe se dhoop men tha aur hilate chamakate narakulon ke bich se, jinhen usane apane hathon se hata rakha tha, jhank raha tha. yah bahut hi akarshak pratit ho raha tha, mainne apane mitr ko samayanukool salah dene ke lie dhanyavad diya aur vah shat le liya. kuchh dinon bad, kating roop men, yah dekhakar main dahashat men a gaya tha ki is drishy ko kisi bhi tarah itane bade klojap ki zaroorat nahin thi. apane sare saundary ke bavajood, ya isake karan hi yah drishyabndh (shat) any drishyabndhon se poori tarah alag ho gaya tha aur is tarah apane poore drishy ko hi bhrasht kar diya tha. isane ek jhatake se hi mujhe film nirman ke do mool path sikha die :
  1. ek shat keval tabhi khoobasoorat hota hai jab vah sahi sndarbh men ho aur isake sahi hone ka usake sath koee snbndh nahin hai jo ankh ko sundar pratit hota hai.
  2. vivaran par kisi bhi us vyakti ki salah mat mano jo poori film ko apane dimag men utani spashtata se n bithae hue ho jitani ki ap bithae hue hain."

sahityik vichar

sharmila taigor ko shaaut samajhate satyajit ray

apani filmon ki prakriti ke srot ke roop men ve bar-bar pashchimi sngit ki bat karate the. sinema vah madhyam hai jo bharatiy sngit ki tulana men pashchimi sngit ke adhik nikat hai kyonki bharatiy parnpara men aparivartaniy samay ki avadharana maujood nahin hai- vahan ‘snyojan’ rachana nahin hai- avadhi parivartaniy hai aur sngitakar ki man sthiti par nirbhar karati hai. lekin sinema samayabaddh snyojan hai. yahi karan hai ki main mahasoos karata hoon ki pashchimi roopon ki meri janakari mere lie ek suvidha ke bataur rahi hai. ek labh yah hai ki ‘sonata ka roopakar ek natakiy roopakar hai jisake sath vikas (devalapament), kathy aur lay ki punaravritti (rikepituleshan), aur ‘koda’ (ek vishesh sngit rachana se jude hue) sinphani ya sonata jaisi sngit vidhaon ne meri filmon ki snrachana ko kafi prabhavit kiya hai. charulata ke lie mainne nirntar maujart ke bare men socha tha. satyajit ray ne jo kiya, vah yah tha ki upanishadon men abhivyakt bharatiy chintan aur adhunik vaigyanik drishtiyon ko ek sath ek aise snshleshan men piro diya jo 19vin shatabdi ke vicharakon aur samaj sudharakon ne vikasit kiya tha aur jisaka charam taigor men hai. satyajit ray ka yah snshleshan svami vivekanand aur maharishi aravind ke vedant darshan ki bhi smriti karata hai. is darshan ne hindutv ke sudhar aur punarmoolyaknn ki vah prishthabhoomi taiyar ki thi jo 19vin aur 20vin shatabdi ke shuruati daur men prabhavi rahi. isamen agar bharatiy parnpara ka bahishkar hai to bad ke hindutv ke kal doshapoorn pahaluon ka bhi bahishkar hai jisamen moortipooja, pashu bali, manav bali tatha shatabdiyon ke dauran vibhinn prakar ke andhavishvason men vriddhi adi the. hindoo darshan ya adhyatmikata ka bahishkar nahin tha. devi, mahapurush ya jay baba pheloonath jaisi filmen dharm ke nam par ki gee samaj virodhi vikritiyon ki alochana ya upahas karati hai. satyajit ray ki prasngikata aj us samay phir se badh gee he jab dharmik kattarapnthi 19vin aur prarnbhik 20vin shatabdi ke samaj sudharon ki ghadi ko ulata ghumane ki koshish kar rahe hain taki ve tathy ke sthan par mithak ko aur lokatntr ke sthan par sarvasattavad ko sthapit kar saken.

samman evn puraskar

vishv vikhyat nirdeshak satyajit ray ne sabase zyada rashtriy film puraskar jite hain. unhonne aur unake kam ne kul 32 rashtriy film puraskar prapt kiye. nimnankit soochi satyajit ray ko mile sammanon ko pradarshit karati hai. isase unake vishvavyapi khyati, unaki drishti evn unake karyon ka parichay milata hai.

satyajit ray ko mile rashtriy film puraskar
varsh puraskar film (bangla)
1956 sarvashreshth film pather panchali
1959 dvitiy sarvashreshth film jalasaghar
1959 sarvashreshth film (bangla) jalasaghar
1960 sarvashreshth film apur snsar
1962 sarvashreshth film (bangla) tin kanya
1963 sarvashreshth film (bangla) abhiyan
1963 dvitiy sarvashreshth film abhiyan
1965 sarvashreshth film charulata
1967 sarvashreshth patakatha nayak
1968 sarvashreshth nirdeshan chidiyakhana
1969 sarvashreshth film gupi gain bagha bain
1969 sarvashreshth nirdeshan gupi gain bagha bain
1970 sarvashreshth film (bangla) gupi gain bagha bain
1971 dvitiy sarvashreshth film pratidvndvi
1971 sarvashreshth nirdeshan pratidvndvi
1971 sarvashreshth patakatha pratidvndvi
1971 sarvashreshth film (bangla) pratidvndvi
1972 sarvashreshth film simabaddh
1973 sarvashreshth sngit nirdeshan ashani snket
1974 sarvashreshth film (bangla) ashani snket
1975 sarvashreshth film (bangla) sonar kella
1975 sarvashreshth nirdeshan sonar kella
1975 sarvashreshth patakatha sonar kella
1976 sarvashreshth nirdeshan jan arany
1981 sarvashreshth gitakar hirak rajar desh
1982 vishesh joori puraskar sadagati (hindi)
1985 sarvashreshth film (bangla) ghare baire
1990 sarvashreshth film (bangla) ganashatru
1992 sarvashreshth film agantuk
1992 sarvashreshth nirdeshan agantuk
1994 sarvashreshth patakatha uttoran
satyajit ray ko mile samman, upadhi evn puraskar
varsh samman evn puraskar snsthan
1958 padm shri bharat sarakar
1965 padm bhooshan bharat sarakar
1967 raman maigasese puraskar raman maigasese puraskar phaundeshan
1971 star aauph yoogoslaviya yoogoslaviya sarakar
1973 daauktar aauph laitars dilli vishvavidyalay, dilli
1974 di. lit. raauyal kaaulej aauph artas, lndan
1976 padm vibhooshan bharat sarakar
1978 di. lit. aauksaphord vishvavidyalay
1978 vishesh puraskar barlin film samaroh
1979 vishesh puraskar maausko film samaroh
1980 di. lit. barddhaman vishvavidyalay, bharat
1980 di. lit. jadavapur vishvvidyalay, bharat
1981 daauktaret banaras hindoo vishvavidyalay, bharat
1981 di. lit. uttari bngal vishvavidyalay, bharat
1982 homaz a satyajit ray kans film samaroh
1982 vishesh goldan layan aauph sent mark vainis film samaroh
1982 vidyasagar puraskar pashchim bngal sarakar
1983 failoship puraskar british film snstha
1985 di. lit. kalakatta vishvavidyalay, bharat
1985 dada saheb phalke puraskar bharat sarakar
1985 soviyat laind neharoo puraskar soviyat sngh
1986 failoship puraskar sngit natak akadami, bharat
1987 di. lit. ravindr bharati vishvavidyalay, bharat
1992 aauskar (laif taim achivament) moshan pikchar artas evn vigyan akadami
1992 bharataratn bharat sarakar

film samikshakon ki nazaron se

satyajit ray

satyajit ray ki filmon ke alochakon ki shikayat rahi ki vah maujooda samasyaon se bachate hain lekin 'jan arany' is lihaz se mahattvapoorn film hai jisamen pariksha pranali, madhyam varg ki akanksha, rozagar ki samasya ka behatarin chitran kiya gaya hai. jan arany ki parnpara men hi pratidvndvi ya simabaddh ko bhi shamil kiya ja sakata hai. ray ki filmon men stri patron ki bhoomika mahattvapoorn rahi hai. unaki kee mahila patr padhi likhi nahin hain lekin unaki pratikriyaen sachchi hain aur unamen prem, ghrina adi ko lekar spasht snvedanashilata hain. samikshakon ke anusar satyajit ray ne n keval filmon balki rekhankan ke jarie bhi apani rachanatmak oorja ko bakhoobi abhivyakt kiya. bachchon ki patrikaon aur pustakon ke lie banae ge satyajit ray ke rekhachitron ko kala samikshak utkrisht kala ki shreni men rakhate hain. sahityakar satyajit ray ki bal manovigyan par jabaradast pakad thi aur isaka parichay unaki phelooda kahaniyon ki shrinkhala men milata hai. is shrinkhala ki kahaniyon men sarasata, rochakata aur pathakon ko bandhakar rakhane ke sare tatv maujood hain.[2]

satyajit ray aur aauskar

vishv ke das filmakaron men shamil bangla filmakar satyajit ray ne apani kisi bhi film ko aauskar ki daud men shamil hone nahin bheja. unaki film ‘pather panchali’ (1955) aur apoo trayi ko duniya bhar ke film phestivals men saikadon avaaurd mile hain. isake bavajood 'ray moshay' ne aauskar ke phere nahin lagae. svayn aauskar avaaurd 1992 men chal kar kolakata aya aur vishv sinema men abhootapoorv yogadan ke lie satyajit ray ko manad aauskar avaaurd se alnkrit kiya.
aauskar avard prapt karate satyajit ray
satyajit ray bimar the. unake ghar akar aauskar avaaurd ke padadhikariyon ne unaka samman kiya. is ayojan ki film banaee gee aur use aauskar seremani men pradarshit kar poori duniya ko dikhaya gaya.[3]

antim charan

ghare bahare (1984) ke nirman ke sath satyajit ray ki jo bimari shuroo huee usase ve poorn roop se kabhi bhi nijat nahin pa sake aur unaka svasthy lagatar girata raha. apane pita par banae ge adhe ghnte ki laghu film ko chhod den to ve poore panch sal tak film nirman se alag rahe. ganashatru aur usake bad ki filmon ka nirdeshak daktaron aur narson se ghira rahata tha, daravaze par embulens gahan chikitsa kaksh ke bataur khadi rahati thi. ‘ab mera daktar- mujhe film nirman ki vidhi bata raha hai aur mujhe adesh hai ki main stoodiyon ke andar hi kary karoon.’ kintu sath men unaka yah bhi kahana tha ki kaimare ke pichhe akar kam karana unhen praphullit kar deta tha. aur davaiyon se jitani rahat mili usase kahin adhik rahat unhen kaimare se mili. vah hamare bich bhale hi maujood nahin hain lekin unaki darjanon phichar filmon, kee vrit chitr aur laghu filmen maujood hain jinase unaki upasthiti mahasoos ki ja sakati hai.

samachar

satyajit re
27 joon, 2015 shanivar

snyukt rashtr pradarshani men satyajit ray ki tasvir

bharat ke film itihas men apana ek khas mukam rakhane vale satyajit ray athava satyajit re ki tasvir ko snyukt rashtr ne apane mukhyalay men pradarshit karane ka phaisala kiya hai. 16 vicharakon aur kalakaron ki tasviren snyukt rashtr ke mukhyalay men pradarshit ki jaengi. ye 16 foto un shakhshiyaton ki hain jinhonne manavata ke lie kam kiya hai. duniyabhar ke in 16 namon men se ek nam satyajit re ka hai. mahasabha ke adhyaksh saim kutesa dvara ayojit 'd transaphaaurametiv pavar aauph art' pradarshani 30 joon, 2015 tak logon ke lie khuli rahegi. is pradarshani ka uddeshy mahanh hastiyon dvara manavata ke lie kie ge kamon ko yad karana hai. satyajit ko 1992 men manad aauskar mila tha aur usi sal unhen bharat ke shirsh nagarik samman 'bharat ratn' se navaja gaya tha. pradarshani men phaibarijiyo roogiro aur nina mujji ki kalakritiyan hain. roogiro ke 16 chitron men bhitti chitr ki vidhi ke sath hi samakalin takanik ka prayog hua hai. satyajit re ke atirikt 15 any shakhsiyaton men pakistani manavadhikar karyakarta aur nobel shanti puraskar vijeta malala yoosufajee, ameriki lekhak maya ainjeloo, british adakara odre hepabarn, chini adakara gong li adi ka nam bhi shamil hai.

samachar ko vibhinn sroton par padhen


panne ki pragati avastha
adhar
prarambhik
madhyamik
poornata
shodh

tika tippani aur sndarbh

  • mool uddharan- satyajit ray ka sinema, chidanand das gupta, neshanal buk trast, indiya
  1. yahan ve spashtat: samany se kam the. udaharan ke lie phransisi nayi filmon ke nirmataon traphaoot ya godarj: demi ya renesa ya sobrol ki filmon men seks ka dohan qatee nahin hai. aisi halki tippani unhonne kis bat se prabhavit ho kar ki, yah bata pana mushkil hai.
  2. jiniyas filmakar the satyajit ray (hindi) (ech.ti.em.el) laiv hindustan. abhigaman tithi: 30 janavari, 2011.
  3. satyajit re aur aauskar (hindi) (ech.ti.em.el) vebaduniya. abhigaman tithi: 30 janavari, 2011.

snbndhit lekh