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Satyajit Ray
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Satyajit Ray
Ray in New York (1981)
Born
(1921-05-02)2 May 1921
Calcutta, Bengal Presidency, British India
Died
23 April 1992(1992-04-23) (aged 70)
Calcutta, West Bengal, India
Nationality
British Indian (1921–1947)
Indian (1947–1992)
Alma mater
University of Calcutta
Occupation
Director, Producer, Screenwriter, Lyricist, Music Composer, Calligrapher, Illustrator, Writer
Years active
1950–1992
Height
6 ft 4 in (1.93 m) [1]
Spouse(s)
Bijoya Ray (m. 1949–92)
Children
Sandip Ray (son)
Parent(s)
Sukumar Ray (father)
Suprabha Ray (mother)
Signature
This article contains Indic text. Without proper rendering support, you may see question marks or boxes, misplaced vowels or missing conjuncts instead of Indic text.
Satyajit Ray (Bengali: সত্যজিৎ রায়, Bengali: [ˈʃɔt̪ːodʒit̪ ˈrai̯] ( listen); 2 May 1921 – 23 April 1992) was an Indian filmmaker and author, widely regarded as one of the greatest filmmakers of the 20th century.[2][3][4] Ray was born in the city of Calcutta into a Bengali Brahmo family which was prominent in the field of arts and literature. Starting his career as a commercial artist, Ray was drawn into independent filmmaking after meeting French filmmaker Jean Renoir and viewing Vittorio De Sica's Italian neorealist film Bicycle Thieves (1948) during a visit to London.
Ray directed 36 films, including feature films, documentaries and shorts. He was also a fiction writer, publisher, illustrator, calligrapher, music composer, graphic designer and film critic. He authored several short stories and novels, primarily aimed at children and adolescents. Feluda, the sleuth, and Professor Shonku, the scientist in his science fiction stories, are popular fictional characters created by him. He was awarded an honorary degree by Oxford University.
Ray's first film, Pather Panchali (1955), won eleven international prizes, including the inaugural Best Human Document award at the 1956 Cannes Film Festival. This film, along with Aparajito (1956), and Apur Sansar (The World of Apu) (1959) form The Apu Trilogy. Ray did the scripting, casting, scoring, and editing, and designed his own credit titles and publicity material. Ray received many major awards in his career, including 32 Indian National Film Awards, a Golden Lion, a Golden Bear, 2 Silver Bears, a number of additional awards at international film festivals and award ceremonies, and an Academy Honorary Award in 1992. The Government of India honored him with the Bharat Ratna, its highest civilian award, in 1992.
Contents
[hide]
1 Life and career
1.1 Early life and background
1.2 The Apu years (1950–59)
1.3 From Devi to Charulata (1959–64)
1.4 New directions (1965–82)
1.5 The last phase (1983–92)
2 Film craft
3 Literary works
4 Ray as calligrapher
5 Critical and popular response
6 Legacy
7 Preservation
8 Awards, honours and recognitions
9 Ray family
10 Filmography
11 See also
12 Notes
13 References
14 External links
Life and career[edit]
Early life and background[edit]
Satyajit Ray as a child
Satyajit Ray's ancestry can be traced back for at least ten generations.[5] Ray's grandfather, Upendrakishore Ray was a writer, illustrator, philosopher, publisher, amateur astronomer and a leader of the Brahmo Samaj, a religious and social movement in nineteenth century Bengal. He also set up a printing press by the name of U. Ray and Sons, which formed a crucial backdrop to Satyajit's life. Sukumar Ray, Upendrakishore's son and father of Satyajit, was a pioneering Bengali writer of nonsense rhyme (abol tabol) and children's literature, an illustrator and a critic. Ray was born to Sukumar and Suprabha Ray in Calcutta.
Sukumar Ray died when Satyajit was barely three, and the family survived on Suprabha Ray's meager income. Ray studied at Ballygunge Government High School, Calcutta, and completed his BA in economics at Presidency College, Calcutta then affiliated with the University of Calcutta, though his interest was always in fine arts. In 1940, his mother insisted that he study at the Visva-Bharati University at Santiniketan, founded by Rabindranath Tagore. Ray was reluctant due to his love of Calcutta, and the low opinion of the intellectual life at Santiniketan[6] His mother's persuasion and his respect for Tagore finally convinced him to try. In Santiniketan, Ray came to appreciate Oriental art. He later admitted that he learned much from the famous painters Nandalal Bose[7] and Benode Behari Mukherjee. Later he produced a documentary film, The Inner Eye, about Mukherjee. His visits to Ajanta, Ellora and Elephanta stimulated his admiration for Indian art.[8]
Sukumar Ray and Suprabha Ray, parents of Satyajit Ray (1914)
In 1943, Ray started work at D.J. Keymer, a British-run advertising agency, as a "junior visualiser," earning eighty rupees a month. Although he liked visual design (graphic design) and he was mostly treated well, there was tension between the British and Indian employees of the firm. The British were better paid, and Ray felt that "the clients were generally stupid."[9] Later, Ray also worked for Signet Press, a new publishing house started by D. K. Gupta. Gupta asked Ray to create cover designs for books to be published by Signet Press and gave him complete artistic freedom. Ray designed covers for many books, including Jibanananda Das's Banalata Sen, and Rupasi Bangla, Bibhutibhushan Bandyopadhyay's Chander Pahar, Jim Corbett's Maneaters of Kumaon, and Jawaharlal Nehru's Discovery of India. He worked on a children's version of Pather Panchali, a classic Bengali novel by Bibhutibhushan Bandyopadhyay, renamed as Aam Antir Bhepu (The mango-seed whistle). Designing the cover and illustrating the book, Ray was deeply influenced by the work. He used it as the subject of his first film, and featured his illustrations as shots in his ground-breaking film.[10]
Along with Chidananda Dasgupta and others, Ray founded the Calcutta Film Society in 1947. They screened many foreign films, many of which Ray watched and seriously studied. He befriended the American GIs stationed in Calcutta during World War II, who kept him informed about the latest American films showing in the city. He came to know a RAF employee, Norman Clare, who shared Ray's passion for films, chess and western classical music.[11]
In 1949, Ray married Bijoya Das, his first cousin and long-time sweetheart.[12] The couple had a son, Sandip, who is now a film director. In the same year, French director Jean Renoir came to Calcutta to shoot his film The River. Ray helped him to find locations in the countryside. Ray told Renoir about his idea of filming Pather Panchali, which had long been on his mind, and Renoir encouraged him in the project.[13] In 1950, D.J. Keymer sent Ray to London to work at its headquarters office. During his three months in London, Ray watched 99 films. Among these was the neorealist film Ladri di biciclette (Bicycle Thieves) (1948) by Vittorio De Sica, which had a profound impact on him. Ray later said that he came out of the theatre determined to become a film-maker.[14]
The Apu years (1950–59)[edit]
See also: The Apu Trilogy and Satyajit Ray filmography
22 years old Ray at Santiniketan
Ray decided to use Pather Panchali (1928), the classic Bildungsroman of Bengali literature, as the basis for his first film. The semi-autobiographical novel describes the maturation of Apu, a small boy in a Bengal village.
Ray gathered an inexperienced crew, although both his cameraman Subrata Mitra and art director Bansi Chandragupta went on to achieve great acclaim. The cast consisted of mostly amateur actors. He started shooting in late 1952 with his personal savings and hoped to raise more money once he had some passages shot, but did not succeed on his terms.[15] As a result, Ray shot Pather Panchali over three years, an unusually long period, based on when he or his production manager Anil Chowdhury could raise additional funds.[15] He refused funding from sources who wanted a change in script or supervision over production. He also ignored advice from the government to incorporate a happy ending, but he did receive funding that allowed him to complete the film.[16] Ray showed an early film passage to the American director John Huston, who was in India scouting locations for The Man Who Would Be King. The passage was of the vision which Apu and his sister have of the train running through the countryside, the only sequence which Ray had yet filmed due to his small budget. Huston notified Monroe Wheeler at the New York Museum of Modern Art (MOMA) that a major talent was on the horizon.
With a loan from the West Bengal government, Ray finally completed the film. It was released in 1955 to great critical and popular success. It earned numerous prizes and had long runs in both India and abroad. In India, the reaction to the film was enthusiastic; The Times of India wrote that "It is absurd to compare it with any other Indian cinema [...] Pather Panchali is pure cinema."[17] In the United Kingdom, Lindsay Anderson wrote a glowing review of the film.[17] But, the reaction was not uniformly positive. After watching the movie, François Truffaut is reported to have said, "I don't want to see a movie of peasants eating with their hands."[18] Bosley Crowther, then the most influential critic of The New York Times, wrote a scathing review of the film. Its American distributor Ed Harrison was worried Crowther's review would dissuade audiences, but the film had an exceptionally long run when released in the United States.
Ray's international career started in earnest after the success of his next film, Aparajito (The Unvanquished).[19] This film shows the eternal struggle between the ambitions of a young man, Apu, and the mother who loves him.[19] Critics such as Mrinal Sen and Ritwik Ghatak rank it higher than Ray's first film.[19] Aparajito won the Golden Lion at the Venice Film Festival, bringing Ray considerable acclaim. Before completing The Apu Trilogy, Ray directed and released two other films: the comic Parash Pathar (The Philosopher's Stone), and Jalsaghar (The Music Room), a film about the decadence of the Zamindars, considered one of his most important works.[20]
While making Aparajito, Ray had not planned a trilogy, but after he was asked about the idea in Venice, it appealed to him.[21] He finished the last of the trilogy, Apur Sansar (The World of Apu) in 1959. Critics Robin Wood and Aparna Sen found this to be the supreme achievement of the trilogy. Ray introduced two of his favourite actors, Soumitra Chatterjee and Sharmila Tagore, in this film. It opens with Apu living in a Calcutta house in near-poverty. He becomes involved in an unusual marriage with Aparna. The scenes of their life together form "one of the cinema's classic affirmative depictions of married life."[22] They suffer tragedy. After Apur Sansar was harshly criticised by a Bengali critic, Ray wrote an article defending it. He rarely responded to critics during his filmmaking career, but also later defended his film Charulata, his personal favourite.[23]
Ray wrote his memoirs during his filming of the Apu Trilogy which has been published as My Years with Apu: A Memoir.
Ray's film successes had little influence on his personal life in the years to come. He continued to live with his wife and children in a rented house, with his mother, uncle and other members of his extended family.[24]
From Devi to Charulata (1959–64)[edit]
Ravi Shankar at a discussion with Ray for the sounds in Pather Panchali (1955)
During this period, Ray composed films on the British Raj period (such as Devi), a documentary on Tagore, a comic film (Mahapurush) and his first film from an original screenplay (Kanchenjungha). He also made a series of films that, taken together, are considered by critics among the most deeply felt portrayals of Indian women on screen.[25]
Ray followed Apur Sansar with Devi (The Goddess), a film in which he examined the superstitions in Hindu society. Sharmila Tagore starred as Doyamoyee, a young wife who is deified by her father-in-law. Ray was worried that the censor board might block his film, or at least make him re-cut it, but Devi was spared. In 1961, on the insistence of Prime minister Jawaharlal Nehru, Ray was commissioned to make a documentary on Rabindranath Tagore, on the occasion of the poet's birth centennial, a tribute to the person who likely most influenced Ray. Due to limited footage of Tagore, Ray faced the challenge of making a film out of mainly static material. He said that it took as much work as three feature films.[26]
In the same year, together with Subhas Mukhopadhyay and others, Ray was able to revive Sandesh, the children's magazine which his grandfather once published. Ray had been saving money for some years to make this possible.[27] A duality in the name (Sandesh means both "news" in Bengali and also a sweet popular dessert) set the tone of the magazine (both educational and entertaining). Ray began to make illustrations for it, as well as to write stories and essays for children. Writing became his major source of income in the years to come.
In 1962, Ray directed Kanchenjungha. Based on his first original screenplay, it was his first film in colour. The film tells of an upper-class family spending an afternoon in Darjeeling, a picturesque hill town in West Bengal. They try to arrange the engagement of their youngest daughter to a highly paid engineer educated in London. He had first conceived shooting the film in a large mansion, but later decided to film it in the famous hill town. He used the many shades of light and mist to reflect the tension in the drama. Ray noted that while his script allowed shooting to be possible under any lighting conditions, a commercial film contingent present at the same time in Darjeeling failed to shoot a single scene, as they only wanted to do so in sunshine.[28]
In the sixties, Ray visited Japan and took particular pleasure in meeting the filmmaker Akira Kurosawa, for whom he had very high regard. While at home, he would take an occasional break from the hectic city life by going to places such as Darjeeling or Puri to complete a script in isolation.
In 1964 Ray made Charulata (The Lonely Wife); it was the culmination of this period of work, and regarded by many critics as his most accomplished film.[29] Based on "Nastanirh", a short story of Tagore, the film tells of a lonely wife, Charu, in 19th-century Bengal, and her growing feelings for her brother-in-law Amal. Critics have referred to this as Ray's Mozartian masterpiece. He said the film contained the fewest flaws among his work, and it was his only work which, given a chance, he would make exactly the same way.[30] Madhabi Mukherjee's performance as Charu, and the work of both Subrata Mitra and Bansi Chandragupta in the film, have been highly praised. Other films in this period include Mahanagar (The Big City), Teen Kanya (Three Daughters), Abhijan (The Expedition), Kapurush (The Coward) and Mahapurush (Holy Man).
New directions (1965–82)[edit]
A painting of Ray
In the post-Charulata period, Ray took on projects of increasing variety, ranging from fantasy to science fiction to detective films to historical drama. Ray also made considerable formal experimentation during this period. He expressed contemporary issues of Indian life, responding to a perceived lack of these issues in his films. The first major film in this period is Nayak (The Hero), the story of a screen hero travelling in a train and meeting a young, sympathetic female journalist. Starring Uttam Kumar and Sharmila Tagore, in the twenty-four hours of the journey, the film explores the inner conflict of the apparently highly successful matinée idol. In spite of the film's receiving a "Critics prize" at the Berlin International Film Festival, it had a generally muted reception.[31]
In 1967, Ray wrote a script for a film to be called The Alien, based on his short story "Bankubabur Bandhu" ("Banku Babu's Friend"), which he wrote in 1962 for Sandesh, the Ray family magazine. Columbia Pictures was the producer for what was a planned US-India co-production, and Marlon Brando and Peter Sellers were cast as the leading actors. Ray found that his script had been copyrighted and the fee appropriated by Mike Wilson. Wilson had initially approached Ray through their mutual friend, Arthur C. Clarke, to represent him in Hollywood. Wilson copyrighted the script credited to Mike Wilson & Satyajit Ray, although he contributed only one word. Ray later said that he never received a penny for the script.[32] After Brando dropped out of the project, the project tried to replace him with James Coburn, but Ray became disillusioned and returned to Calcutta.[32] Columbia expressed interest in reviving the project several times in the 1970s and 1980s, but nothing came of it. When E.T. was released in 1982, Clarke and Ray saw similarities in the film to his earlier Alien script. Ray claimed that this film plagiarized his script. Ray said that Steven Spielberg's movie "would not have been possible without my script of 'The Alien' being available throughout America in mimeographed copies." Spielberg denied any plagiarism by saying, "I was a kid in high school when this script was circulating in Hollywood." (Spielberg actually graduated high school in 1965 and released his first film in 1968).[33] Besides The Alien, two other unrealised projects that Ray had intended to direct were adaptations of the ancient Indian epic, the Mahābhārata, and E. M. Forster's 1924 novel A Passage to India.[34] In 1969, Ray released what would be commercially the most successful of his films. Based on a children's story written by his grandfather, Goopy Gyne Bagha Byne (The Adventures of Goopy and Bagha), it is a musical fantasy. Goopy the singer and Bagha the drummer, endowed with three gifts by the King of Ghosts, set out on a fantastic journey. They try to stop an impending war between two neighboring kingdoms. Among his most expensive enterprises, the film project was difficult to finance. Ray abandoned his desire to shoot it in color, as he turned down an offer that would have forced him to cast a certain Hindi film actor as the lead.[35]
Ray made a film from a novel by the young poet and writer, Sunil Gangopadhyay. Featuring a musical motif structure acclaimed as more complex than Charulata,[36] Aranyer Din Ratri (Days and Nights in the Forest) traces four urban young men going to the forests for a vacation. They try to leave their daily lives behind. All but one of them become involved in encounters with women, which becomes a deep study of the Indian middle class. According to Robin Wood, "a single sequence [of the film] ... would offer material for a short essay".[36]
After Aranyer, Ray addressed contemporary Bengali life. He completed what became known as the Calcutta trilogy: Pratidwandi (1970), Seemabaddha (1971), and Jana Aranya (1975), three films that were conceived separately but had thematic connections.[37] Pratidwandi (The Adversary) is about an idealist young graduate; if disillusioned at the end of film, he is still uncorrupted. Jana Aranya (The Middleman) showed a young man giving in to the culture of corruption to make a living. Seemabaddha (Company Limited) portrayed an already successful man giving up his morality for further gains. In the first film, Pratidwandi, Ray introduces a new, elliptical narrative style, such as scenes in negative, dream sequences, and abrupt flashbacks.[37] In the 1970s, Ray adapted two of his popular stories as detective films. Though mainly addressed to children and young adults, both Sonar Kella (The Golden Fortress) and Joi Baba Felunath (The Elephant God) found some critical following.[38]
Ray considered making a film on the Bangladesh Liberation War but later abandoned the idea. He said that, as a filmmaker, he was more interested in the travails of the refugees and not the politics.[39] In 1977, Ray completed Shatranj Ke Khiladi (The Chess Players), a Hindi film based on a story by Munshi Premchand. It was set in Lucknow in the state of Oudh, a year before the Indian rebellion of 1857. A commentary on issues related to the colonisation of India by the British, this was Ray's first feature film in a language other than Bengali. It is his most expensive and star-studded film, featuring Sanjeev Kumar, Saeed Jaffrey, Amjad Khan, Shabana Azmi, Victor Bannerjee and Richard Attenborough.
In 1980, Ray made a sequel to Goopy Gyne Bagha Byne, a somewhat political Hirak Rajar Deshe (Kingdom of Diamonds). The kingdom of the evil Diamond King, or Hirok Raj, is an allusion to India during Indira Gandhi's emergency period.[40] Along with his acclaimed short film Pikoo (Pikoo's Diary) and hour-long Hindi film, Sadgati, this was the culmination of his work in this period.
The last phase (1983–92)[edit]
Satyajit Ray became the first Indian to receive an Honorary Academy Award in 1992.
In 1983, while working on Ghare Baire (Home and the World), Ray suffered a heart attack; it would severely limit his productivity in the remaining 9 years of his life. Ghare Baire was completed in 1984 with the help of Ray's son (who operated the camera from then on) because of his health condition. He had wanted to film this Tagore novel on the dangers of fervent nationalism for a long time, and wrote a first draft of a script for it in the 1940s.[41] In spite of rough patches due to Ray's illness, the film did receive some critical acclaim. It had the first kiss fully portrayed in Ray's films. In 1987, he made a documentary on his father, Sukumar Ray.
Ray's last three films, made after his recovery and with medical strictures in place, were shot mostly indoors, and have a distinctive style. They have more dialogue than his earlier films and are often regarded as inferior to his earlier body of work.[42] The first, Ganashatru (An Enemy of the People) is an adaptation of the famous Ibsen play, and considered the weakest of the three.[43] Ray recovered some of his form in his 1990 film Shakha Proshakha (Branches of the Tree).[44] In it, an old man, who has lived a life of honesty, comes to learn of the corruption of three of his sons. The final scene shows the father finding solace only in the companionship of his fourth son, who is uncorrupted but mentally ill. Ray's last film, Agantuk (The Stranger), is lighter in mood but not in theme. When a long-lost uncle arrives to visit his niece in Calcutta, he arouses suspicion as to his motive. This provokes far-ranging questions in the film about civilisation.[45]
In 1992, Ray's health deteriorated due to heart complications. He was admitted to a hospital, but never recovered. The Academy of Motion Picture Arts and Sciences awarded him an Honorary Academy Award. Ray is the first and the only Indian, yet, to receive the honor. Twenty-four days before his death, Ray accepted the award in a gravely ill condition, calling it the "Best achievement of [his] movie-making career."[46] He died on 23 April 1992 at the age of 71.
Film craft[edit]
Satyajit Ray considered script-writing to be an integral part of direction. Initially he refused to make a film in any language other than Bengali. In his two non-Bengali feature films, he wrote the script in English; translators interpreted it in Hindi or Urdu under Ray's supervision. Ray's eye for detail was matched by that of his art director Bansi Chandragupta. His influence on the early films was so important that Ray would always write scripts in English before creating a Bengali version, so that the non-Bengali Chandragupta would be able to read it. The craft of Subrata Mitra garnered praise for the cinematography of Ray's films. A number of critics thought that his departure from Ray's crew lowered the quality of cinematography in the following films.[31] Though Ray openly praised Mitra, his single-mindedness in taking over operation of the camera after Charulata caused Mitra to stop working for him after 1966. Mitra developed "bounce lighting", a technique to reflect light from cloth to create a diffused, realistic light even on a set. Ray acknowledged his debts to Jean-Luc Godard and François Truffaut of the French New Wave for introducing new technical and cinematic innovations.[47]
Ray's regular film editor was Dulal Datta, but the director usually dictated the editing while Datta did the actual work. Because of financial reasons and Ray's meticulous planning, his films were mostly cut in-camera (apart from Pather Panchali). At the beginning of his career, Ray worked with Indian classical musicians, including Ravi Shankar, Vilayat Khan, and Ali Akbar Khan. He found that their first loyalty was to musical traditions, and not to his film. He had a greater understanding of Western classical forms, which he wanted to use for his films set in an urban milieu.[48] Starting with Teen Kanya, Ray began to compose his own scores.
He used actors of diverse backgrounds, from famous film stars to people who had never seen a film (as in Aparajito).[49] Robin Wood and others have lauded him as the best director of children, pointing out memorable performances in the roles of Apu and Durga (Pather Panchali), Ratan (Postmaster) and Mukul (Sonar Kella). Depending on the talent or experience of the actor, Ray varied the intensity of his direction, from virtually nothing with actors such as Utpal Dutt, to using the actor as a puppet[50] (Subir Banerjee as young Apu or Sharmila Tagore as Aparna). Actors who had worked for Ray praised his customary trust but said he could also treat incompetence with total contempt.[51]
Literary works[edit]
Main article: Literary works of Satyajit Ray
Ray created two popular fictional characters in Bengali children's literature—Feluda, a detective, and Professor Shonku, a scientist. The Feluda stories are narrated by Topesh Ranjan Mitra aka Topse, his teenage cousin, something of a Watson to Feluda's Holmes. The science fictions of Shonku are presented as a diary discovered after the scientist had mysteriously disappeared. Ray also wrote a collection of nonsense verse named Today Bandha Ghorar Dim, which includes a translation of Lewis Carroll's "Jabberwocky". He wrote a collection of humorous stories of Mullah Nasiruddin in Bengali.
His short stories were published as collections of 12 stories, in which the overall title played with the word twelve (for example Aker pitthe dui, or literally "Two on top of one"). Ray's interest in puzzles and puns is reflected in his stories. Ray's short stories give full rein to his interest in the macabre, in suspense and other aspects that he avoided in film, making for an interesting psychological study.[52] Most of his writings have been translated into English. Most of his screenplays have been published in Bengali in the literary journal Eksan. Ray wrote an autobiography about his childhood years, Jakhan Choto Chilam (1982), translated to English as Childhood Days.
Ray penned his experiences during the period when he filmed the Apu Trilogy in his memoirs titled My Years with Apu: A Memoir.
He also wrote essays on film, published as the collections: Our Films, Their Films (1976), Bishoy Chalachchitra (1976), and Ekei Bole Shooting (1979). During the mid-1990s, Ray's film essays and an anthology of short stories were also published in English in the West. Our Films, Their Films is an anthology of film criticism by Ray. The book contains articles and personal journal excerpts. The book is presented in two sections: Ray first discusses Indian film, before turning his attention toward Hollywood, specific filmmakers (Charlie Chaplin and Akira Kurosawa), and movements such as Italian neorealism. His book Bishoy Chalachchitra was published in translation in 2006 as Speaking of Films. It contains a compact description of his philosophy of different aspects of the cinemas.
Ray as calligrapher[edit]
Satyajit Ray designed four typefaces for roman script named Ray Roman, Ray Bizarre, Daphnis, and Holiday Script, apart from numerous Bengali ones for the Sandesh magazine.[53][54] Ray Roman and Ray Bizarre won an international competition in 1971.[55] In certain circles of Calcutta, Ray continued to be known as an eminent graphic designer, well into his film career. Ray illustrated all his books and designed covers for them, as well as creating all publicity material for his films, i.e., Ray's artistic playing with the Bengali graphemes was also revealed in the cine posters and cine promo-brochures' covers. He also designed covers of several books by other authors.[56] In his calligraphic technique there are deep impacts of: (a) Artistic pattern of European musical staff notation in the graphemic syntagms; (b) alpana ("ritual painting" mainly practiced by Bengali women at the time of religious festival; the term denotes 'to coat with'. Generally categorized as "Folk"-Art cf. in Ray's graphemes representations.
Thus, so-called division between classical and folk art is blurred in Ray's representation of Bengali graphemes. The three-tier X-height of Bengali graphemes was presented in a manner of musical map and the contours, curves in between horizontal and vertical meeting-point, follow the patterns of alpana. It is also noticed that the metamorphosis of graphemes (This might be designated as "Archewriting") as a living object/subject in Ray's positive manipulation of Bengali graphemes.[57]
Critical and popular response[edit]
Ray's work has been described as full of humanism and universality, and of a deceptive simplicity with deep underlying complexity.[58][59] The Japanese director Akira Kurosawa said, "Not to have seen the cinema of Ray means existing in the world without seeing the sun or the moon."[60] But his detractors find his films glacially slow, moving like a "majestic snail."[29] Some find his humanism simple-minded, and his work anti-modern; they criticize him for lacking the new modes of expression or experimentation found in works of Ray's contemporaries, such as Jean-Luc Godard.[61] As Stanley Kauffman wrote, some critics believe that Ray assumes that viewers "can be interested in a film that simply dwells in its characters, rather than one that imposes dramatic patterns on their lives."[62] Ray said he could do nothing about the slow pace. Kurosawa defended him by saying that Ray's films were not slow, "His work can be described as flowing composedly, like a big river".[63]
Critics have often compared Ray to artists in the cinema and other media, such as Chekhov, Renoir, De Sica, Hawks or Mozart. The writer V. S. Naipaul compared a scene in Shatranj Ki Khiladi (The Chess Players) to a Shakespearean play; he wrote, "only three hundred words are spoken but goodness! – terrific things happen."[22][64][65] Even critics who did not like the aesthetics of Ray's films generally acknowledged his ability to encompass a whole culture with all its nuances. Ray's obituary in The Independent included the question, "Who else can compete?"[66] His work was promoted in France by The Studio des Ursuline cinema.
Praising his contribution to the world of cinema, Martin Scorsese mentions: "His work is in the company of that of living contemporaries like Ingmar Bergman, Akira Kurosawa and Federico Fellini."[67]
Political ideologues took issue with Ray's work. In a public debate during the 1960s, Ray and the Marxist filmmaker Mrinal Sen engaged in an argument. Sen criticised him for casting a matinée idol such as Uttam Kumar, whom he considered a compromise.[68] Ray said that Sen only attacked "easy targets", i.e. the Bengali middle-classes. However Ray himself has made movies on Bengali middle class in films like Pratidwandi and Jana Aranya set during the period of the naxalite movement in Bengal. Advocates of socialism said that Ray was not "committed" to the cause of the nation's downtrodden classes; some critics accused him of glorifying poverty in Pather Panchali and Ashani Sanket (Distant Thunder) through lyricism and aesthetics. They said he provided no solution to conflicts in the stories, and was unable to overcome his bourgeois background. During the naxalite movements in the 1970s, agitators once came close to causing physical harm to his son, Sandip.[69] Early in 1980, Ray was criticised by an Indian M.P. and former actress Nargis Dutt, who accused Ray of "exporting poverty." She wanted him to make films to represent "Modern India."[70]
Legacy[edit]
Satyajit Ray is a cultural icon in India and in Bengali communities worldwide.[71] Following his death, the city of Calcutta came to a virtual standstill, as hundreds of thousands of people gathered around his house to pay their last respects.[72] Satyajit Ray's influence has been widespread and deep in Bengali cinema; a number of Bengali directors, including Aparna Sen, Rituparno Ghosh and Gautam Ghose as well as Vishal Bhardwaj, Dibakar Banerjee, Shyam Benegal and Sujoy Ghosh from Hindi cinema in India, Tareq Masud and Tanvir Mokammel in Bangladesh, and Aneel Ahmad in England, have been influenced by his film craft. Across the spectrum, filmmakers such as Budhdhadeb Dasgupta, Mrinal Sen[73] and Adoor Gopalakrishnan have acknowledged his seminal contribution to Indian cinema. Beyond India, filmmakers such as Martin Scorsese,[74][75] Francis Ford Coppola, James Ivory,[76] Abbas Kiarostami, Elia Kazan, François Truffaut,[77] Carlos Saura,[78] Isao Takahata,[79] Wes Anderson,[80] Danny Boyle[81] and many other noted filmmakers from all over the world have been influenced by his cinematic style, with many others such as Akira Kurosawa praising his work.[60] Gregory Nava's 1995 film My Family had a final scene that repeated that of Apur Sansar. Ira Sachs's 2005 work Forty Shades of Blue was a loose remake of Charulata. Other references to Ray films are found, for example, in recent works such as Sacred Evil,[82] the Elements trilogy of Deepa Mehta.[83] According to Michael Sragow of The Atlantic Monthly, the "youthful coming-of-age dramas that have flooded art houses since the mid-fifties owe a tremendous debt to the Apu trilogy".[84] The trilogy also introduced the bounce lighting technique.[85] Kanchenjungha (1962) introduced a narrative structure that resembles later hyperlink cinema.[86] Pratidwandi (1972) helped pioneer photo-negative flashback and X-ray digression techniques.[87] Together with Madhabi Mukherjee, Ray was the first Indian film figure to be featured on a foreign stamp (Dominica).
Many literary works include references to Ray or his work, including Saul Bellow's Herzog and J. M. Coetzee's Youth. Salman Rushdie's Haroun and the Sea of Stories contains fish characters named Goopy and Bagha, a tribute to Ray's fantasy film. In 1993, UC Santa Cruz established the Satyajit Ray Film and Study collection, and in 1995, the Government of India set up Satyajit Ray Film and Television Institute for studies related to film. In 2007, the BBC declared that two Feluda stories would be made into radio programs.[88] During the London Film Festival, a regular "Satyajit Ray Award" is given to a first-time feature director whose film best captures "the artistry, compassion and humanity of Ray's vision". Wes Anderson has claimed Ray as an influence on his work; his 2007 film, The Darjeeling Limited, set in India, is dedicated to Ray. Ray also a graphic designer, designed most of his film posters, combining folk-art and calligraphy to create themes ranging from mysterious, surreal to comical; an exhibition his posters was held at British Film Institute in 2013.[89]
In 2016, during the shooting of the film Double Feluda,Satyajit's only son, Sandip Ray, filmed his father's famous library.[90]
Preservation[edit]
The Academy Film Archive preserved a number of Satyajit Ray's films, including the Apu trilogy. Other Satyajit Ray films preserved by the Academy include Nayak, Sikkim, and the short film Two.[91]
Awards, honours and recognitions[edit]
Further information: List of awards and nominations received by Satyajit Ray
Ray received many awards, including 32 National Film Awards by the Government of India, and awards at international film festivals. At the 11th Moscow International Film Festival in 1979, he was awarded with the Honorable Prize for the contribution to cinema.[92] At the Berlin International Film Festival, he was one of only three filmmakers to win the Silver Bear for Best Director more than once[93] and holds the record for the most number of Golden Bear nominations, with seven. At the Venice Film Festival, where he had previously won a Golden Lion for Aparajito (1956), he was awarded the Golden Lion Honorary Award in 1982. That same year, he received an honorary "Hommage à Satyajit Ray" award at the 1982 Cannes Film Festival.[94]
Ray is the second film personality after Chaplin to have been awarded an honorary doctorate by Oxford University.[95] He was awarded the Dadasaheb Phalke Award in 1985 and the Legion of Honor by the President of France in 1987.[96] The Government of India awarded him the Padma Bhushan in 1965[97] and the highest civilian honour, Bharat Ratna, shortly before his death.[96] The Academy of Motion Picture Arts and Sciences awarded Ray an Honorary Oscar in 1992 for Lifetime Achievement. It was one of his favourite actresses, Audrey Hepburn, who represented the Academy on that day in Calcutta. Ray, unable to attend the ceremony due to his illness, gave his acceptance speech to the Academy via live video feed from the hospital bed. In 1992 he was posthumously awarded the Akira Kurosawa Award for Lifetime Achievement in Directing at the San Francisco International Film Festival; it was accepted on his behalf by actress Sharmila Tagore.[98]
In 1992, the Sight & Sound Critics' Top Ten Poll ranked Ray at No. 7 in its list of "Top 10 Directors" of all time, making him the highest-ranking Asian filmmaker in the poll.[99] In 2002, the Sight & Sound critics' and directors' poll ranked Ray at No. 22 in its list of all-time greatest directors,[100] thus making him the fourth highest-ranking Asian filmmaker in the poll.[100] In 1996, Entertainment Weekly magazine ranked Ray at No. 25 in its "50 Greatest Directors" list.[101] In 2007, Total Film magazine included Ray in its "100 Greatest Film Directors Ever" list.[102]
Ray family[edit]
Upendrakishore Ray Chowdhury
Bidhumukhi
Sukumar Ray
Suprabha Ray
Sukhalata Rao
Subinoy Ray
Subimal Ray
Punyalata Chakrabarti
Shantilata
Satyajit Ray
Bijoya Ray
Sandip Ray
Lalita Ray
Souradip Ray
Filmography[edit]
Main article: Satyajit Ray filmography
See also[edit]
Children's literature portal
Cinema of West Bengal
Parallel Cinema
Feluda
Feluda in film
Professor Shonku
Tarini khuro
Tarini Khuro in other media
Literary works of Satyajit Ray
Sandip Ray
Culture of Bengal
Culture of West Bengal
Bengali literature
History of Bengali literature
List of Bengali-language authors (chronological)
Kolkata culture
Notes[edit]
Jump up ^ "Archived copy". Archived from the original on 11 August 2003. Retrieved 2003-08-14.
Jump up ^ Tmh (2007). Book Of Knowledge Viii, 5E. Tata McGraw-Hill Education. ISBN 9780070668065.
Jump up ^ Robinson, W. Anderson. "Satyajit Ray". Encyclopædia Britannica. Archived from the original on 26 December 2015.
Jump up ^ "Iconic filmmaker Satyajit Ray's 94th birth anniversary celebrated". Daily News and Analysis. 2 May 2015. Archived from the original on 3 May 2015.
Jump up ^ Seton 1971, p. 36
Jump up ^ Robinson 2003, p. 46
Jump up ^ Seton 1971, p. 70
Jump up ^ Seton 1971, pp. 71–72
Jump up ^ Robinson 2003, pp. 56–58
Jump up ^ Robinson 2005, p. 38
Jump up ^ Robinson 2005, pp. 40–43
Jump up ^ Arup Kr De, "Ties that Bind" by The Statesman, Calcutta, 27 April 2008. Quote: "Satyajit Ray had an unconventional marriage. He married Bijoya (born 1917), youngest daughter of his eldest maternal uncle, Charuchandra Das, in 1948 in a secret ceremony in Bombay after a long romantic relationship that had begun around the time he left college in 1940. The marriage was reconfirmed in Calcutta the next year at a traditional religious ceremony."
Jump up ^ Robinson 2005, pp. 42–44
Jump up ^ Robinson 2005, p. 48
^ Jump up to: a b Robinson 2003, pp. 74–90
Jump up ^ Seton 1971, p. 95
^ Jump up to: a b Seton 1971, pp. 112–15
Jump up ^ "Filmi Funda Pather Panchali (1955)". The Telegraph. Calcutta, India. 20 April 2005. Archived from the original on 3 December 2013. Retrieved 29 April 2006.
^ Jump up to: a b c Robinson 2003, pp. 91–106
Jump up ^ Malcolm D (19 March 1999). "Satyajit Ray: The Music Room". The Guardian. London. Archived from the original on 26 April 2014. Retrieved 19 June 2006.
Jump up ^ Wood 1972, p. 61
^ Jump up to: a b Wood 1972
Jump up ^ Ray 1993, p. 13
Jump up ^ Robinson 2003, p. 5
Jump up ^ Palopoli S. "Ghost 'World'". metroactive.com. Archived from the original on 18 May 2006. Retrieved 19 June 2006.
Jump up ^ Robinson 2003, p. 277
Jump up ^ Seton 1971, p. 189
Jump up ^ Robinson 2003, p. 142
^ Jump up to: a b Robinson 2003, p. 157
Jump up ^ Antani J. "Charulata". Slant magazine. Archived from the original on 8 September 2006. Retrieved 19 June 2006.
^ Jump up to: a b Dasgupta 1996, p. 91
^ Jump up to: a b Ray, Satyajit. "Ordeals of the Alien". The Unmade Ray. Satyajit Ray Society. Archived from the original on 27 April 2008. Retrieved 21 April 2008.
Jump up ^ Newman J (17 September 2001). "Satyajit Ray Collection receives Packard grant and lecture endowment". UC Santa Cruz Currents online. Archived from the original on 4 November 2005. Retrieved 29 April 2006.
Jump up ^ C. J. Wallia (1996). "Book review: Satyajit Ray by Surabhi Banerjee". India Star. Archived from the original on 14 May 2008. Retrieved 31 May 2009.
Jump up ^ Seton 1971, pp. 291–297
^ Jump up to: a b Wood 1972, p. 13
^ Jump up to: a b Robinson 2003, pp. 200–220
Jump up ^ Rushdie 1992
Jump up ^ Robinson 2003, p. 206
Jump up ^ Robinson 2003, pp. 188–189
Jump up ^ Robinson 2003, pp. 66–67
Jump up ^ Robinson 2003, pp. 339–364
Jump up ^ Dasgupta 1996, p. 134
Jump up ^ Robinson 2003, p. 353
Jump up ^ Robinson 2003, pp. 353–364
Jump up ^ "Acceptance Speeches: Satyajit Ray". Academy of Motion Picture Arts and Sciences. Archived from the original on 20 October 2014. Retrieved 22 April 2013.
Jump up ^ Sen A. "Western Influences on Satyajit Ray". Parabaas. Archived from the original on 12 May 2006. Retrieved 29 April 2006.
Jump up ^ Robinson 2003, pp. 315–318
Jump up ^ Ray 1994, p. 100
Jump up ^ Robinson 2003, p. 78
Jump up ^ Robinson 2003, p. 307
Jump up ^ Nandy 1995
Jump up ^ Datta, Sudipta (19 January 2008). "The Ray show goes on". The Financial Express. Indian Express Newspapers (Mumbai) Ltd. Archived from the original on 21 January 2008. Retrieved 10 April 2008.
Jump up ^ "Ray Typography". Archived from the original on 9 August 2014. Retrieved 24 July 2014.
Jump up ^ Robinson 2003, p. 57
Jump up ^ Robinson 2003, pp. 57–59
Jump up ^ "Chobi Lekhen Sottojit (Satyajit Ray Writes Paintings)". academia.edu.
Jump up ^ Malcolm D (2 May 2002). "The universe in his backyard". The Guardian. London. Archived from the original on 26 April 2014. Retrieved 15 February 2007.
Jump up ^ Swagrow M. "An Art Wedded to Truth". The Atlantic Monthly. Archived from the original on 12 April 2009. Retrieved 15 February 2007.
^ Jump up to: a b Robinson 2003, p. 96
Jump up ^ Robinson 2003, pp. 306–318
Jump up ^ Robinson 2003, pp. 352–353
Jump up ^ Robinson 2003, pp. 314–315
Jump up ^ Ebert R. "The Music Room (1958)". Chicago Sun-Times. Archived from the original on 26 December 2005. Retrieved 29 April 2006.
Jump up ^ Robinson 2003, p. 246
Jump up ^ Robinson 2005, pp. 13–14
Jump up ^ http://www.satyajitray.org/about_ray/critics_on_ray.htm#MartinScorsese Archived 26 May 2015 at the Wayback Machine.
Jump up ^ Robinson 2003, p. 177
Jump up ^ Robinson 2003, p. 205
Jump up ^ Robinson 2003, pp. 327–328
Jump up ^ Tankha, Madhur (1 December 2007). "Returning to the classics of Ray". The Hindu. Chennai, India. Archived from the original on 26 April 2014. Retrieved 1 May 2008.
Jump up ^ Amitav Ghosh. "Satyajit Ray". Doom Online. Archived from the original on 30 October 2007. Retrieved 19 June 2006.
Jump up ^ Mrinal Sen. "Our lives, their lives". Little Magazine. Archived from the original on 21 June 2006. Retrieved 29 June 2006.
Jump up ^ Chris Ingui. "Martin Scorsese hits DC, hangs with the Hachet". Hatchet. Archived from the original on 26 August 2009. Retrieved 6 June 2009.
Jump up ^ Jay Antani (2004). "Raging Bull Review 1980". contactmusic.com. Archived from the original on 8 December 2015. Retrieved 4 December 2015.
Jump up ^ Sheldon Hall. "Ivory, James (1928–)". Screen Online. Archived from the original on 30 December 2006. Retrieved 12 February 2007.
Jump up ^ Dave Kehr (5 May 1995). "The 'World' of Satyajit Ray: Legacy of India's Premier Film Maker on Display". Daily News. Archived from the original on 21 February 2015. Retrieved 6 June 2009.
Jump up ^ Suchetana Ray (11 March 2008). "Satyajit Ray is this Spanish director's inspiration". CNN-IBN. Archived from the original on 7 July 2014. Retrieved 6 June 2009.
Jump up ^ Daniel Thomas (20 January 2003). "Film Reviews: Grave of the Fireflies (Hotaru no Haka)". Retrieved 30 May 2009.
Jump up ^ "A Review of Wes Anderson's The Darjeeling Limited". 28 October 2007. Archived from the original on 4 January 2008. Retrieved 2007-12-24.
Jump up ^ Alkarim Jivani (February 2009). "Mumbai rising". Sight & Sound. Archived from the original on 21 February 2015. Retrieved 1 February 2009.
Jump up ^ SK Jha (9 June 2006). "Sacred Ray". Calcutta, India: Telegraph India. Archived from the original on 18 June 2006. Retrieved 29 June 2006.
Jump up ^ André Habib. "Before and After: Origins and Death in the Work of Jean-Luc Godard". Senses of Cinema. Archived from the original on 14 June 2006. Retrieved 29 June 2006.
Jump up ^ Sragow, Michael (1994). "An Art Wedded to Truth". The Atlantic Monthly. University of California, Santa Cruz. Archived from the original on 12 April 2009. Retrieved 11 May 2009.
Jump up ^ "Subrata Mitra". Internet Encyclopedia of Cinematographers. Archived from the original on 2 June 2009. Retrieved 22 May 2009.
Jump up ^ "An Interview with Satyajit Ray". 1982. Archived from the original on 8 July 2011. Retrieved 24 May 2009.
Jump up ^ Nick Pinkerton (14 April 2009). "First Light: Satyajit Ray From the Apu Trilogy to the Calcutta Trilogy". The Village Voice. Archived from the original on 25 June 2009. Retrieved 9 July 2009.
Jump up ^ Datta S. "Feluda goes global, via radio". The Financial Express. Archived from the original on 26 October 2007. Retrieved 12 February 2007.
Jump up ^ Isabel Stevens (13 August 2013). "Satyajit Ray's film posters: in pictures". The Guardian. Archived from the original on 6 June 2014. Retrieved 6 June 2014.
Jump up ^ Mukherjee, Amrita (22 November 2016). "Inside Satyajit Ray’s famous study". www.atimes.com. Archived from the original on 2 December 2016. Retrieved 2 December 2016.
Jump up ^ "Preserved Projects". Academy Film Archive.
Jump up ^ "11th Moscow International Film Festival (1979)". Moscow International Film Festival. Archived from the original on 3 April 2014. Retrieved 20 January 2013.
Jump up ^ "Silver Bear winners (directors)". listal. 24 November 2008. Archived from the original on 19 May 2009. Retrieved 19 April 2009.
Jump up ^ "Personal Awards". Satyajit Ray official site. Archived from the original on 1 May 2009. Retrieved 19 April 2009.
Jump up ^ Robinson 2003, p. 1
^ Jump up to: a b "Personal Awards". Awards. satyajitray.org. Archived from the original on 4 April 2008. Retrieved 9 April 2008.
Jump up ^ "Padma Awards" (PDF). Ministry of Home Affairs, Government of India. 2015. Archived from the original (PDF) on 15 November 2014. Retrieved July 21, 2015.
Jump up ^ "Awards and Tributes: Satyajit Ray". San Francisco International Film Festival: The First to Fifty. San Francisco Film Society. Retrieved 8 April 2008.
Jump up ^ "Sight and Sound Poll 1992: Critics". California Institute of Technology. Archived from the original on 18 June 2015. Retrieved 29 May 2009.
^ Jump up to: a b Kevin Lee (5 September 2002). "A Slanted Canon". Asian American Film Commentary. Retrieved 24 April 2009.
Jump up ^ "Greatest Film Directors and Their Best Films". Filmsite.org. Archived from the original on 19 April 2015. Retrieved 19 April 2009.
Jump up ^ "The Greatest Directors Ever by Total Film Magazine". Filmsite.org. Archived from the original on 26 April 2014. Retrieved 19 April 2009.
References[edit]
Biswas, M, ed. (2006). Apu and after: Revisiting Ray's cinema. Seagull Books. ISBN 978-1-905422-25-8.
Cooper, D (2000). The Cinema of Satyajit Ray: Between Tradition and Modernity (PDF). Cambridge University Press. ISBN 0-521-62980-2.
Dasgupta, C (1996). The cinema of Satyajit Ray. Penguin India. ISBN 0-14-024780-7.
Ganguly, S (2001). Satyajit Ray: In search of the modern. Indialog. ISBN 81-87981-04-0.
Y, Ishaghpour (2002). Satyajit Ray, l'Orient et l'Occident. Volume 24 of Les essais. Différence. ISBN 2-7291-1401-7.
Mitra, S (1983). "The Genius of Satyajit Ray". India Today.
Nandy, A (1995). "Satyajit Ray's Secret Guide to Exquisite Murders". The Savage Freud and Other Essays on Possible and Retrievable Selves. Princeton University Press. ISBN 0-691-04410-4.
Nyce, B (1988). Satyajit Ray: A Study of His Films. Praeger Publishers. ISBN 0-275-92666-4.
Ray, S (1993). Our films, their films (3 ed.). Asia Book Corp of Amer. ISBN 0-86311-317-6.
Ray, S (1994). My Years with Apu. Viking. ISBN 0-670-86215-0.
Ray, S (2005). Speaking of films. Penguin India. ISBN 0-14-400026-1.
Robinson, A (2003). Satyajit Ray: The Inner Eye: The Biography of a Master Film-Maker. I. B. Tauris. ISBN 1-86064-965-3.
Robinson (2005). Satyajit Ray: A Vision of Cinema. I. B. Tauris. ISBN 1-84511-074-9.
Rushdie, S (1992). Imaginary Homelands. Penguin. ISBN 0-14-014036-0.
Santas, Constantin (2002). Responding to film: A Text Guide for Students of Cinema Art. Rowman & Littlefield. ISBN 0-8304-1580-7.
Seton, Marie (1971). Satyajit Ray: Portrait of a director. Indiana University Press. ISBN 0-253-16815-5.
Wood, R (1972). The Apu trilogy. November Books Ltd. ISBN 0-85631-003-4.
External links[edit]
Find more aboutSatyajit Rayat Wikipedia's sister projects
Media from Commons
Quotations from Wikiquote
Data from Wikidata
Satyajit Ray Foundation
SatyajitRay.org
Satyajit Ray Film and Study Center: University of California – Santa Cruz
Satyajit Ray society
Satyajit Ray on IMDb
"Satyajit Ray: A Vision of Cinema". Archived from the original on 4 January 2006. article by W. Andrew Robinson
[show]
v
t
e
Works of Satyajit Ray
Literature on cinema
Our Films, Their Films
Bishoy Chalachchitra
Ekei Bole Shooting
Literary creations
Bankubabur Bandhu
Feluda
Professor Shonku
Tarini Khuro
Literary works of Satyajit Ray
See also
Awards for Satyajit Ray
Satyajit Ray filmography
Apu trilogy
Goopy Gyne Bagha Byne series
Feluda in film
Calcutta trilogy
Sandesh magazine
Satyajit Ray Film and Television Institute
[show]
v
t
e
Films by Satyajit Ray
Director and writer
The Apu Trilogy
Pather Panchali (1955)
Aparajito (1956)
The World of Apu (1959)
Calcutta trilogy
Pratidwandi (1970)
Seemabaddha (1971)
Jana Aranya (1976)
Goopy & Bagha series
Goopy Gyne Bagha Byne (1969)
Hirak Rajar Deshe (1980)
Feluda series
Sonar Kella (1974)
Joi Baba Felunath (1978)
Documentaries
Rabindranath Tagore (1961)
Two (1964)
Sikkim (1971)
The Inner Eye (1972)
Bala (1976)
Pikoo (1980)
Sukumar Ray (1987)
Other films
Parash Pathar (1958)
Jalsaghar (1958)
Devi (1960)
Teen Kanya (1961)
Kanchenjungha (1962)
Abhijan (1962)
Mahanagar (1963)
Charulata (1964)
Kapurush (1965)
Mahapurush (1965)
Nayak (1966)
Chiriyakhana (1967)
Aranyer Din Ratri (1970)
Distant Thunder (1973)
The Chess Players (1977)
Sadgati (1981)
Ghare Baire (1984)
Ganashatru (1989)
Shakha Proshakha (1990)
Agantuk (1991)
Writer
Goopy & Bagha series
Goopy Bagha Phire Elo (1991)
Goopi Gawaiya Bagha Bajaiya (2014)
Feluda films
Feature films
Baksho Rahashya (2001, initially released as telefilm)
Bombaiyer Bombete (2003)
Kailashey Kelenkari (2007)
Tintorettor Jishu (2008)
Gorosthaney Sabdhan (2010)
Royal Bengal Rahashya (2011)
Badshahi Angti (2014)
Television
Baksho Rahashya (1996)
Satyajit Ray Presents (13 short films, 1986)
Kissa Kathmandhu Ka (telefilm, 1986)
Satyajit Ray Presents II (4 short films, 1987)
Feluda 30 (TV series, 1996)
Dr. Munshir Diary (telefilm, 2000)
Tarini Khuro films
Feature films
Jekhane Bhooter Bhoy (2012)
Television
Juti (telefilm, 1992)
Tollywoodey Tarinikhuro (telefilm, 2001)
Bankubabur Bandhu
Feature films
The Alien (1967)
Television
Bankubabur Bandhu (2006)
Other films
Target (1995)
Bombay Talkies (2013)
Chaar (2014)
Anukul (2017)
[show]
v
t
e
Satyajit Ray's Feluda
Short
stories
Feluda'r Goendagiri (Danger in Darjeeling, 1965-66)
Kailash Choudhary'r Pathar (Kailash Choudhury's Jewel, 1967)
Sheyal Debota'r Rahasya (The Anubis Mystery, 1970)
Samaddar er Chabi (The Key, 1973)
Ghurghutiyar Ghatona (The Locked Chest, 1975)
Golokdham Rahasya (A Mysterious Tenant, 1980)
Napoleoner Chithi (Napoleon's Letter, 1981)
Ambar Sen Antordhan Rahasya (The Disappearance of Ambar Sen, 1983)
Jahangirer Swarnamudra (The Gold Coins of Jehangir, 1983)
Ebar Kando Kedarnathe (Crime in Kedarnath, 1984)
Bosepukure Khunkharapi (The Acharya Murder Case, 1985)
Bhuswargo Bhayankar (Peril in Paradise, 1987)
Apsara Theatreer Mamla (The Affair at Apsara Theatre, 1987)
Sakuntalar Kanthahaar (Shakuntala's Necklace, 1988)
Golapi Mukta Rahasya (The Mystery of the Pink Pearl, ?)
London e Feluda (Feluda in London, 1989)
Dr. Munshir Diary (Dr. Munshi's Diary, 1990)
Indrajal Rahasya (Magical Mystery, 1995-96)
Novels
Badshahi Angti (The Emperor's Ring, 1969)
Gangtokey Gondogol (Trouble in Gangtok, 1971)
Sonar Kella (The Golden Fortress, 1971)
Baksho Rahashya (The Mystery Of The Box, 1972)
Kailash e Kelenkari (A Killer in Kailash, 1974)
Royal Bengal Rahashya (The Royal Bengal Mystery, 1974)
Joi Baba Felunath (novel) (Mystery of the Elephant God, 1975)
Bombaiyer Bombete (novel) (The Bandits of Bombay, 1976)
Gosainpur Sargaram (The Mystery of the Walking Dead, 1976)
Gorosthaney Sabdhan (novel) (Caution In the Cemetery, 1977)
Chhinnamastar Abhishap (The Curse of the Goddess, 1978)
Hatyapuri (The House Of Murder, 1979)
Joto Kando Kathmandu te (Chaos in Kathmandu, 1980)
Tintorettor Jishu (Tintoretto's Jesus, 1983)
Darjeeling Jomjomat (Murder in the Mountains, 1986)
Nayan Rahasya (The Mystery of Nayan, 1990)
Robertsoner Ruby (Robertson's Ruby, 1992)
Unfinished
writings
Baksho Rahasya (first draft)
Tota Rahasya (first draft)
Aditya Bardhan er Abishkar
Films
Soumitra
Chatterjee
Sonar Kella (1974)
Joy Baba Felunath (1979)
Sabyasachi
Chakrabarty
Baksho Rahashya (2001)
Bombaiyer Bombete (2003)
Kailashey Kelenkari (2007)
Tintorettor Jishu (2008)
Gorosthaney Sabdhan (2010)
Royal Bengal Rahashya (2011)
Abir
Chatterjee
Badshahi Angti (2014)
Television
Soumitra
Chatterjee
Ghurghutiyar Ghotona
Golokdham Rahasya
Shashi
Kapoor
Kissa Kathmandu Ka
Sabyasachi
Chakrabarty
Baksho Rahashya (1996)
Gosaipur Sargaram
Sheyal Debota Rahasya
Bosepukur e Khunkharapi
Joto Kando Kathmandu te
Jahangir er Swarnamudra
Ghurghutiyar Ghotona
Golapi Mukto Rahashya
Ambar Sen Antardhan Rahashya
Dr. Munshir Diary
Animation
Feluda : The Kathmandu Caper (2010)
Characters
Feluda (Prodosh Chandra Mitter)
Tapesh Ranjan Mitra
Jatayu (Lalmohan Ganguly)
Sidhu Jyatha
Haripada
Maganlal Meghraj
Pulak Ghoshal
Srinath
Bharadwaj
Baikuntha Mallik
Weapons
.32 Long Colt
Locations
Aurangabad
Bamungachhi
Birbhum
Darjeeling
Gangtok
Ghurghutiya, Nadia
Hong Kong
Kashmir
Kathmandu
Kedarnath
Kolkata
London
Lucknow
Mumbai
Panihati
Puri
Rajasthan
Scottish Church College
Shimla
Varanasi
[show]
v
t
e
Feluda in popular media
Films
Soumitra
Chatterjee
Sonar Kella (1974)
Joi Baba Felunath (1979)
Sabyasachi
Chakrabarty
Baksho Rahashya (2001)
Bombaiyer Bombete (2003)
Kailashey Kelenkari (2007)
Tintorettor Jishu (2008)
Gorosthaney Sabdhan (2010)
Royal Bengal Rahashya (2011)
Abir
Chatterjee
Badshahi Angti (2014)
Television
Soumitra
Chatterjee
Ghurghutiyar Ghotona
Golokdham Rahasya
Shashi
Kapoor
Kissa Kathmandu Ka
Sabyasachi
Chakrabarty
Baksho Rahashya (1996)
Gosaipur Sargaram
Sheyal Debota Rahasya
Bosepukur e Khunkharapi
Joto Kando Kathmandu te
Jahangir er Swarnamudra
Ghurghutiyar Ghotona
Golapi Mukto Rahashya
Ambar Sen Antardhan Rahashya
Dr. Munshir Diary
Unofficial films
Doorbeen (2014)
Animation
Feluda : The Kathmandu Caper (2010)
Recurring
character
Prodosh Chandra Mitter (Feluda)
Supporting
characters
Tapesh Ranjan Mitra
Jatayu (Lalmohan Ganguly)
Sidhu Jyatha
Haripada
Pulak Ghoshal
Srinath
Bharadwaj
Baikuntha Mallik
Antagonists
Amiyanath Burman
Mandar Bose
Maganlal Meghraj
Gopinath Gorey/Sanyal
Mr. Rakshit aka Chattaraj
Hiralal Somani
Naresh Chandra Pakrashi
Prabir Lahir
Banabihari Sarkar
Actors who have
played Feluda
Soumitra Chatterjee
Shashi Kapoor
Sabyasachi Chakrabarty
Abir Chatterjee
[show]
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Tarini Khuro
Satyajit Ray
Stories
Doomnigar-er Manuskheko
Conway castle-er Pretatma
Khelowaar Tarini Khuro
Tarini Khuro O Betaal
Tollywood-e Tarini Khuro
Lucknow-er Duel
Dhumalgar-er Hunting Lodge
Jooti
Sheth Gangaram-er Dhan Daulat
Galpoboliye Tarini Khuro
Maharajah Tarini Khuro
Tarini Khuro o Oindrojalik
Norris Saheb-er Bungalow
Mohim Sannal-er Ghotona
Gonotkar Tarini Khuro
In other media
Films
Jekhane Bhooter Bhoy (2012)
The Storyteller (TBA)
Telefilms
Juti (1992; in Satyajiter Goppo)
Tollywoodey Tarinikhuro (2001; in Satyajiter Priyo Golpo)
Radio
(In Sunday Suspense)
Dhumol Gorer Hunting Lodge
Conway Castler Pretatta
Dumnigorer Manushkheko
Khelowar Tarinikhuro
Lucknow er Duel
Maharaja Tarinikhuro
Tarinikhuro O Betal
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Ray family
1st generation
Upendrakishore Ray Chowdhury
Hemendra Mohan Bose#
2nd generation
Sukumar Ray
Shukhalata Rao
Nitin Bose
Malati Ghoshal
3rd generation
Satyajit Ray
Bijoya Ray#
4th generation
Sandip Ray
# These persons were married into the family.
[show]
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Sandip Ray films
Feluda films
Feature films
Baksho Rahashya (2001, initially released as telefilm)
Bombaiyer Bombete (2003)
Kailashey Kelenkari (2007)
Tintorettor Jishu (2008)
Gorosthaney Sabdhan (2010)
Royal Bengal Rahashya (2011)
Badshahi Angti (2014)
Double Feluda (2016)
Television
Baksho Rahashya (1996)
Satyajit Ray Presents (13 short films, 1986)
Kissa Kathmandhu Ka (telefilm, 1986)
Satyajit Ray Presents II (4 short films, 1987)
Feluda 30 (TV series, 1996)
Dr. Munshir Diary (telefilm, 2000)
Tarini Khuro films
Feature films
Jekhane Bhooter Bhoy (2012)
Television
Juti (telefilm, 1992)
Tollywoodey Tarinikhuro (telefilm, 2001)
Documentary films
Kishore Kumar (1988)
Pregnant Silence: Conception of a Genius (1991)
My Mother: A Freudian introspection (1993)
Other films
Phatik Chand (1983)
Goopy Bagha Phire Elo (1993)
Uttoran (1994)
Target (1995)
Himghar (1996)
Satyajiter Gappo (4 short films, 1999)
Eker Pithe Dui (12 short films, 2001)
Satyajiter Priyo Galpo (7 short films, 2001)
Mayar Khela (musical, 2002)
Nishijapon (2005)
Bonkubabur Bondhu (telefilm, 2006)
Hitlist (2009)
Jekhane Bhooter Bhoy (2012)
Chaar (2014)
Monchora (2016)
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Dwarkanath Ganguly family
Persons in blue were born into the family. Persons in magenta were married into the family.
1st generation
Dwarkanath Ganguly
Kadambini Ganguly
2nd generation
Upendrakishore Ray
3rd generation
Sukumar Ray
Shukhalata Rao
4th generation
Satyajit Ray
Bijoya Ray
5th generation
Sandip Ray
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Cinema of West Bengal
History
Billwamangal
Dena Paona
Dhirendra Nath Ganguly
Hiralal Sen
Kanon Bala
J.F. Madan
Madan Theatres
Minerva Theatres
New Theatres
Pramathesh Barua
Royal Bioscope
Star Theatres
more
Bengali cinema
1930s
1940s
1950s
1960s
1970s
1980
1981
1982
1983
1984
1985
1986
1987
1988
1989
1990
1991
1992
1993
1994
1995
1996
1997
1998
1999
2000
2001
2002
2003
2004
2005
2006
2007
2008
2009
2010
2011
2012
2013
2014
2015
2016
Directors
Debaki Bose
Nitin Bose
Buddhadev Dasgupta
Ritwik Ghatak
Gautam Ghose
Rituparno Ghosh
Morshedul Islam
Tarun Majumdar
Tareque Masud
Hrishikesh Mukherjee
Satyajit Ray
Bimal Roy
Aparna Sen
Hiralal Sen
Mrinal Sen
Tapan Sinha
Srijit Mukherji
Goutam Ghosh
more
Actors
George Baker
Victor Bannerjee
Pramathesh Barua
Chhabi Biswas
Bobita
Mithun Chakraborty
Prasenjit Chatterjee
Sabitri Chatterjee
Soumitra Chatterjee
Supriya Devi
Rabi Ghosh
Uttam Kumar
Madhabi Mukherjee
Abdur Razzak
Suchitra Sen
Sharmila Tagore
more
Music directors
Raichand Boral
Rahul Dev Burman
S.D. Burman
Salil Chowdhury
Jeet Ganguly
Bappi Lahiri
Neeta Sen
Singers
Abhijeet Bhattacharya
Zubeen Garg
Kishore Kumar
Samidh Mukerjee
Kumar Sanu
Shaan
Arijit Singh
Alka Yagnik
Films
By year
(A–Z)
36 Chowringhee Lane
Bankubabur Bandhu
Apu Trilogy
Bari Theke Paliye
Billwamangal
The Bong Connection
Bow Barracks Forever
Calcutta trilogy
Charulata
Chokher Bali
Deep Jwele Jaai
Dena Paona
Feluda series
Ganga
Ghare Baire
Hansuli Banker Upokotha
Harano Sur
Hemlock Society
Herbert
It Was Raining That Night
Jibon Theke Neya
Jole Jongole
The Last Lear
Matir Moina
Meghe Dhaka Tara
Mukh O Mukhosh
Neel Akasher Neechey
Saptapadi
Shadows of Time
Tahader Katha
Titash Ekti Nadir Naam
Titli
Tolly Lights
Unishe April
more
Fictional characters
in Bengali cinema
Diego Alvarez
Nilkantha Bagchi
Byomkesh Bakshi
Lalmohan Ganguly
Chandramukhi
Shankar Roy Chowdhury
Devdas
Feluda
Kakababu
Tarini Khuro
[show]
Awards for Satyajit Ray
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Silver Bear for Best Director
1956-1979
Robert Aldrich (1956)
Mario Monicelli (1957)
Tadashi Imai (1958)
Akira Kurosawa (1959)
Jean-Luc Godard (1960)
Bernhard Wicki (1961)
Francesco Rosi (1962)
Nikos Koundouros (1963)
Satyajit Ray (1964)
Satyajit Ray (1965)
Carlos Saura (1966)
Živojin Pavlović (1967)
Carlos Saura (1968)
Jean-Pierre Blanc (1972)
Sergei Solovyov (1975)
Mario Monicelli (1976)
Manuel Gutiérrez Aragón (1977)
Georgi Djulgerov (1978)
Astrid Henning-Jensen (1979)
1980-1989
István Szabó (1980)
Mario Monicelli (1982)
Éric Rohmer (1983)
Costas Ferris / Ettore Scola (1984)
Robert Benton (1985)
Georgiy Shengelaya (1986)
Oliver Stone (1987)
Norman Jewison (1988)
Dušan Hanák (1989)
1990-1999
Michael Verhoeven (1990)
Jonathan Demme / Ricky Tognazzi (1991)
Jan Troell (1992)
Andrew Birkin (1993)
Krzysztof Kieślowski (1994)
Richard Linklater (1995)
Yim Ho / Richard Loncraine (1996)
Eric Heumann (1997)
Neil Jordan (1998)
Stephen Frears (1999)
2000-2009
Miloš Forman (2000)
Lin Cheng-sheng (2001)
Otar Iosseliani (2002)
Patrice Chéreau (2003)
Kim Ki-duk (2004)
Marc Rothemund (2005)
Michael Winterbottom / Mat Whitecross (2006)
Joseph Cedar (2007)
Paul Thomas Anderson (2008)
Asghar Farhadi (2009)
2010-2019
Roman Polanski (2010)
Ulrich Köhler (2011)
Christian Petzold (2012)
David Gordon Green (2013)
Richard Linklater (2014)
Radu Jude / Malgorzata Szumowska (2015)
Mia Hansen-Løve (2016)
Aki Kaurismäki (2017)
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Academy Honorary Award
1928–1950
Warner Bros. / Charlie Chaplin (1928)
Walt Disney (1932)
Shirley Temple (1934)
D. W. Griffith (1935)
The March of Time / W. Howard Greene and Harold Rosson (1936)
Edgar Bergen / W. Howard Greene / Museum of Modern Art Film Library / Mack Sennett (1937)
J. Arthur Ball / Walt Disney / Deanna Durbin and Mickey Rooney / Gordon Jennings, Jan Domela, Devereaux Jennings, Irmin Roberts, Art Smith, Farciot Edouart, Loyal Griggs, Loren L. Ryder, Harry D. Mills, Louis Mesenkop, Walter Oberst / Oliver T. Marsh and Allen Davey / Harry Warner (1938)
Douglas Fairbanks / Judy Garland / William Cameron Menzies / Motion Picture Relief Fund (Jean Hersholt, Ralph Morgan, Ralph Block, Conrad Nagel)/ Technicolor Company (1939)
Bob Hope / Nathan Levinson (1940)
Walt Disney, William Garity, John N. A. Hawkins, and the RCA Manufacturing Company / Leopold Stokowski and his associates / Rey Scott / British Ministry of Information (1941)
Charles Boyer / Noël Coward / Metro-Goldwyn-Mayer (1942)
George Pal (1943)
Bob Hope / Margaret O'Brien (1944)
Republic Studio, Daniel J. Bloomberg, and the Republic Studio Sound Department / Walter Wanger / The House I Live In / Peggy Ann Garner (1945)
Harold Russell / Laurence Olivier / Ernst Lubitsch / Claude Jarman Jr. (1946)
James Baskett / Thomas Armat, William Nicholas Selig, Albert E. Smith, and George Kirke Spoor / Bill and Coo / Shoeshine (1947)
Walter Wanger / Monsieur Vincent / Sid Grauman / Adolph Zukor (1948)
Jean Hersholt / Fred Astaire / Cecil B. DeMille / The Bicycle Thief (1949)
Louis B. Mayer / George Murphy / The Walls of Malapaga (1950)
1951–1975
Gene Kelly / Rashomon (1951)
Merian C. Cooper / Bob Hope / Harold Lloyd / George Mitchell / Joseph M. Schenck / Forbidden Games (1952)
20th Century-Fox Film Corporation / Bell & Howell Company / Joseph Breen / Pete Smith (1953)
Bausch & Lomb Optical Company / Danny Kaye / Kemp Niver / Greta Garbo / Jon Whiteley / Vincent Winter / Gate of Hell (1954)
Samurai I: Musashi Miyamoto (1955)
Eddie Cantor (1956)
Society of Motion Picture and Television Engineers / Gilbert M. "Broncho Billy" Anderson / Charles Brackett / B. B. Kahane (1957)
Maurice Chevalier (1958)
Buster Keaton / Lee de Forest (1959)
Gary Cooper / Stan Laurel / Hayley Mills (1960)
William L. Hendricks / Fred L. Metzler / Jerome Robbins (1961)
William J. Tuttle (1964)
Bob Hope (1965)
Yakima Canutt / Y. Frank Freeman (1966)
Arthur Freed (1967)
John Chambers / Onna White (1968)
Cary Grant (1969)
Lillian Gish / Orson Welles (1970)
Charlie Chaplin (1971)
Charles S. Boren / Edward G. Robinson (1972)
Henri Langlois / Groucho Marx (1973)
Howard Hawks / Jean Renoir (1974)
Mary Pickford (1975)
1976–2000
Margaret Booth (1977)
Walter Lantz / Laurence Olivier / King Vidor / Museum of Modern Art Department of Film (1978)
Hal Elias / Alec Guinness (1979)
Henry Fonda (1980)
Barbara Stanwyck (1981)
Mickey Rooney (1982)
Hal Roach (1983)
James Stewart / National Endowment for the Arts (1984)
Paul Newman / Alex North (1985)
Ralph Bellamy (1986)
Eastman Kodak Company / National Film Board of Canada (1988)
Akira Kurosawa (1989)
Sophia Loren / Myrna Loy (1990)
Satyajit Ray (1991)
Federico Fellini (1992)
Deborah Kerr (1993)
Michelangelo Antonioni (1994)
Kirk Douglas / Chuck Jones (1995)
Michael Kidd (1996)
Stanley Donen (1997)
Elia Kazan (1998)
Andrzej Wajda (1999)
Jack Cardiff / Ernest Lehman (2000)
2001–present
Sidney Poitier / Robert Redford (2001)
Peter O'Toole (2002)
Blake Edwards (2003)
Sidney Lumet (2004)
Robert Altman (2005)
Ennio Morricone (2006)
Robert F. Boyle (2007)
Lauren Bacall / Roger Corman / Gordon Willis (2009)
Kevin Brownlow / Jean-Luc Godard / Eli Wallach (2010)
James Earl Jones / Dick Smith (2011)
D. A. Pennebaker / Hal Needham / George Stevens Jr. (2012)
Angela Lansbury / Steve Martin / Piero Tosi (2013)
Jean-Claude Carrière / Hayao Miyazaki / Maureen O'Hara (2014)
Spike Lee / Gena Rowlands (2015)
Jackie Chan / Lynn Stalmaster / Anne V. Coates / Frederick Wiseman (2016)
Charles Burnett / Owen Roizman / Donald Sutherland / Agnès Varda (2017)
[show]
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Bharat Ratna laureates
1954–1960
C. Rajagopalachari, Sarvepalli Radhakrishnan, and C. V. Raman (1954)
Bhagwan Das, Mokshagundam Visvesvarayya, and Jawaharlal Nehru (1955)
Govind Ballabh Pant (1957)
Dhondo Keshav Karve (1958)
1961–1980
Bidhan Chandra Roy and Purushottam Das Tandon (1961)
Rajendra Prasad (1962)
Zakir Husain and Pandurang Vaman Kane (1963)
Lal Bahadur Shastri (1966)
Indira Gandhi (1971)
V. V. Giri (1975)
K. Kamaraj (1976)
Mother Teresa (1980)
1981–2000
Vinoba Bhave (1983)
Khan Abdul Ghaffar Khan (1987)
M. G. Ramachandran (1988)
B. R. Ambedkar and Nelson Mandela (1990)
Rajiv Gandhi, Vallabhbhai Patel, and Morarji Desai (1991)
Abul Kalam Azad, J. R. D. Tata, and Satyajit Ray (1992)
Gulzarilal Nanda, Aruna Asaf Ali, and A. P. J. Abdul Kalam (1997)
M. S. Subbulakshmi and Chidambaram Subramaniam (1998)
Jayaprakash Narayan, Amartya Sen, Gopinath Bordoloi, and Ravi Shankar (1999)
2001–present
Lata Mangeshkar and Bismillah Khan (2001)
Bhimsen Joshi (2008)
C. N. R. Rao and Sachin Tendulkar (2014)
Madan Mohan Malaviya and Atal Bihari Vajpayee (2015)
[show]
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Dadasaheb Phalke Award
1969–1980
Devika Rani Chaudhuri Roerich (1969)
B. N. Sircar (1970)
Prithviraj Kapoor (1971)
Pankaj Mullick (1972)
Ruby Myers (1973)
Bommireddy Narasimha Reddy (1974)
Dhirendranath Ganguly (1975)
Kanan Devi (1976)
Nitin Bose (1977)
Rai Chand Boral (1978)
Sohrab Modi (1979)
Paidi Jairaj (1980)
1981–2000
Naushad (1981)
L. V. Prasad (1982)
Durga Khote (1983)
Satyajit Ray (1984)
V. Shantaram (1985)
B. Nagi Reddy (1986)
Raj Kapoor (1987)
Ashok Kumar (1988)
Lata Mangeshkar (1989)
Akkineni Nageswara Rao (1990)
Bhalji Pendharkar (1991)
Bhupen Hazarika (1992)
Majrooh Sultanpuri (1993)
Dilip Kumar (1994)
Rajkumar (1995)
Sivaji Ganesan (1996)
Pradeep (1997)
B. R. Chopra (1998)
Hrishikesh Mukherjee (1999)
Asha Bhosle (2000)
2001–present
Yash Chopra (2001)
Dev Anand (2002)
Mrinal Sen (2003)
Adoor Gopalakrishnan (2004)
Shyam Benegal (2005)
Tapan Sinha (2006)
Manna Dey (2007)
V. K. Murthy (2008)
D. Ramanaidu (2009)
K. Balachander (2010)
Soumitra Chatterjee (2011)
Pran (2012)
Gulzar (2013)
Shashi Kapoor (2014)
Manoj Kumar (2015)
Kasinathuni Viswanath (2016)
[show]
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National Film Award for Best Direction
1967–1980
Satyajit Ray (1967)
Satyajit Ray (1968)
Mrinal Sen (1969)
Satyajit Ray (1970)
Girish Karnad and B. V. Karanth (1971)
Adoor Gopalakrishnan (1972)
Mani Kaul (1973)
Satyajit Ray (1974)
Satyajit Ray (1975)
P. Lankesh (1976)
G. Aravindan (1977)
G. Aravindan (1978)
Mrinal Sen (1979)
Mrinal Sen (1980)
1981–2000
Aparna Sen (1981)
Utpalendu Chakrabarty (1982)
Mrinal Sen (1983)
Adoor Gopalakrishnan (1984)
Shyam Benegal (1985)
G. Aravindan (1986)
Adoor Gopalakrishnan (1987)
Shaji N. Karun (1988)
Adoor Gopalakrishnan (1989)
Tapan Sinha (1990)
Satyajit Ray (1991)
Goutam Ghose (1992)
T. V. Chandran (1993)
Jahnu Barua (1994)
Saeed Akhtar Mirza (1995)
Agathiyan (1996)
Jayaraj (1997)
Rajeevnath (1998)
Buddhadeb Dasgupta (1999)
Rituparno Ghosh (2000)
2001–present
B. Lenin (2001)
Aparna Sen (2002)
Goutam Ghose (2003)
Buddhadeb Dasgupta (2004)
Rahul Dholakia (2005)
Madhur Bhandarkar (2006)
Adoor Gopalakrishnan (2007)
Bala (2008)
Rituparno Ghosh (2009)
Vetrimaaran (2010)
Gurvinder Singh (2011)
Shivaji Lotan Patil (2012)
Hansal Mehta (2013)
Srijit Mukherji (2014)
Sanjay Leela Bhansali (2015)
Rajesh Mapuskar (2016)
[show]
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National Film Award for Best Screenplay
1967–1980
S. L. Puram Sadanandan (1967)
Pandit Anand Kumar (1968)
Puttanna Kanagal (1969)
Satyajit Ray (1970)
Tapan Sinha (1971)
Gulzar (1972)
Mrinal Sen and Ashish Burman (1973)
Satyajit Ray (1974)
No Award (1975)
Vijay Tendulkar (1976)
Satyadev Dubey, Shyam Benegal, Girish Karnad (1977)
T. S. Ranga and T. S. Nagabharana (1978)
Sai Paranjpye (1979)
Mrinal Sen (1980)
1981–2000
K. Balachander (1981)
Mrinal Sen (1982)
G. V. Iyer (1983)
Adoor Gopalakrishnan (1984)
Bhabendra Nath Saikia (1985)
Budhdhadeb Dasgupta (1986)
Adoor Gopalakrishnan (1987)
Arundhati Roy (1988)
M. T. Vasudevan Nair (1989)
K. S. Sethumadhavan (1990)
M. T. Vasudevan Nair (1991)
M. T. Vasudevan Nair (1992)
Satyajit Ray (1993)
M. T. Vasudevan Nair (1994)
Saeed Akhtar Mirza and Ashok Mishra (1995)
Agathiyan (1996)
Rituparno Ghosh (1997)
Ashok Mishra (1998)
Madampu Kunjukuttan (1999)
Bharathiraja (2000)
2001–present
Neelakanta (2001)
Aparna Sen (2002)
Goutam Ghose (2003)
Manoj Tyagi and Nina Arora (2004)
Prakash Jha, Manoj Tyagi and Shridhar Raghavan (2005)
Abhijat Joshi, Rajkumar Hirani and Vidhu Vinod Chopra (2006)
Feroz Abbas Khan (2007)
Sachin Kundalkar (2008)
Original
P. F. Mathews and Harikrishna (2009)
Vetrimaaran (2010)
Nitish Tiwary, Vikas Bahl and Vijay Maurya (2011)
Sujoy Ghosh (2012)
P. Sheshadri (2013)
Srijit Mukherji (2014)
Juhi Chaturvedi and Himanshu Sharma (2015)
Syam Pushkaran (2016)
Adapted
Gopal Krishan Pai and Girish Kasaravalli (2009)
Anant Mahadevan and Sanjay Pawar (2010)
Avinash Deshpande Nigdi (2011)
Bhavesh Mandalia and Umesh Shukla (2012)
Panchakshari (2013)
Joshy Mangalath (2014)
Vishal Bhardwaj (2015)
Sanjay Krishnaji Patil (2016)
Dialogues
Pandiraj (2009)
Sanjay Pawar (2010)
Girish Kulkarni (2011)
Anjali Menon (2012)
Sumitra Bhave (2013)
Vishal Bhardwaj (2014)
Juhi Chaturvedi and Himanshu Sharma (2015)
Tharun Bhascker Dhaassyam (2016)
[show]
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National Film Award for Best Music Direction
1967–1980
K. V. Mahadevan (1967)
Kalyanji Anandji (1968)
S. Mohinder (1969)
Madan Mohan (1970)
Jaidev (1971)
S. D. Burman (1972)
Satyajit Ray (1973)
Ananda Shankar (1974)
Bhupen Hazarika (1975)
B. V. Karanth (1976)
B. V. Karanth (1977)
Jaidev (1978)
K. V. Mahadevan (1979)
Satyajit Ray (1980)
1981–2000
Khayyam (1981)
Ramesh Naidu (1982)
Ilaiyaraaja (1983)
Jaidev (1984)
Ilaiyaraaja (1985)
M. Balamuralikrishna (1986)
Vanraj Bhatia (1987)
Ilaiyaraaja (1988)
Sher Chowdhary (1989)
Hridaynath Mangeshkar (1990)
Rajat Dholakia (1991)
A. R. Rahman (1992)
Johnson (1993)
Ravi and Johnson (1994)
Hamsalekha (1995)
A. R. Rahman (1996)
M. M. Keeravani (1997)
Vishal Bhardwaj (1998)
Ismail Darbar (1999)
Anu Malik (2000)
2001–2008
A. R. Rahman (2001)
A. R. Rahman (2002)
Shankar–Ehsaan–Loy (2003)
Vidyasagar (2004)
Lalgudi Jayaraman (2005)
Ashok Patki (2006)
Ouseppachan (2007)
Ajay−Atul (2008)
2009- Present
Songs
Amit Trivedi (2009)
Vishal Bhardwaj (2010)
Neel Dutt (2011)
Shailendra Barve (2012)
Kabir Suman (2013)
Vishal Bhardwaj (2014)
M. Jayachandran (2015)
Bapu Padmanabha (2016)
Background score
Ilaiyaraaja (2009)
Isaac Thomas Kottukapally (2010)
Mayookh Bhaumik (2011)
Bijibal (2012)
Shantanu Moitra (2013)
Gopi Sundar (2014)
Ilaiyaraaja (2015)
Bapu Padmanabha (2016)
[show]
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National Film Award—Special Jury Award (Feature Film)
1978–1980
No Award (1978)
No Award (1979)
No Award (1980)
Special Mention
Mrinal Sen and Muzaffar Ali (1978)
No Award (1979)
No Award (1980)
1981–2000
Satyajit Ray (1981)
No Award (1982)
Mankada Ravi Varma (1983)
T. S. Ranga (1984)
Sudha Chandran (1985)
John Abraham (1986)
M. B. Sreenivasan (1987)
Ashok Ahuja (1988)
Amitabh Chakraborty (1989)
Pankaj Kapur, Sunny Deol and Jayabharathi (1990)
Soumitra Chatterjee (1991)
Sivaji Ganesan and Ketan Mehta (1992)
Shashi Kapoor and Pallavi Joshi (1993)
Radhu Karmakar and Shaji N. Karun (1994)
Shyam Benegal (1995)
Amol Palekar and Kirron Kher (1996)
Jaimala (1997)
Drishyakavya and Ashoke Viswanathan (1998)
Kalabhavan Mani (1999)
Soumitra Chatterjee (2000)
Special Mention
No Award (1981)
No Award (1982)
Kumar Shahani (1983)
No Award (1984)
No Award (1985)
Sandip Ray (1986)
No Award (1987)
Aamir Khan (1988)
Anupam Kher and Mohanlal (1989)
Anoubham Kiranmala (1990)
Mamata Shankar and Raveendran (1991)
Sibaprasad Sen (1992)
Tahir Hussain, Mahesh Bhatt, Jugal Debata and Susant Misra (1993)
Mahesh Mahadevan, Bishnu Kharghoria and S. Kumar (1994)
Uttara Baokar, Rohini and Benaf Dadachandji (1995)
Dolon Roy and Bhagirathee (1996)
Akkineni Nagarjuna and Jomol (1997)
Dasari Narayana Rao, Prakash Raj and Manju Warrier (1998)
Mohan Joshi, Manju Borah and Kavitha Lankesh (1999)
No Award (2000)
2001–present
Janaki Vishwanathan (2001)
Prakash Raj (2002)
Manoj Bajpai, Roopkatha and Goutam Halder (2003)
J. Phillip (2004)
Anupam Kher (2005)
Vishal Bhardwaj (2006)
Anil Kapoor and Feroz Abbas Khan (2007)
NFDC and K. M. Madhusudhanan (2008)
A. Sreekar Prasad (2009)
Bindiya Khanolkar, Sachin Khanolkar and Anant Mahadevan (2010)
Anjan Dutt (2011)
Rituparno Ghosh and Nawazuddin Siddiqui (2012)
Viva In En, Mahesh Limaye, Future East Film Pvt Ltd and Ashim Ahluwalia (2013)
Bhaurao Karhade (2014)
Kalki Koechlin (2015)
Mohanlal (2016)
Special Mention
Dilip Doley and Narayan Seal (2001)
Jyothirmayi (2002)
H. G. Dattatreya and Nedumudi Venu (2003)
Gurdas Maan and Pradeep Nair (2004)
No Award (2005)
Thilakan and Prosenjit Chatterjee (2006)
No Award (2007)
No Award (2008)
Padmapriya Janakiraman (2009)
K. Shivaram Karanth and V. I. S. Jayabalan (2010)
Mallika and Sherrey (2011)
Lal, H. G. Dattatreya, Bishnu Kharghoria, Parineeti Chopra, Tannishtha Chatterjee, Hansraj Jagtap and Thilakan (2012)
Gauri Gadgil, Sanjana Rai and Anjali Patil (2013)
Musthafa, Palomi Ghosh, Parth Bhalerao (2014)
Rinku Rajguru, Jayasurya, and Ritika Singh (2015)
Nila Madhab Panda, Eleeanora Images Private Ltd., Shubhashish Bhutiani, Red Carpet Moving Pictures, Adil Hussain and Sonam Kapoor (2016)
[show]
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Filmfare Award for Best Director
1954-1960
Bimal Roy (1954)
Bimal Roy (1955)
Bimal Roy (1956)
V. Shantaram (1957)
Mehboob Khan (1958)
Bimal Roy (1959)
Bimal Roy (1960)
1961-1980
Bimal Roy (1961)
B.R. Chopra (1962)
Abrar Alvi (1963)
Bimal Roy (1964)
Raj Kapoor (1965)
Yash Chopra (1966)
Vijay Anand (1967)
Manoj Kumar (1968)
Ramanand Sagar (1969)
Yash Chopra (1970)
Asit Sen (1971)
Raj Kapoor (1972)
Sohanlal Kanwar (1973)
Yash Chopra (1974)
Manoj Kumar (1975)
Yash Chopra (1976)
Gulzar (1977)
Basu Chatterjee (1978)
Satyajit Ray (1979)
Shyam Benegal (1980)
1981-2000
Govind Nihalani (1981)
Muzaffar Ali (1982)
Raj Kapoor (1983)
Govind Nihalani (1984)
Sai Paranjpye (1985)
Raj Kapoor (1986)
Mansoor Khan (1989)
Vidhu Vinod Chopra (1990)
Rajkumar Santoshi (1991)
Subhash Ghai (1992)
Mukul S. Anand (1993)
Shekhar Kapur (1994)
Sooraj Barjatya (1995)
Aditya Chopra (1996)
Rajkumar Santoshi (1997)
J. P. Dutta (1998)
Karan Johar (1999)
Sanjay Leela Bhansali (2000)
2001-present
Rakesh Roshan (2001)
Ashutosh Gowariker (2002)
Sanjay Leela Bhansali (2003)
Rakesh Roshan (2004)
Kunal Kohli (2005)
Sanjay Leela Bhansali (2006)
Rakeysh Omprakash Mehra (2007)
Aamir Khan (2008)
Ashutosh Gowariker (2009)
Rajkumar Hirani (2010)
Karan Johar (2011)
Zoya Akhtar (2012)
Sujoy Ghosh (2013)
Rakeysh Omprakash Mehra (2014)
Vikas Bahl (2015)
Sanjay Leela Bhansali (2016)
Nitesh Tiwari (2017)
[show]
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Padma Vibhushan award recipients
Arts
Ebrahim Alkazi
Kishori Amonkar
Amitabh Bachchan
M. Balamuralikrishna
T. Balasaraswati
Asha Bhosle
Nandalal Bose
Hariprasad Chaurasia
Girija Devi
Kumar Gandharva
Adoor Gopalakrishnan
Satish Gujral
Gangubai Hangal
Bhupen Hazarika
M. F. Husain
Semmangudi Srinivasa Iyer
Bhimsen Joshi
Ali Akbar Khan
Amjad Ali Khan
Allauddin Khan
Bismillah Khan
Yamini Krishnamurthy
Dilip Kumar
R. K. Laxman
Birju Maharaj
Kishan Maharaj
Lata Mangeshkar
Sonal Mansingh
Mallikarjun Mansur
Zubin Mehta
Mario Miranda
Kelucharan Mohapatra
Raghunath Mohapatra
Jasraj Motiram
Benode Behari Mukherjee
Hrishikesh Mukherjee
Rajinikanth
Ram Narayan
D. K. Pattammal
K. Shankar Pillai
Akkineni Nageswara Rao
Kaloji Narayana Rao
Satyajit Ray
S. H. Raza
Zohra Sehgal
Uday Shankar
Ravi Shankar
V. Shantaram
Shivkumar Sharma
Umayalpuram K. Sivaraman
M. S. Subbulakshmi
K. G. Subramanyan
Kapila Vatsyayan
Homai Vyarawalla
K. J. Yesudas
Civil Service
Bimala Prasad Chaliha
Naresh Chandra
T. N. Chaturvedi
Jayanto Nath Chaudhuri
Suranjan Das
Rajeshwar Dayal
Basanti Devi
P. N. Dhar
Jyotindra Nath Dixit
M. S. Gill
Hafiz Mohamad Ibrahim
H. V. R. Iyengar
Bhola Nath Jha
Dattatraya Shridhar Joshi
Ajudhia Nath Khosla
Rai Krishnadasa
V. Krishnamurthy
P. Prabhakar Kumaramangalam
Pratap Chandra Lal
K. B. Lall
Sam Manekshaw
Om Prakash Mehra
Mohan Sinha Mehta
M. G. K. Menon
Brajesh Mishra
Sumati Morarjee
A. Ramasamy Mudaliar
Sardarilal Mathradas Nanda
Chakravarthi V. Narasimhan
Braj Kumar Nehru
Bhairab Dutt Pande
Ghananand Pande
Vijaya Lakshmi Pandit
T. V. Rajeswar
C. R. Krishnaswamy Rao
Pattadakal Venkanna R Rao
V. K. R. V. Rao
Khusro Faramurz Rustamji
Harish Chandra Sarin
Binay Ranjan Sen
Homi Sethna
Arjan Singh
Harbaksh Singh
Kirpal Singh
Manmohan Singh
Tarlok Singh
Lallan Prasad Singh
Balaram Sivaraman
Chandrika Prasad Srivastava
T. Swaminathan
Arun Shridhar Vaidya
Dharma Vira
Narinder Nath Vohra
Literature and Education
V. S. R. Arunachalam
Jagdish Bhagwati
Satyendra Nath Bose
Tara Chand
Suniti Kumar Chatterji
D. P. Chattopadhyaya
Bhabatosh Datta
Avinash Dixit
Mahasweta Devi
John Kenneth Galbraith
Sarvepalli Gopal
Lakshman Shastri Joshi
Kaka Kalelkar
Dhondo Keshav Karve
Gopinath Kaviraj
Kuvempu
O. N. V. Kurup
Prasanta Chandra Mahalanobis
Sitakant Mahapatra
John Mathai
Kotha Satchidanda Murthy
Giani Gurmukh Singh Musafir
Basanti Dulal Nagchaudhuri
Bal Ram Nanda
R. K. Narayan
Amrita Pritam
K. N. Raj
C. Rangarajan
Raja Rao
Ramoji Rao
Hormasji Maneckji Seervai
Rajaram Shastri
Kalu Lal Shrimali
Govindbhai Shroff
Khushwant Singh
Chandeshwar Prasad Narayan Singh
Premlila Vithaldas Thackersey
Mahadevi Varma
Bashir Hussain Zaidi
Medicine
Jasbir Singh Bajaj
B. K. Goyal
Purshotam Lal
A. Lakshmanaswami Mudaliar
S. I. Padmavati
Autar Singh Paintal
Kantilal Hastimal Sancheti
Balu Sankaran
V. Shanta
Vithal Nagesh Shirodkar
Prakash Narain Tandon
Brihaspati Dev Triguna
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Other
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Public Affairs
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Milon K. Banerji
Mirza Hameedullah Beg
P. N. Bhagwati
Raja Chelliah
Chandra Kisan Daphtary
Niren De
C. D. Deshmukh
Anthony Lancelot Dias
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Kazi Lhendup Dorjee
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Zakir Husain
V. R. Krishna Iyer
Jagmohan
Lakshmi Chand Jain
Aditya Nath Jha
Murli Manohar Joshi
Mehdi Nawaz Jung
Ali Yavar Jung
Vijay Kelkar
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V. N. Khare
Balasaheb Gangadhar Kher
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Jivraj Narayan Mehta
V. K. Krishna Menon
Hirendranath Mukherjee
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Pranab Mukherjee
Padmaja Naidu
Gulzarilal Nanda
Govind Narain
Fali Sam Nariman
Hosei Norota
Nanabhoy Palkhivala
K. Parasaran
Hari Vinayak Pataskar
Sunder Lal Patwa
Sharad Pawar
Naryana Raghvan Pillai
Sri Prakasa
N. G. Ranga
Ravi Narayana Reddy
Y. Venugopal Reddy
Ghulam Mohammed Sadiq
Lakshmi Sahgal
P. A. Sangma
M. C. Setalvad
Karan Singh
Nagendra Singh
Swaran Singh
Walter Sisulu
Soli Sorabjee
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Atal Bihari Vajpayee
M. N. Venkatachaliah
Kottayan Katankot Venugopal
Jigme Dorji Wangchuck
Science and Engineering
V. K. Aatre
Salim Ali
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Rajagopala Chidambaram
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Krishnaswamy Kasturirangan
Har Gobind Khorana
Daulat Singh Kothari
Verghese Kurien
Raghunath Anant Mashelkar
G. Madhavan Nair
Roddam Narasimha
Jayant Narlikar
Rajendra K. Pachauri
Benjamin Peary Pal
Yash Pal
I. G. Patel
Venkatraman Ramakrishnan
K. R. Ramanathan
Raja Ramanna
C. R. Rao
C. N. R. Rao
Palle Rama Rao
Udupi Ramachandra Rao
Vikram Sarabhai
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Social Work
Baba Amte
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Sports
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Trade and Industry
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Portal
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[show]
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Padma Bhushan award recipients (1960–1969)
1960
Rabindra Nath Chaudhuri
Nilakantha Das
Kazi Nazrul Islam
Hafiz Ali Khan
Bal Krishna Sharma Naveen
Ayyadevara Kaleswara Rao
Acharya Shivpujan Sahay
Vithal Nagesh Shirodkar
1961
Rustomji Bomanji Billimoria
Seth Govind Das
Verrier Elwin
Niranjan Das Gulhati
L. Venkatakrishna Iyer
Sumitranandan Pant
Svetoslav Roerich
Bhagwan Sahay
Bindeshwari Prasad Verma
Ardeshir Ruttonji Wadia
1962
Ramchandra Narayan Dandekar
Prem Chandra Dhanda
Asaf Ali Asghar Fyzee
Bade Ghulam Ali Khan
Daulat Singh Kothari
Mithan Jamshed Lam
Sisir Kumar Mitra
Tarabai Modak
Niaz Fatehpuri
Narayan Sitaram Phadke
V. Raghavan
Dukhan Ram
T. S. Soundram
Mahankali Seetharama Rao
Moturi Satyanarayana
Sitaram Seksaria
Tarlok Singh
1963
Makhanlal Chaturvedi
Omeo Kumar Das
Nitish Chandra Laharry
Badri Nath Prasad
Kanuri Lakshmana Rao
Rahul Sankrityayan
T. R. Seshadri
Sardar Harnarain Singh
Ramkumar Verma
1964
Sheikh Abdullah
Nuruddin Ahmed
Rafiuddin Ahmed
Jacob Chandy
Kunji Lal Dubey
Tushar Kanti Ghosh
Dara Nusserwanji Khurody
Anukul Chandra Mukherjee
Jnanendra Nath Mukherjee
R. K. Narayan
Chintaman Govind Pandit
Tribhuvandas Kishibhai Patel
Bal Gandharva
T. N. Ramachandran
Khushwant Lal Wig
1965
Joginder Singh Dhillon
Bhalchandra Babaji Dikshit
Narasinh Narayan Godbole
Nawang Gombu
Sonam Gyatso
Kashmir Singh Katoch
Akbar Ali Khan
S. L. Kirloskar
Mohan Singh Kohli
Pratap Chandra Lal
Mohammad Mujeeb
Jayant Narlikar
Ramaswamy Rajaram
K. R. Ramanathan
Satyajit Ray
Triguna Sen
Harbaksh Singh
Vrindavan Lal Verma
Manikya Lal Verma
1966
Puliyur Krishnaswamy Duraiswami
Verghese Kurien
Zubin Mehta
K. P. Kesava Menon
Mannathu Padmanabha Pillai
K. Shankar Pillai
Vikram Sarabhai
Vinayak Sitaram Sarwate
Homi Sethna
Jodh Singh
Haribhau Upadhyaya
1967
Mulk Raj Anand
Tara Cherian
Krishna Kanta Handique
Akshay Kumar Jain
Pupul Jayakar
Ali Akbar Khan
D. P. Kohli
Ramanathan Krishnan
C. K. Lakshmanan
S. I. Padmavati
D. C. Pavate
Datto Vaman Potdar
B. Shiva Rao
Khwaja Ghulam Saiyidain
Mihir Sen
Ravi Shankar
M. L. Vasanthakumari
1968
Acharya Vishva Bandhu
Prabhu Lal Bhatnagar
Mary Clubwala Jadhav
K. Shivaram Karanth
Bismillah Khan
Vishnu Sakharam Khandekar
Sam Manekshaw
Mansukhlal Atmaram Master
M. G. K. Menon
Waman Bapuji Metre
Gujarmal Modi
Murugappa Channaveerappa Modi
Benjamin Peary Pal
Brahm Prakash
Manikonda Chalapathi Rau
C. R. Rao
Radhanath Rath
Mariadas Ruthnaswamy
Firaq Gorakhpuri
Shripad Damodar Satwalekar
G. Sankara Kurup
Periyasaamy Thooran
Mamidipudi Venkatarangayya
1969
Tarasankar Bandyopadhyay
Rahim-ud-in Khan Dagar
Mohanlal Lallubhai Dantwala
Keshavrao Krishnarao Datey
Keshav Prasad Goenka
Semmangudi Srinivasa Iyer
Vithalbhai Jhaveri
Prithviraj Kapoor
Kesarbai Kerkar
Krishna Kripalani
Adinath Lahiri
Gobind Behari Lal
Kasturbhai Lalbhai
Lata Mangeshkar
V. K. Narayana Menon
Saghar Nizami
Nanasaheb Parulekar
Yashwant Dinkar Pendharkar
Vitthal Laxman Phadke
Raja Rao
Niharranjan Ray
Prafulla Kumar Sen
Haroon Khan Sherwani
Naval Tata
S. S. Vasan
# Posthumous conferral
1954–1959
1960–1969
1970–1979
1980–1989
1990–1999
2000–2009
2010–2019
[show]
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Ramon Magsaysay Award winners of India
Anshu Gupta
Amitabha Chowdhury
Aruna Roy
Arun Shourie
Arvind Kejriwal
Baba Amte
Banoo Jehangir Coyaji
Bezwada Wilson
B G Verghese
Chandi Prasad Bhatt
C. D. Deshmukh
Dara Nusserwanji Khurody
Ela Bhatt
Gour Kishore Ghosh
Harish Hande
Jockin Arputham
James Michael Lyngdoh
Jayaprakash Narayan
Kamaladevi Chattopadhyay
Kiran Bedi
Kulandei Francis
K. V. Subbanna
Lakshmi Chand Jain
Laxminarayan Ramdas
Mabelle Arole
Mahasweta Devi
Mahesh Chandra Mehta
Manibhai Desai
Mandakini Amte
Mother Teresa
M. S. Subbulakshmi
M. S. Swaminathan
Nileema Mishra
Palagummi Sainath
Pandurang Shastri Athavale
Prakash Amte
P. K. Sethi
Rajendra Singh
Ravi Shankar
R. K. Laxman
Rajanikant Arole
Sanjiv Chaturvedi
Satyajit Ray
Sombhu Mitra
Sandeep Pandey
Shantha Sinha
T. M. Krishna
T. N. Seshan
Tribhuvandas Kishibhai Patel
V. Shanta
Verghese Kurien
Vinoba Bhave
List of Ramon Magsaysay Award winners
[show]
v
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Sangeet Natak Akademi fellows
1954–1960
Ariyakudi Ramanuja Iyengar (1954)
Karaikudi Sambasiva Iyer (1954)
Prithviraj Kapoor (1954)
Anjanibai Malpekar (1958)
1961–1980
Gopeshwar Banerjee (1962)
D. Annaswami Bhagavathar (1962)
Uday Shankar (1962)
Papanasam Sivan (1962)
Swami Prajnanananda (1963)
Shrikrishna Narayan Ratanjankar (1963)
Pichu Sambamoorthi (1963)
Mama Warerkar (1963)
T. L. Venkatarama Aiyar (1964)
C. Saraswathi Bai (1964)
Birendra Kishore Roy Choudhury (1964)
B. R. Deodhar (1964)
V. Raghavan (1964)
P. V. Rajamannar (1964)
Vinayak Narayan Patwardhan (1965)
Ganesh Hari Ranade (1965)
Dilipkumar Roy (1965)
Jaideva Singh (1965)
D. G. Vyas (1965)
Ashutosh Bhattacharya (1966)
E. Krishna Iyer (1966)
Sombhu Mitra (1966)
Jayachamarajendra Wadiyar (1966)
Ebrahim Alkazi (1967)
Rukmini Devi Arundale (1967)
Musiri Subramania Iyer (1967)
Bade Ghulam Ali Khan (1967)
P. K. Kunju Kurup (1967)
Shambhu Maharaj (1967)
V. Satyanarayana Sarma (1967)
Adya Rangacharya 'Shriranga' (1967)
Kali Charan Patnaik (1968)
K. C. D. Brahaspati (1970)
Kapila Vatsyayan (1970)
Dilip Chandra Vedi (1970)
Tarapada Chakraborty (1972)
Krishnarao Phulambrikar (1972)
Rallapalli Ananta Krishna Sharma (1972)
K. Shivaram Karanth (1973)
Kamaladevi Chattopadhyay (1974)
Jnan Prakash Ghosh (1974)
M. S. Subbulakshmi (1974)
T. Balasaraswati (1975)
Zubin Mehta (1975)
Rasiklal Chhotalal Parikh (1975)
Ravi Shankar (1975)
Embar S. Vijayaraghavachariar (1975)
Santidev Ghosh (1976)
Semmangudi Srinivasa Iyer (1976)
Hirjibhai Rustomji Doctor (1977)
Tinuvengadu Subramania Pillai (1978)
B. Puttaswamayya (1978)
P. L. Deshpande (1979)
D. T. Joshi (1979)
Sumati Mutatkar (1979)
T. P. Kuppiah Pillai (1979)
V. K. Narayana Menon (1980)
1981–2000
Mani Madhava Chakyar (1982)
Mallikarjun Mansur (1982)
M. Kirupanandawari (1984)
Chandravadan Mehta (1984)
Siyaram Tiwari (1984)
V. V. Swarna Venkatesa Deekshithar (1986)
Komal Kothari (1986)
S. Ramanathan (1986)
Satyajit Ray (1986)
Lata Mangeshkar (1989)
Utpal Dutt (1990)
Ram Gopal (1990)
Alain Daniélou (1991)
Kelucharan Mohapatra (1991)
T. S. Parthasarathy (1991)
Ali Akbar Khan (1992)
D. K. Pattammal (1992)
Prem Lata Sharma (1992)
Girish Karnad (1993)
Mrinalini Sarabhai (1993)
Bismillah Khan (1994)
Yehudi Menuhin (1994)
Maheswar Neog (1994)
Vilayat Khan (1995)
Ammannur Madhava Chakyar (1996)
Gangubai Hangal (1996)
Habib Tanvir (1996)
Badal Sarkar (1997)
Bhimsen Joshi (1998)
Birju Maharaj (1998)
K. P. Kittappa Pillai (1998)
Vijay Tendulkar (1998)
2001–present
M. Balamuralikrishna (2001)
B. V. Karanth (2001)
Vempati Chinna Satyam (2001)
Shanno Khurana (2002)
Kavalam Narayana Panicker (2002)
Chandralekha (2004)
Annapurna Devi (2004)
Bindhyabasini Devi (2004)
Ramankutty Nair (2004)
Zohra Sehgal (2004)
Tapas Sen (2004)
Rohini Bhate (2006)
T. N. Krishnan (2006)
Kishan Maharaj (2006)
Gursharan Singh (2006)
N. Khelchandra Singh (2006)
Sushil Kumar Saxena (2007)
Khaled Choudhury (2008)
Sitara Devi (2008)
Bhupen Hazarika (2008)
R. C. Mehta (2008)
Kishori Amonkar (2009)
Jasraj (2009)
Lalgudi Jayaraman (2009)
Yamini Krishnamurthy (2009)
Shriram Lagoo (2009)
Kamlesh Dutt Tripathi (2009)
Girija Devi (2010)
T. K. Murthy (2010)
Nataraja Ramakrishna (2010)
M. Chandrasekaran (2011)
Hariprasad Chaurasia (2011)
Kalamandalam Gopi (2011)
Chandrashekhara Kambara (2011)
Heisnam Kanhailal (2011)
Mukund Lath (2011)
Shivkumar Sharma (2011)
Rajkumar Singhajit Singh (2011)
Umayalpuram K. Sivaraman (2011)
Padma Subrahmanyam (2011)
N. Rajam (2012)
Ratan Thiyam (2012)
T. H. Vinayakram (2012)
Mahesh Elkunchwar (2013)
Kanak Rele (2013)
R. Sathyanarayana (2013)
Tulsidas Borkar (2014)
S. R. Janakiraman (2014)
Vijay Kumar Kichlu (2014)
M. S. Sathyu (2014)
C. V. Chandrasekhar (2015)
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WorldCat Identities
VIAF: 22147583
LCCN: n80002447
ISNI: 0000 0001 0877 7445
GND: 11926529X
SELIBR: 86290
SUDOC: 027091171
BNF: cb11921263z (data)
ULAN: 500127865
MusicBrainz: b3ee790e-d8f7-40a4-b5f4-5d6694fb20f4
NLA: 40406817
NDL: 00473552
NKC: jx20110919010
BNE: XX938714
IATH: w6vd72f1
PIC: 338668
Retrieved from "https://en.wikipedia.org/w/index.php?title=Satyajit_Ray&oldid=807130760"
Categories:
Satyajit Ray
1921 births
1992 deaths
20th-century Indian composers
Academy Honorary Award recipients
Akira Kurosawa Award winners
Bengali detective writers
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