Satyajit Ray: Through emotion and insight

“The more they read, the more they know, the more they deny.” This line from 'Heerak Rajar Deshe', spoken by the tyrannical king, ironically mirrors the life of its creator—Satyajit Ray. The more Ray read, observed, and understood the world around him, the more his films stood apart—reflective, layered, and deeply human. Today, on his birthday, we remember not just a filmmaker, but a storyteller who reshaped the landscape of Bengali and world cinema.

My own journey with Ray’s work began in 2015 with 'Joi Baba Felunath'. I watched it with my father and sister, knowing little about cinema—frankly, I still don’t know much. But something about that experience lingered.

Afterward, I watched 'Sonar Kella', 'Aparajito', and 'Apur Sansar'—and then stopped. It wasn’t until I began studying at Dhaka University that Ray’s name began to come up more frequently. In lectures, a professor would often reference him, and slowly, out of both curiosity and admiration, I started watching his films one by one.

The more I watched, the more I was stunned by the depth, nuance, and vision Ray brought to every frame. I don’t claim to be an expert, but on this special day, I felt compelled to write—perhaps clumsily—out of sheer respect for an artist who continues to move and inspire me.

Satyajit Ray was born in Kolkata into the illustrious Ray family—grandson of Upendrakishore Ray Chowdhury and son of Sukumar Ray, both beloved children’s authors. Though he, too, created unforgettable characters like Feluda and 'Professor Shanku O
El Dorado', Ray’s genius reached far beyond the pages of fiction.

A man of many talents, Ray was not only a filmmaker but also a screenwriter, music composer, illustrator, graphic designer, and critic. His career began in advertising as a junior visualiser at DJ Kim, followed by a stint designing book covers for Signet Press. One of his earliest assignments was the cover for Bibhutibhushan Bandyopadhyay's 'Pather Panchali'—a story that left a lasting impression on him.

In 1950, while in London, Ray watched nearly 100 films in six months. It was Vittorio De Sica’s 'Bicycle Thieves' that inspired him most and sparked the idea to bring 'Pather Panchali' to the screen. On his voyage back to Kolkata, he drafted the screenplay aboard the ship.

Producers weren’t initially interested, so Ray began the project on his own. His wife, Bijoya Ray—whom he lovingly called Monku—stood by him every step of the way. When funds ran dry, she even mortgaged her jewelry to keep the film alive. Production halted for three years due to financial challenges, but with government support, 'Pather Panchali' was finally completed and released—forever altering the course of Indian cinema.

The film made waves in Kolkata and later won Best Film at the Cannes Film Festival in 1956. It was only the beginning. Ray followed it with masterpieces like 'Aparajito' (Golden Lion, Venice), 'Kanchenjungha', 'Abhijan', 'Mahanagar: The Big City', 'Charulata', 'Nayak: The Hero', 'Goopy Gyne Bagha Byne', 'Heerak Rajar Deshe', 'Agantuk', and 'Ashani Sanket'.

In 'Charulata', he captured the quiet loneliness of a woman trapped in an emotionally distant marriage. In 'Nayak: The Hero', he peeled back the layers of fame to reveal the despair and conflict of a celebrated actor. And in 'Heerak Rajar Deshe', he used satire to critique the oppressive political atmosphere of the time—dialogues from the film still feel strikingly relevant today.

Ray also composed the music for many of his films, further showcasing his artistic range. His influence reached far beyond India—Wes Anderson, for example, featured Ray’s music in 'The Darjeeling Limited'.

Among his most politically charged works is the Calcutta Trilogy—'Pratidwandi', 'Seemabaddha', and 'Jana Aranya'—a trio of films capturing the unrest, disillusionment, and middle-class struggle in 1970s Bengal.

Globally, Ray's brilliance earned admiration from some of the greatest names in cinema. Abbas Kiarostami, Martin Scorsese, and Jean-Luc Godard all drew inspiration from his work. Ray himself often credited French director Jean Renoir as one of his biggest influences—a fact he shared in an interview with BBC Bangla.

His awards speak volumes: six National Film Awards for Best Director, the Dadasaheb Phalke Award, and, most notably, the Academy Award for Lifetime Achievement in 1992—just months before his passing on April 23 that year.

Though Satyajit Ray has left the earthly stage, his legacy lives on—in every frame he composed, every story he told, every note he scored. His work continues to teach, inspire, and challenge us.

On this day, we celebrate not just his birth, but the enduring brilliance of a man whose art made him immortal.