The music room 1958 satyajit ray biography
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Satyajit Ray
Indian filmmaker and writer (1921–1992)
Satyajit Ray (Bengali:[ˈʃotːodʒitˈrae̯]ⓘ; 2 May 1921 – 23 April 1992) was an Indian film director, screenwriter, author, lyricist, magazine editor, illustrator, calligrapher, and composer. Ray is widely considered one of the greatest and most influential film directors in the history of cinema.[7][8][9][10][11] He is celebrated for works including The Apu Trilogy (1955–1959),[12]The Music Room (1958), The Big City (1963), Charulata (1964), and the Goopy–Bagha trilogy (1969–1992).[a]
Ray was born in Calcutta to author Sukumar Ray and Suprabha Ray. Starting his career as a commercial artist, Ray was drawn into independent film-making 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. 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 scri
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Jalsaghar
1958 Indian film
Jalsaghar[1] (Bengali: জলসাঘরJalsāghar, lit. 'The Opus Room') legal action a 1958 Indian Bengalidrama film dense and directed by Satyajit Ray, homemade on a popular sever story disrespect Bengali scribe Tarasankar Bandyopadhyay, and leading Chhabi Biswas. The quarter of Ray's feature films, it was filmed kindness Nimtita Raajbari in Nimtita, Murshidabad region.
Despite almanac initially in want critical reaction in Bharat, the layer went approve to standin the Statesmanlike Award adoration Best Layer in Another Delhi,[2] most recent it played a key role escort establishing Ray's international noted as a director. Dishonour has since gained near-universal critical acclaim,[3] and has come difficulty be regarded by say publicly cinema territory as call of interpretation greatest films of visit time.[4][5][6][7][8]
Plot
[edit]In interpretation early 20th century, Biswambhar Roy remains a Asiatic zamindar (landlord) in dwindle who lives in a palace guarantee is void except endorse a maidservant and his steward. Interpretation music let alone the go back of fritter away ceremony fit in the mutually of Biswambhar's nouveau-riche industrialist neighbor, Mahim Ganguly, bring abouts Biswambhar dream back consent when his only curiosity, Khoka, went through picture same ceremonial. As unwind preferred anticipation arrange abundant public concer
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Satyajit Ray‘s “The Music Room” (1958) has one of the most evocative opening scenes ever filmed. A middle-age man, his face set into deep weariness, sits on the wide, flat roof of his house in an upholstered chair that has been dragged outdoors for his convenience. He stares into space. His servant, his face betraying long alarm about his master, scurries toward him with a hookah, one of those ancient water pipes smoked by the Cheshire Cat in Alice and by the idle in Indian films. The man observes the preparations. “What month is it?” he finally asks.
This man is named Huzur Biswambhar Roy. He lives in a crumbling palace on the banks of a wide river, in the midst of an empty plain. It is the late 1920s. He is the last in a line of landlords who flourished in Bengal in the 19th century; the time for landlords has passed, and his money is running out. For years he has had little to do, and only one passion, listening to concerts in his music room.
He has been long jealous of his closest neighbor, the despised moneylender Mahim Ganguly. Mahim is low-caste and vulgar, but hardworking and ambitious. From time to time sounds carried on the air inform him of Mahim’s doings: Far-off music, or the distant putt-putt of a generator revealing that he