Satyajit Ray

The Master of Murals

Shaikh Ayaz

The discovery of a handscroll by Benodebehari Mukherjee offers fresh insight into his early career devoted to nature

In Search of Mahanagar

Exploring Kolkata with Satyajit Ray’s films as guide

The Game the Sleuth Plays

Satyajit Ray’s Feluda is the perfect embodiment of sportsmanship

Darshana, the Action Heroine

Darshana Rajendran is enjoying the acclaim coming her way

The Cannes-do spirit

India gets its moment at the 75th edition of the festival

The New Politics of Bengal

It is good Utpal Dutt is now history

Charulata: His Allegorical Women

When the woman made a radical choice, Ray was uncomfortable. He was more comfortable showing women taking a stand against institutional orthodoxy

The Inner Eye

Ray obsessed about the tiniest detail. A sceptic of the time had grudgingly admitted: ‘How did a city boy know that when a frog dies, it floats on its back?’

The Mind of Bengal

It is easy to see why Ray’s films were classed as arthouse in the West. In Calcutta, they were screened in cinemas which showed regular Bengali films, whose audiences in the 1950s and 1960s didn’t watch much Hindi cinema

A Humanist Behind the Camera

Ray chose his stories with the dexterity of a jeweller picking his diamonds. And he was far from naïve on politics


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