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
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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