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Album #10

Ramsundar Deo to Satyajit Ray – A Brief History of Ray Family

Source -  Andrew Robinson's the inner eye


Part -1

The story begins with Ramsundar Deo, the earliest-known ancestor of Ray family, a Hindu by religion, a youth by age, moved from a village in West Bengal to East Bengal (now Bangladesh), wondering there, he reached a village called ‘Serpur’ where at the local zamindar’s house he met the ruler of a nearby place called ‘Yasodal’. He likes Ramsundar for his quick intelligence and invited him to Yasodal. There Ramsundar was given a piece of land, a house and a daughter in marriage. Ramsundar spent his life administrating the property of his in law’s.

Subsequently, the generations of his family live there in Yasodal, and later moved further deep into the east, a place called ‘Masua’. It was located on the other side of the Brahmaputra river. The family across time gathered wealth and education and also acquired the title of ‘Majundar’, a common Bengali surname which means ‘revenue accountant’. The actual surname which the family uses today was another honorific title ‘Ray’. The word was derived from another Bengali word ‘Raja’ (means king).  Then in the latter half of the eighteen century the family was further divided into two branches. The reason was a flood that destroyed the Masua. As a result the family, one of which became noted for its learning, the other for its wealth and piety got separated in course of time and situation.

Among the two families, one was lead by Ramkanta Majundar. A man of talent, he was very fluent in several languages, an expert singer and musician. Not only that, he was a man of great physical strength and courage. It is said that he would eat a full basket of parched rice and a whole jackfruit for breakfast. In another incident it is said that once Ramkanta was sitting in his verandah, when a wild boar attacked him. He grabbed its snout and held it in his vice-like grip before shouting for help.     

It was this particular generation that developed the verse in the family, as Ramkanta’s eldest son has this habit of replying to a question in verse. Ramkanta had three sons. Among them the youngest one became a famous scholar in Persian. But the second son, Loknath, was so fluent in Sanskrit, Arabic & Persian that he was able to read aloud in one language from a book written in another so fluently that his listeners would not know that he was actually translating.  But unfortunately, Loknath started taking interest in Tantric yoga in his twenties, which on the other hand was a matter of concern for his father, who thought that his son may go into sannyasi. As a result Ramkanta secretly gathered his books and other sacred objects one day and dropped them in to the river. Loknath was so shattered that he took to a fast and died within three days. As he lay on his death bed he told his weeping wife, who held their only child, ‘Now you have only, but from him will come a hundred!’ -  A famous family story often repeated in Satyajit Ray’s childhood a century later.

Loknath’s son was Kalinath, father of Upendrakisore, great grandfather of Satyajit Ray, was probably born in 1830s. He too was a scholar in Sanskrit, Arabic and Persian, but not a sannyasi. Kalinath Ray was better known as ‘Munshi (Professor) Syamsundar’ in his time, which was quite an unusual distinction for a Hindu in a period when Islam was in retreat all over the India.

India at that time was under the British rule, and Brahmos were the most energetic group of Bengalis who evolved and reacted strongly both to Christianity, western literature and ideas such as sati in that particular period of time (around 1820s). Founded & lead by Raja Rammohan Roy, the greatest Indian intellectual of nineteenth century.  Later after his death, Devendranath Tagore, father of Rabindranath Tagore led the Brahmos. The Ray family became associated with the Brahmos in 1880s.

Part-2

Upendrakisore, Sukumar Ray’s father & Satyajit’s grandfather was born in 1869. Although he was born in ‘Masua’, a rural area in Bangladesh, but soon made a long journey to Calcutta, where he too got attracted towards Brahmoism. Upendrakisore was the fifth son of Kalinath Ray. And he was been adopted at the age of five by a childless relative belonging to the orthodox, wealthy branch of Ray family. This relative, a zamindar and lawyer by profession chose Upendrakisore among his brothers due to his skin color, which was indeed really very fair. Not only that, the relative who adopted him also changed his name to Upendrakisore from Kamadaranjan, after the style of his own name, Harikisore, to which he added the honorific surname of ‘Ray Chaudhuri’.

From a very young age Upendrakisore, was quite fond of music and drawing. One when the Governor visited his school he saw a boy was drawing intensely in the class. With curiosity, he picked up the book to discover an amazing drawing/sketch. The Governor was a British man, and in reference to that the school teachers were quite worried as to how the ‘sahib’ would react. But, instead, the ‘sahib’ patted little Upendrakisore, and said – ‘You must not let this skill disappear’. 

Upendrakisore stayed in Calcutta, and kept his practice of drawing and singing. He later stated practicing the Indian classical style under the best teachers and also developed his love for Brahmo songs and hymns.  His singing was so good that once at a performance at Jorasanko, the Tagore family mansion in North Calcutta, led him to the lifelong friendship with Rabindranath Tagore.

In the year 1884, Upendrakisore got married to the daughter of Dwarkanath Ganguli, and moved to the large family house at 13 Cornwallis Street in central Calcutta, just opposite to the main temple of the Brahmo. Upendrakisore’s wife was a remarkable woman in her own right. She bore him three sons and three daughters. Among them, Sukumar, Satyajit’s father, was their second child, born in 1887. On the other hand, Upendrakisore continued his practice of drawing and music. He often used to play his Violin and sing. He was so good in it, that often listeners gathered in the street outside, just like as they did when he took his family outside to an exhibition or festival and explained things to the children. 

Sukumar Ray took after his father in many ways. He was serious, lively and intensely curious and also a natural story teller. From a very young age, he would show pictures of wired and wonderful animals to his brothers and sisters from their father’s storybook, and invent his own story about them.  He also used to create his own creatures, with untranslatable names. When Sukumar was about eight, a new element appeared in his life, which later also influenced Satyajit Ray greatly. It was the printing press. 

Calcutta by 1890s was well equipped with printing press technologies, but good quality printing & its illustration was seriously lacking. As a result of this, Upendrakisore’s illustrations of Ramayana for children’s book were totally ruined. With merely a handful of technical books published in West, Upendrakisore decided to start first Calcutta based high quality printing process. Soon his effort brought him international prizes for best quality printing reproduction. Soon he started to order cameras and various pieces of half tone equipments from British. The money for such investment came from selling most of his share in the zamindari to his foster brother Narendrakisore, who was in charge of it, following his father, Harikisore’s death. 

Part-3

The printing firm of U.Ray was founded in 1895. And the experimentations began instantly.  On the other side, Rabindranath was an enthusiastic advocate of Upendrakisore’s writings, and encouraged him a lot to translate and adopt stories from abroad, and from the Bengal as well as from the Indian legends. It is said that Tagore was a regular visitor at Upendrakisore’s house, and in that course of time Sukumar became one of Tagore’s favorite young friends. 

Sukumar Ray, father of Satyajit Ray, was a bright student from his very early age. At school both teachers and his class mates were highly influenced of him. They all liked him very much, especially because of his independent spirit without being rebellious. In 1906, Sukumar Ray left Presidency College, with double honours in Physics and Chemistry.  The famous ‘Non sense club’ also began around this time. ‘Sare Batris Bhaja’ (thirty two and a half delicacies) – was the name of the first play that Sukumar wrote for this club.  The play was about the street cry of the Calcutta hawkers who used to sell those thirty two varieties of savoury and a half chilli. Among the other plays, ‘Jhalapala’, ‘Laksmaner Saktisel’ and Ramayana were some of them.  

Sukumar Ray was also a good photographer, his first piece, ‘Photography as an art’ was based on considerable practical experience. He took many photographs in his early teen age, developed and printed them all by himself. Very few people know that Sukumar Ray was the second Indian who got the Fellowship of the Royal Photographic Society in 1922.

Upendrakisore never went abroad, but he made sure that his son dose so. As a result Sukumar Ray took up a scholarship in 1950 and went to London to study printing and photography techniques. Later Satyajit Ray in 1950 also went at the same, for graphics design.  While his stay at London, Sukumar inhabited two distinctive worlds of specialized crafts. One was the photo-engraving and Lithography and the other was his social and artistic life. 

Other parts coming soon...

Dulal Dutta

Source: TOI

 

For 36 long years that Satyajit Ray made films, Dulal Dutta had been his constant companion. From Pather Panchali to Agantuk, Dutta edited all his films. After Ray's death, Dutta worked in Uttaran and Target that were directed by the master filmmaker's son, Sandip.

The 86-year-old passed away on Tuesday night following prolonged illness. "The Tollygunge film industry has lost a good technician," said film editor Shuvro Ray.

"The rhythm of editing, cut-point were something I learnt from his work. From the editor's perspective, two films that immediately come to my mind are Jana Aranya and Ashani Sanket. Especially, Jana Aranya. The jump-cut impressed me a lot. The editing is still so contemporary. There was a lot to learn from him. I had the opportunity to interact with him once when I was working on a film as an editor. I have tried to follow him at times," he added.

It's said that much of the credit for the famous Apu-Durga sequence in Pather Panchali where the siblings sprint across a field towards a running train in the backdrop of swaying kaash stalks should actually go to Dutta. Ray had shot a lesser number of frames than was required for the sequence and Dutta came to his rescue.

"He edited the frames brilliantly to create an illusion of motion. It turned out to be one of the high points of the film and has come to symbolize Indian cinema ever since," said film expert Sanjoy Mukhopadhyay. He edited Pather Panchali' working round the clock for two weeks to get the film ready for its premiere in

New York.

Cinematographer Soumendu Ray who was himself associated with about a dozen Ray films recalled Dutta as a quiet, humble man who was deeply immersed in his work. "I have known him since the Pather Panchali' days. Later, we worked together in several Ray films. He was an honest professional and could be ruthless to ensure that the film retained its pace. While editing Ashani Sanket', he insisted on chopping off a couple of scenes which I wanted retained. Eventually, he prevailed upon Manikda (Ray) to allow him to do it. Even though it left me disheartened, I realized that he was right. He knew his job," said Ray.

Apart from the Ray films, Dutta also worked with other directors like Tarun Mazumdar and others. He was quintessentially a Ray man. Dutta considered Aparajito his best work in the Ray oeuvre. His story didn't begin with Ray, but it did end with him.

It was in 1942 when Dutta ran off to Mumbai. The first few nights were spent below the ticket counter at Dadar railway station. As fate would have it, he met a make-up man called K L Maitra, who was then working in a Noor-Jehan and Shyam starrer, Nadaan. Dutta started off as a make-up assistant, at times doubling up as a clap-boy. But his interest was in the editing lab and he would often hang around the place. Finally, he was allowed inside.

Some years later, he returned to Kolkata and started working as an editing assistant. While working for a film called Barjatri where the art director was Bansi Chandragupta, Dutta got the offer to work in Pather Panchali. That was in 1951. The rest, as is said, is history.

Experts like Mukhopadhyay believe Dutta's brilliance lay in maintaining the film's narrative and making sure that the sequences went by in a smooth flow.

"He could get under the director's skin and know exactly what was expected of him. Dutta rarely tried anything different, but there was never a jarring note in the films edited by him. We have lost a master technician," said Mukhopadhyay.

Subrata Mitra

Born: 12 October 1930, Calcutta, India.

Died: 8 December 2001, Calcutta, India.

Education: [Architecture and Science].

Career: Started as still ph. Without ever having touched a movie camera, he ph Satyajit Ray's 'Pather Panchali'. Mitra was a pioneer of 'available light' cinematography, and he popularized the Arriflex-Nagra combination, for image and sound, respectively, in the 1950s.

Was a member of the ISC & WICA.

Appeared in the doc's 'Creative Artists of India: Satyajit Ray' [1964, B.D. Garga] & 'Satyajit Ray' [1968, James Beveridge].

Awards: Diploma Honoris Causa for High Achievement and Signal Contribution to Indian Cinema [1981]; Silver Lotus Award [1986] for 'New Delhi Times'; Hawaii IFF 'Eastman Kodak Cinematography Award' [1992]; Bombay IFF 'Award for Technical Excellence' [1999].

'Subrata Mitra is perhaps the greatest ever Indian cinematographer who revolutionized prevailing aesthetics in Indian Cinema with innovations designed to make light more realistic and poetic.

Mitra was born into a middle-class Bengali family in 1930. Even as a schoolchild he would cycle with classmates to the nearest cinema to watch British and Hollywood films. By the time he was in college, he had decided he would either become an architect or a cinematographer. Failing to find work as a camera assistant he reluctantly continued studying for his science degree.

In 1950 the great Jean Renoir came to Calcutta to shoot 'The River'. Mitra tried to get a job on the film but was turned away. With the efforts of his father he was given permission to watch the shooting. Out there he used to make extensive notes and meticulous diagrams detailing the lighting and the movements of camera and actors. In fact one day the cinematographer Claude Renoir asked for his notes to check lighting continuity before doing a retake. Also visiting the sets on Sundays and holidays to watch the shooting was a graphic designer. Mitra became friends with him and would visit him every day and describe in great detail what he had witnessed at the shooting. The other gentleman was planning a film and one day he asked Mitra to photograph the film for him. And so at the age of 21 Mitra became a director of photography. The film he was to photograph - 'Pather Panchali', and the director - Satyajit Ray. 'Pather Panchali' was shot over four years in chunks whenever Ray was able to find funds. In fact for 18 months the production shut down entirely until Ray's mother talked to a friend of a friend of the Chief Minister of West Bengal who agreed to finance the remaining part of the film. 'Pather Panchali' led to a collaboration with Ray which produced 10 films in 15 years.

When Mitra started watching films in the 1940s and 1950s much of Indian cinematography was completely under the influence of Hollywood aesthetics which mostly insisted on the 'ideal light' for the face using heavy diffusion and strong backlight. But according to Mitra Hollywood also had rebels like James Wong Howe who was able to separate the foreground and the background with careful lighting in films like 'Come Back, Little Sheba' and 'The Rose Tattoo'.

Mitra made his first technical innovation while shooting 'Aparajito'. The fear of monsoon rain had forced the art director, Bansi Chandragupta, to abandon the original plan to build the inner courtyard of a typical Benares house in the open and the set was built inside a studio in Calcutta. Mitra recalls arguing in vain with both Chandragupta and Ray about the impossibilities of simulating shadowless diffused skylight. But this led him to innovate what became subsequently his most important tool - bounce lighting. Mitra placed a framed painter white cloth over the set resembling a patch of sky and arranged studio lights below to bounce off the fake sky. Apart from his brilliant work with Ray on films like 'Charulata', Mitra also shot four films for Merchant Ivory Productions in the 1960s - 'The Householder', where he photographed most of the film with six photoflood lamps, 'Shakespeare Wallah', 'The Guru', which was the first Indian film shot entirely with halogen lamps and 'Bombay Talkie'.'

It's a strange moment. One I thought that would never see the light of day. I never thought that the light would go out of Subrata Mitra, for he in many ways showed me the light. He epitomized it, breathed it and lived for it.

Subrata Mitra became one of the greatest cinematographers of all times. A man known for his attention to obsessive detail as well as one known to terrorize actors, put the fear of god in all film laboratories and bring even the greatest directors to their knees.

In the days before instant video monitoring and digital gizmos, cinematography was the dark art and the cinematographer it's wizard; with his array of secret charms and spells he could bind you in.

Subrata was the Jedi Master, quite simply the best.

I got to know Subrata Mitra on Victor Banerjee's film 'An August Requiem' and for some unknown reason he decided to take it upon himself to draw me into his world of light and magic.

'What is the language of light?,' he asked me once. Looking at my blank face he answered, 'It's music.' 'How can a director and a cameraman really speak to one another?' Subrata proposed that the scale of seven notes correspond to seven shades of gray or seven scales of contrast. To an aspiring filmmaker like me, it suddenly made sense. He had shown me the light! Subrata also said, 'let color follow contrast,' and that's a ground rule I follow till today.

Born in 1930 Subrata Mitra wanted to become an architect or a cameraman. When Jean Renoir was making 'The River' in Calcutta Subrata tried to get a job as a camera assistant but failed. Stubborn as he was, he would tell me years later, he didn't take no for an answer, hung around and followed the unit with his little notebook in which he wrote and made meticulous sketches. This paid off, for later the cameraman Claude Renoir was asking Subrata for his notes on the film to check on his own lighting schemes. It was here that he met a young illustrator working in an advertising agency and planning his first feature film - Satyajit Ray. Ray wanted to break away from the conventional lighting styles followed in the commercial cinema of Calcutta and looked towards the 21 year old science graduate to photograph his feature 'Pather Panchali.'

Henri Cartier-Bresson was there inspiration and while the two had appreciated the light and contrast in Cartier-Bresson photographs they had never seen any of this in cinema. In 'Aparajito,' Ray's second film Subrata introduced 'bounce lighting' in cinema. He achieved his special quality of light by stretching a white cloth across the open courtyard of the set they had built in a studio. Placing studio lights below he bounced them off of the cloth to simulate a diffused daylight feel. Bounce lighting was born and people who saw those early Ray films in the 50's and 60's were shocked by the look and photography; they had never seen anything like this before!

Subrata Mitra mentioned to me that it was in nature and life around him that he found his inspiration for lighting. He'd always look for a natural source; a window, a skylight, a lamp and then use that to light up the scene. But more than lighting it was the quality of exposure, the texture of the skin, a fine eye for details that were an inescapable mark of films that he waved his wand over.

Unlike others at his time he didn't keep this a dark secret either. His passion was to share information, to draw students, his crew and anyone else into his world. He'd take pains to explain his lighting style and in moments of doubt wouldn't hesitate to turn to his assistants and say, 'what should the exposure be?'

While filming 'Split Wide Open' [1999] before we would set exposure, I would often turn to doph Sukumar Jatania [his protégé] and ask, 'what would Subrata da have done here?'

I found the Bombay Film Festival incomplete, I was missing Subrata Mitra; a permanent fixture of any film festival. I missed his presence, his kurta, the thick framed spectacles from another era, his stubby pencil, his fat address book which he stubbornly used even though we had tested all the possible digital diaries available on this planet, the way he stirred his coffee; holding his spoon in his nicotine stained fingers, stirring, pausing and then stirring again. I missed someone who was passionate about films, someone who fretted about scheduling, about which films to see, about the quality of projection, of image, of lighting and about filmmaking itself. Someone who cared about every little detail that went into filmmaking.

Subrata Mitra was obsessive about details. 'God is in the details,' he would say quoting the architect Mies van der Rohe and also echoing what Satyajit Ray said, 'It's details that make cinema.' It was the attention to detail that made Subrata what he was. On an Indian Airlines flight he took a white plastic cup cut it in half, fitted it onto his still camera converting it into an incident light meter. It was as accurate as the professional one he had which cost him over $400!

In New York, Subrata Mitra was looking at a poster of one of the Ray films when a voice boomed from behind, 'I'd love to meet the man who shot this film.' Subrata turned around and said quietly, 'that was me.' He was immediately swept up in a bear hug by a man who kissed him on both cheeks and said, 'You are truly a genius.' The man was Vittorio Storaro.

Subrata Mitra, Subrata da or just plain old 'dada' was the Master of Light.

1951	Pather Panchali/Song of the Little Road [Satyajit Ray] b&w; filmed 1951-55; + composed add sitar music; first film in 'The Apu Trilogy'

[Right/top] with dir Satyajit Ray [1950s]

[Right] with dir Satyajit Ray & c.asst Soumendu Roy [m] - 1956

1956	Aparajito/The Unvanquished [Satyajit Ray] b&w; second film in 'The Apu Trilogy'
1958	Parash Pathar/The Philosopher's Stone [Satyajit Ray] b&w
1958	Jalsaghar/The Music Room [Satyajit Ray] b&w
1958	Apur Sansar/The World of Apu [Satyajit Ray] b&w; third film in 'The Apu Trilogy'
1960	Devi/The Goddess [Satyajit Ray] b&w
1962	Kanchenjungha [Satyajit Ray] c
1963	Mahanagar/The Big City [Satyajit Ray] b&w
1963	The Householder/Gharbar [James Ivory] b&w
1964	Charulata/The Lonely Wife [Satyajit Ray] b&w
1965	Akash Kusum/Up in the Clouds/House of Cards [Mrinal Sen] b&w
1965	Shakespeare Wallah [James Ivory] b&w
1966	Nayak/The Hero [Satyajit Ray] b&w
1967	Teesri Kasam/The Third Oath [Basu Bhattacharya] b&w
1967	Dong fu ren/The Arch [Shu Shuen Tong] c
1968	The Guru [James Ivory] c
1970	Bombay Talkie [James Ivory] c
1972	Mahatma and the Mad Boy [Ismail Merchant] c; short/27m
1975	Yoga - en vej til lykken/Yoga - A Road to Happiness [Hagen Hasselbalch] c; doc/90m; cph: Dirk Brüel & H. Hasselbalch
1981	An August Requiem [Victor Banerjee] c
1984	Jawaharlal Nehru/Pandit Nehru/Nehru [Shyam Benegal & Yuri Aldokhin] ?; doc/?m; cph: ?
1985	New Delhi Times [Ramesh Sharma]

1950	The River [Jean Renoir] prod asst (uncred) + played sitar title music; ph: Claude Renoir
1964	The Delhi Way [James Ivory] co-prod asst; ph: James Ivory

---

source: cinematographers.nl

Album #9

One of the four fonts designed by Ray

Ray's cover design fr his father Sukumar Ray's book on typograph-"Bornomala Tathwa o Bibidho Probondho" published from Signet Press

Ray..on the sets of his swansong AGANTUK, with Bikram Bhattacharjya who played d role of Satyaki in d film. Bikram is nw a scientist doin research at US. He hav heard his CHOT DADU's words and ahv escaped frm becoming a KUPO-MONDUK!!

Ray's cover-design for his aunt Leela Majumdar's famous book "PADI-PISHIR BORMI BAKSHO". Ray wanted to adapt this amazing story in celluloid but it didn't turn out finally. But d story was adapted into a movie by Tapan Sinha, famous Bengali director, later where eminent Bengali actress of yesteryear Chaya Devi acted in d role of PADI PISHI

Cover-design by Ray for Abanindranath Tagore's autobiography in Bengali "Apon Kotha"..published by Signet Press

Another ad-design by Ray

Satyajit Ray..the great Indian film-maker, died on this day in 1992 at 5.45 pm after a prolonged illness..lying in the hospital bed for more than 3 months

Ray's costume designs for the four main protagonists in DAYS & NIGHTS IN THE FOREST(1969)

19 yrs ago...India lost one of her greatest sons. Remembering Ray on his death anniversary

Ray's set design for General Outram's study in THE CHESS PLAYERS(1974)

Tagore in postage stamps..This stamp was brought out in 1961 on the birth centenary occasion, and was designed by Ray

"I think the truest answer would be that I make films for the love of it. I enjoy every moment of the film making process. I write my own scenario and my own dialogue. And, I find it fascinating to do so."
Remembering Ray..on his 90th birth anniversary..

Ray's title card designs for KANCHENJUNGA

Ray's cover design for Nehru's "The Discovery of India", published from the Signet Press

Sir Richard Attenborough on Ray:
He had mastery on every aspect of film making and I clearly remember he asked me to express my feelings through my eyes and one movement of the Adam’s Apple in a scene in one of the films I did with him..

Ad-design by Ray..this time, it's for Philips light!!
Indeed an ad for a ray, designed by a certain Ray!!

How can we forget this great man's contribution?

Ray's canvas: From BW to colour

Source: TOI

Last month, the Film Society of Lincoln Center showcased the second part of their Satyajit Ray retrospective.
The programme, 'Long Shadows: The Late Work of Satyajit Ray', featured the Bengali master's films — all restored by the Academy of Motion Picture Arts and Sciences — from the 1970s, until the end of his career in early 1990s when his health was failing, and that was reflected in their quality.
Two years ago, the film society also presented a bigger retrospective of Ray's works, 'First Light: Satyajit Ray from the Apu Trilogy to the Calcutta Trilogy'.

There is a sharp contrast between films shown in the first and the second series. Ray's works in the 1950s and 1960s were defined by the stark black and white cinematography and narratives that emerge out of these images.
There are life-affirming stories and classic images that stay with us — young Durga and Apu discovering a train for the first time (Pather Panchali); Apu running through the streets of Varanasi, and Harihar's death and the flight of pigeons (Aparajito); and the countless stunning shots in Charulata.
The advent of colour in Ray's films in the 1970s changed the texture and the language of his films. I would go this far to say that barring Shatranj Ke Khilari, most of Ray's films in this second series lack the visual punch, although the filmmaker still had a strong control over his narrative technique. In fact, with films like Heerak Rajar Deshe, Sonar Kella and Joi Baba Felunath — all shown in last month's series, Ray's films had become a lot more entertaining.
It was a treat to watch Shatranj Ke Khilari again on the big screen — a grand film based on a two-layered story by Munshi Premchand. Under Ray's direction, Shatranj is a sumptuous desert, filled with delicious Urdu dialogues, brilliant — sometimes hilarious, performances across the board by a dream cast (Sanjeev Kumar, Saeed Jaffrey, Shabana Azmi, Farida Jalal, Farooq Shaikh, Amjad Khan, Victor Banerjee and even Sir Richard Attenborough), spectacular costumes (I was especially blown away by the large shawls worn by Kumar and Jaffrey), music, dances and intricately detailed production design.

Goopi Bagha Phirey Elo - Full Length Classic Bengali Movie - Tapen Chatterjee & Robi Ghosh

For more details regarding the above movie, click here
Video Source : RajshriBengali

Sonar Kella (Full Movie)

For more details regarding the above movie, click here
Video Source : RajshriBengali

Pather Panchali (Full Movie)

For more details regarding the above movie, click here
Video Source : RajshriBengali