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Serious Tribute to Satyajit Ray- Birth Centenary
- Thread starterkomaalrani
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It was the first scene shot , the famous train shot ,... and has been referred to on the last page ,
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Now a quiz question , Pt. Nehru had watched Pather Panchali in which theater ? He was flanked by Dr. B.C Roy and Satyajit Ray.
Some theatre in Calcutta that too on the premier arranged by CM of WB.
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Yes you are correct it was in Calcutta and you are also correct that it was arraneged by CM of WB. But it was not premier . Premier happened on 3rd May in New York at MOMA ( Museum of Modern Art). There were some opposition to the film being send to Cannes film festival, Nehru had come to Calcutta and Dr. B. C. Roy requested Nehru to have a look at the movie. He saw the movie flanked by Ray who translated some stuff And Nehru ensured that the movie went to Cannes where it won the best human document award. You are very close almost did it ,.... only small part is left , name of theater which if nobody answers in a day or two i will share.
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Biography continues
1954, Shooting resumes after a long break Pather Panchai
After a break of almost a year, the shooting resumed in the early part of 1954. The funding from the government meant that the money would come in installments. Before each installment, the accounts had to be submitted and cleared by the government. This would often take up to a month. Later, Ray would describe it as a miracle that while making the film, “One, Apu’s voice did not break. Two, Durga did not grow up. Three, Indir Thakrun did not die.” In the autumn of 1954, Monroe Wheeler, a director of Museum of Modern Art (MOMA), New York was in Calcutta for putting together some Indian highlights for an exhibition. In a chance meeting, Ray showed some stills of Pather Panchali. Wheeler offered to hold a world premier at MOMA. About six months later, John Huston had come to India in search of locations for ‘The man who would be King’. He had been asked by Monroe Wheeler to check the progress of the film. After seeing about 15-20 minute long silent rough-cut, John Huston gave rave reviews to Wheeler. The film was scheduled to premier at MOMA.
1955, Breakneck post-production
Ray wanted Pandit Ravi Shankar, renowned Sitar maestro, to compose music for the film. Ravi Shankar, due to his tight touring schedule, was able to see only about half of the film and recorded the music in a non-stop session of about eleven hours. “It was a marathon session and left us exhausted but happy, because most of the music sounded wonderful”, Ray would write in ‘My Years with Apu’, many years later. Due to shortage of time, however, Ravi Shankar could not provide music for a few sequences. Subrata Mitra, Ray’s cinematographer, devised music for the sweetmeat seller as he goes peddling his sweets. Mitra also played sitar for a sequence. To meet the MOMA deadline, Ray and his editor worked ten days and nights continuously in the final stage of post-production. The first print of Pather Panchali came out at night before it was to be dispatched. There was no time or money for the subtitles. Weeks after the scheduled screening at MOMA, a letter came form MOMA describing at length how well the film had been received by the audience.
1954, Shooting resumes after a long break Pather Panchai
After a break of almost a year, the shooting resumed in the early part of 1954. The funding from the government meant that the money would come in installments. Before each installment, the accounts had to be submitted and cleared by the government. This would often take up to a month. Later, Ray would describe it as a miracle that while making the film, “One, Apu’s voice did not break. Two, Durga did not grow up. Three, Indir Thakrun did not die.” In the autumn of 1954, Monroe Wheeler, a director of Museum of Modern Art (MOMA), New York was in Calcutta for putting together some Indian highlights for an exhibition. In a chance meeting, Ray showed some stills of Pather Panchali. Wheeler offered to hold a world premier at MOMA. About six months later, John Huston had come to India in search of locations for ‘The man who would be King’. He had been asked by Monroe Wheeler to check the progress of the film. After seeing about 15-20 minute long silent rough-cut, John Huston gave rave reviews to Wheeler. The film was scheduled to premier at MOMA.
1955, Breakneck post-production
Ray wanted Pandit Ravi Shankar, renowned Sitar maestro, to compose music for the film. Ravi Shankar, due to his tight touring schedule, was able to see only about half of the film and recorded the music in a non-stop session of about eleven hours. “It was a marathon session and left us exhausted but happy, because most of the music sounded wonderful”, Ray would write in ‘My Years with Apu’, many years later. Due to shortage of time, however, Ravi Shankar could not provide music for a few sequences. Subrata Mitra, Ray’s cinematographer, devised music for the sweetmeat seller as he goes peddling his sweets. Mitra also played sitar for a sequence. To meet the MOMA deadline, Ray and his editor worked ten days and nights continuously in the final stage of post-production. The first print of Pather Panchali came out at night before it was to be dispatched. There was no time or money for the subtitles. Weeks after the scheduled screening at MOMA, a letter came form MOMA describing at length how well the film had been received by the audience.
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Story of Pather Panchali movie
In Nischindipur, rural Bengal, in the 1910s, Harihar Roy earns a meagre living as a pujari (priest), but dreams of a better career as a poet and playwright. His wife Sarbajaya takes care of their children, Durga and Apu, and Harihar's elderly cousin, Indir Thakrun. Because of their limited resources, Sarbajaya resents having to share her home with the old Indir, who often steals food from their already bare kitchen. At times, Sarbajaya's taunts become offensive, forcing Indir to take temporary refuge in the home of another relative. Durga is fond of Indir and often gives her fruit she has stolen from a wealthy neighbour's orchard. One day, the neighbour's wife accuses Durga of stealing a bead necklace (which Durga denies) and blames Sarbajaya for encouraging her tendency to steal.
As the elder sibling, Durga cares for Apu with motherly affection, but spares no opportunity to tease him. Together, they share the simple joys of life: sitting quietly under a tree, viewing pictures in a travelling vendor's bioscope, running after the candy man who passes through the village, and watching a jatra (folk theatre) performed by a troupe of actors. Every evening they are delighted by the sound of a distant train's whistle. One day, they run away from home to catch a glimpse of the train, only to discover Indir sitting dead on their return.
Unable to earn a good living in the village, Harihar travels to the city to seek a better job. He promises Sarbajaya that he will return with money to repair their dilapidated house. During his absence, the family sinks deeper into poverty. Sarbajaya grows increasingly lonely and bitter. One day during the monsoon season, Durga plays in the downpour for too long, catches a cold and develops a high fever. Adequate medical care being unavailable, the fever becomes worse, and on a night of incessant rain and gusty winds, she dies. Harihar returns home and starts to show Sarbajaya the merchandise he has brought from the city. Sarbajaya, who remains silent, breaks down at the feet of her husband, and Harihar cries out in grief as he discovers that he has lost his daughter. The family decide to leave their ancestral home. As they start packing, Apu finds the necklace that Durga had earlier denied stealing; he throws it into a pond. Apu and his parents leave the village on an ox-cart.
In Nischindipur, rural Bengal, in the 1910s, Harihar Roy earns a meagre living as a pujari (priest), but dreams of a better career as a poet and playwright. His wife Sarbajaya takes care of their children, Durga and Apu, and Harihar's elderly cousin, Indir Thakrun. Because of their limited resources, Sarbajaya resents having to share her home with the old Indir, who often steals food from their already bare kitchen. At times, Sarbajaya's taunts become offensive, forcing Indir to take temporary refuge in the home of another relative. Durga is fond of Indir and often gives her fruit she has stolen from a wealthy neighbour's orchard. One day, the neighbour's wife accuses Durga of stealing a bead necklace (which Durga denies) and blames Sarbajaya for encouraging her tendency to steal.
As the elder sibling, Durga cares for Apu with motherly affection, but spares no opportunity to tease him. Together, they share the simple joys of life: sitting quietly under a tree, viewing pictures in a travelling vendor's bioscope, running after the candy man who passes through the village, and watching a jatra (folk theatre) performed by a troupe of actors. Every evening they are delighted by the sound of a distant train's whistle. One day, they run away from home to catch a glimpse of the train, only to discover Indir sitting dead on their return.
Unable to earn a good living in the village, Harihar travels to the city to seek a better job. He promises Sarbajaya that he will return with money to repair their dilapidated house. During his absence, the family sinks deeper into poverty. Sarbajaya grows increasingly lonely and bitter. One day during the monsoon season, Durga plays in the downpour for too long, catches a cold and develops a high fever. Adequate medical care being unavailable, the fever becomes worse, and on a night of incessant rain and gusty winds, she dies. Harihar returns home and starts to show Sarbajaya the merchandise he has brought from the city. Sarbajaya, who remains silent, breaks down at the feet of her husband, and Harihar cries out in grief as he discovers that he has lost his daughter. The family decide to leave their ancestral home. As they start packing, Apu finds the necklace that Durga had earlier denied stealing; he throws it into a pond. Apu and his parents leave the village on an ox-cart.
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