There is nothing left to be said about Satyajit Ray's filmmaking brilliance. An honorary Oscar winner, he gave life to emotions and relationships that were rarely explored in Bengali cinema.
He was many people packed in one: a director, storyteller, music composer, writer, thinker and more. However, he continues to be a cultural icon and beacon of hope because of the timeless stories that he has told.
His movies have left a permanent footprint on the sands of time that no one dare touch. To Ray, film was a medium of resistance against oppression, unscientific temperament and dogmatism. Through carefully crafted scenes and lyrical dialogues, he painted stories in colours impossible to forget.
As we celebrate him on his 105th Birth Anniversary on May 2, 2026, here's looking back at only few of his countless works that continue to be relevant because of the inherent contemporaneity and far-sight his films carry. While his work gives us hope, it also makes us think that we are yet to let go of moral decay and regressive thinking that the auteur spoke against.
Hirak Rajar Deshe (1980)
A timeless political satire by Satyajit Ray, this film is the second in the Goopy-Bagha series. With a unique script mostly written in rhyme to represent an authoritarian regime under Hirak Raja (Utpal Dutt), the film speaks of resistance at the face of a fascist power and the collective strength of people.
A local teacher in the kingdom, Udayan Pandit (Soumitra Chatterjee) is the representative face of rebellion and proof that even a single spark of fire can burn down entire structures of oppression. His dialogues are written in normal speech to place him and his ideology in contrast to his adversaries.
Hirak Rajar Deshe will never lose its relevance given the socio-political structure of the world. It appeals to different generations and age-groups in a variety of ways.
Devi (1960)
Adapted from a short story by Prabhat Kumar Mukherjee, Satyajit Ray comments on the cultural practices in India, particularly Bengal, that are deep-rooted in superstition and religious dogmatism.
In this film, Doyamoyee (Sharmila Tagore) is deified after her father-in-law, Kalikinkar Roy (Chhabi Biswas) is absolutely convinced that she is the reincarnation of goddess Durga. Rigid and determined that God has sent him a sign, he imposes a life on Doyamoyee she did not want. While her husband, Umaprasad (Soumitra Chatterjee) a rational man, represents scientific thought, he is a fighting a losing battle against deep-seated orthodoxy as his wife spirals into madness.
Mahanagar (1963)
Few explored urban middle-class dilemma in cinema like Ray did. This film is based on Narendranath Mitra’s short story Abataranika, and revolves around a lower-middle class family in post-Partition Calcutta.
With stunning visuals of the bustling city, the film depicts how ruthless the job market can be. In a more unique exploration, it follows Arati Mazumdar (Madhabi Mukherjee) who steps out of her house and into the workplace to support her family with fear and hope.
Mahanagar is a masterclass when it comes to depicting the gendered experience in the job market that affects both professional and personal relationships. Arati's journey to become independent is not smooth and the chaos of the city seems suffocating yet liberating.
Pratidwandi (1970)
This film marks the first of the famous 'Calcutta Trilogy', adapted from Sunil Gangopadhyay's work. Post-independence and post-Partition, Bengal was faced with multiple crises as the youth grappled with unemployment. Calcutta becomes a character in this films with it roads, buses and trams breathing life into the people.
With the youth of today facing major troubles with the job market, the story of Siddhartha (Dhritiman Chatterjee) continues to resonate. He is a middle-class educated youth who had to drop out of medical college after his father's passing. Alienated in a society where political beliefs are strong, he struggles with his values, morals and political unrest while debating about his future in the city where his dreams seem impossible.
Ganashatru (1989)
A scathing criticism of bling faith and prejudice that stops the desire to question impressionable institutions like religion, this Satyajit Ray film sheds light on the challenges and dangers of being the voice of reason.
When baseless beliefs take over scientific proof, people become resistant to rationality and even the power structures go against you. That is exactly what Dr. Ashoke Gupta (Soumitra Chatterjee) grapples with in Ganashatru, a film based on Henrik Ibsen’s play An Enemy of the People.
Even after the doctor's relentless efforts to warn poor villagers of a dangerous health hazard caused by temple water considered sacred by the people, he is the one being criticised by everyone. Even his brother, Nisith (Dhritiman Chatterjee) became his biggest enemy.
For more updates, join/follow our WhatsApp, Telegram and YouTube channels.