The Unknown Satyajit Ray

This contest is fueled by the following news: 
Satyajit Ray, the first Indian to win an Oscar, was born on 2 May, 1921. His debut film, 'Pather Panchali' won 11 international awards, including one at Cannes. These facts are known by thousands, and millions have watched his movies. They still do, in fact, as proved by the new editions of DVDs that emerge in the market every year. But what about the Ray beyond the easy tag of 'great Indian film maker'? Let's explore another side of the maestro commemorating his 91st birthday.

Ray in his den. He was cozy in his corner at 1/1 Bishop Lefroy Road, the apartment where he spent his life, and where his family still lives. Like most graphic artists, he spent hours doodling at his desk.

         Ray doodling? You read that right. Satyajit Ray began his career as a commercial graphic artist in an ad agency, with a comfortable pay packet. So it's no surprise that he meticulously designed characters on paper before bringing them to life on screen.

• 'Pather Panchali', the first of Ray's Apu Trilogy was adapted from a novel by Bibhutibhusan Bandopadhyay. The real Apu, actor Subir Banerjee, was a South Kolkata school boy, with no idea of village life. But the magic of summer holidays or 'exploring' the backyard in search of adventure.

The fantasy trilogy of 'Goopy Gayne Bagha Bayne' sprung from a novel by Ray's grandfather, Upendra Kishore. The posters designed by Ray for these films, as well as the costumes, show a strong influence of his grandfather's original illustrations.

'Hirok Rajar Deshe' was the second film in the fantasy trilogy. Exuberantly colorful and shot in exotic locations, it's a break from the black and white, somewhat Victorian décor one associates with Ray. Lurking below the fairy tale surface was a strong protest against control-freak governments.

Incidentally, Satyajit Ray had directed the first Bengali color film 'Kanchenjungha'. Given the scale of 'Hirok Rajar Deshe', costumes and sets took up considerable time in the pre-production stage. Ray's ability to sketch was complimented by the acumen of his wife Bijoya, who worked as his designer.

Ray's posters wore his branding strongly. He designed multiple posters for each film, sometimes special ones for festival releases. In a way, he continued his career as an ad man by handling the publicity of his films efficiently.

The posters also worked in getting the mood or subject of the story across. The poster for 'Charulata', Ray's period piece adapted from Tagore's short story, reflects the simplicity and charm of the film.