Top 10 Best Satyajit Ray Movies That Are Total Classic

It’s a well-known truth that Indian cinema’s tastes differ significantly from those of the West. The differences in taste are due to the differing underlying conceptions of film in each of these cultures. But sometimes, there’s a rare talent with a vision and reach so broad that it fulfills the preferences of moviegoers all around the world. Satyajit Ray is a true artist, he is a true visionary in the sense that he portrays Indian legends. He has revolutionized the way Indian beauty and storylines are depicted in the film.

In his experimental film ‘Aranyer Din Ratri,’ he was one of the first filmmakers to exploit the surreal literary style. He was a one-of-a-kind reel genius whose contributions to cinema are numerous and may be difficult to quantify. For many years, he was regarded as India’s biggest director. Many of his films are considered among the best in the world. Ray was more than an artist; he was a master writer, a calligrapher, a performer, a painter, a cameraman, and a great editor.

Ray received his professional education in Indian Fine Arts from Shantiniketan, West Bengal, and he’s still a devout admirer of Western art styles. He has been influenced by stories and visual forms from his nation since boyhood, but his approach was shaped by his exposure to Western movies. The list that follows includes 10 of his most well-known works as well as some of his lesser-known flicks, but all of them are a must-watch.

10. Goopi Gyne Bagha Byne: The Adventures of Goopy and Bagha (1969)

Ray’s choice of ‘Goopi Gyne Bagha Byne’ is one of the most intriguing in his filmography career, it also features some of his serious humanistic works. The film follows the lead characters on a fantasy trip. Ray’s grandfather, Upendra Kishor Roychoudhary, wrote the screenplay for it. For the first time since Parash Pathar, Ray delved into the comedy genre with this movie. The movie was made in response to a request from a young Sandip Ray, who went on to be a director and make children’s films.

The film follows Goopy and Bagha, who are two inexperienced aspiring singers and drummers. While banned from their villages, they meet in a bush. They meet the King Of Ghosts in the bush, who grants them three wishes. With their newly acquired powers, they gain the trust of a King, who guarantees them marriage to his daughter. The Ghost Dance segment, created by SV Rau, is the outstanding sequence in this relatively simple film. Among the most iconic moments in cinema history may be found in this sequence. The excellent use of zoom in the moment showcases Goopi’s singing or the intriguing freeze-frame technique, which Truffaut later used in Jules Et Jim. It’s a testament to Ray’s ability to build a different style with each film.

9. Sonar Kella: The Fortress (1974)

In Indian cinema, the detective genre was a fresh territory in 1974. As a result, this film is notable both in terms of subject matter and scale, as it explores the mystery genre in Indian cinema by utilizing Indian history. The adventures of detective Feluda are depicted in this film, which is based on Ray’s novel of the same title. Ray has written a series of short stories about Feluda’s adventures with his companion Topshe. Ray’s first effort at making a children’s film is also featured in this film.

Ray’s long-time associate Soumendu Roy’s cinematography is another outstanding feat in the movie. The scenes captured in the Rajasthan sands are some of the best instances of magic hour photography in low light. A two-minute-long take featuring all three key characters trapped in the desert features the camera following one of the actors while the sun sets in the background — a technical wonder. Ray’s first film, Shonar Kella, is set outside of Bengal. Ray, who is mostly known for films set in and around Bengal, accepted the challenge of shooting in the desert outdoors. As a result, a visually attractive and dramatically energetic mystery adventure emerges. This film is a must-see for movie fans who appreciate classic detective stories.

8. Joi Baba Felutinath: The Elephant God (1979)

Ray had created at least one film every year since the premiere of Pather Panchali in 1955. However, in 1978, he decided to take a break from filmmaking to focus on his book and pursue other hobbies. Ray returned to directing in 1979 after a one-year hiatus, and he decided to bring Feluda back to the big screen. It was the only Hindi movie he would ever create. As a result, he decided to produce a mystery adventure with Feluda, Bengal’s favorite investigator. Ray chose a different Banaras backdrop this time. The story revolves around a child, her sidekick Topshe, and Jotayu, the writer’s accomplice.

The plot is enhanced by the dark bylanes of Banaras. The city of Banaras and the banks of the Ganga play a role in the film’s densely woven storyline, which Ray adapted from his classic novel. Ray has also included Hindu religious traditions to highlight the crafty black and white villains that are always lurking in the wrong locations. Soumendu Roy, who previously captured the panoramas of the Rajasthan desert in the previous installment of Feluda’s journey, captured the crowded architecture of Varanasi with the same finesse.

7. Shatranj Ke Khiladi: The Chess Players (1977)

This was Ray’s debut Hindi picture, and it was released in 1977, twenty-two years after he began making films. Shatranj Ke Khiladi by far, was Ray’s most ambitious work, both in terms of scope and production quantity. Sanjeev Kumar, Amjad Khan, Shabana Azmi, and Sir Richard Attenborough were among the cast members. Munshi Premchad’s short story inspired this film.

The actions of the story takes place in 1856 when the East India Company began conquering provinces and kingdoms. Two uneducated and lazy chess players, who are aware of the recent circumstances but stay quiet due to a lack of concern, demonstrate the political progress. The naive attitude is nearly a metaphor for the population’s lack of patriotic streak at the time, which even the British abused.

Ray’s talent for realism, as well as his detailed set design skills and cinematography, are used to properly replicate the era. This film also contains a number of sharp lines that pierce the viewer’s heart. Ray’s interpretation of the historical epic film genre, on the surface, appears to be a tale about two noblemen who enjoy a rich but lazy existence, yet it reveals how the British established themselves as a government.