this ppt is based on a SATYAJIT RAY, a topic of cc9 of semester 4.

1. SATYAJIT RAYThe man who

2. INTRODUCTION TO RAY’s LIFE
► The Indian film director Satyajit Ray (1921-1992) was noted for his refined and subtly moving
studies of native family life. His creations possess a humanistic warmth, crystalline purity, and
mythic evocativeness which enable them to transcend the barriers of alien cultural sensibility.
► Satyajit Ray was born in Bengal into one of the nation's most prominent artistic families. His
grandfather was a painter, a poet, and a scientist who edited the first children's magazine in Bengal.
Ray's father was the author of, among other works, Bengal's classic Book of Nonsense.
► In 1940 Satyajit Ray graduated with a degree in economics from the University of Calcutta. With the
encouragement of Rabindranath Tagore, the great Indian writer-philosopher and close friend of the
Ray family, the youth undertook graduate courses in painting and graphics at the Santiniketan.
► Ray was hired as an art director for the Calcutta branch of a British advertising agency in 1945.
Sometime later he was transferred to the firm's London office, where, besides his regular
assignments, he designed a new abridged edition of, Pather Panchali.
► When Ray returned to India in 1950, he met the French filmmaker Jean Renoir, who, while completing
the location shooting of The River, gave Ray invaluable technical training. Stimulated by Renoir's
personal interest, Ray began work on the scenario for Pather Panchali.

3. ► Ray continued the events of the tale in his next production, Aparajito, a film as lyrical as
the first, though more advanced technically and structurally. Before undertaking the
concluding portion of the trilogy, the director shifted his focus from the physical
hardships of the impoverished to the spiritual malaise of the declining aristocracy,
creating Jalsaghar(1958).
► The final chapter in Ray's national epic, Apur Sansar(1960), contrasting the joys of
married life and childbirth with the desolation of defeat and bereavement, provided an
ideal ending for a work of art that functioned with equal intensity on the particular and
mythical levels. With Devi (1960) Ray examined with intelligence and compassion the
controversial problem of Hindu superstition, and in Teen Kanya(1961) he explored the
tension resulting from unyielding family ritual.
► In 1992 he was honored with a special Academy Award for Lifetime Achievement.
► He breathed last on April 23, 1992.

4. APU TRILOGY-
► His first film, Pather Panchali (1955), set up his reputation as a major film director,
winning many awards including Best Human Document, Cannes (1956), and Best
Film Vancouver (1958).
► It is the first film of the trilogy, known as ‘The Apu Trilogy, describes a three-part
tale of a boy’s life from birth through manhood. During all the three films Apu
encounters five deaths as he embarks on his adventure. There are two more films in
the trilogy: Aparajito (1956) and Apur Sansar
(1959).
► The trilogy gives complicated perspectives of the characters and their milieu
concerning its treatments of area and time thru the makes use of onscreen and rancid
display screen sound, restricted dialogue, musical rating long takes, and framing.
► The prolonged intervals of time and empty spaces undermine melodramatic cliché
and induce a contemplative engagement with rural and urban landscapes when it
comes to the protagonists to spotlight tensions between an impoverished material
world and the abundance of nature: they induce attention to hardship and bodily
survival through that specialize in beginning, adolescence, marriage, illness, and
dying as well as stolen moments of delight.
► The Apu Trilogy led to the parallel cinema movement getting firmly
established in Indian cinema.

5. PATHER PANCHALI
►
Pather Panchali is a semi-autobiographical novel by Bibhutibhusan Bandhopadhayay
describing the story of a poor family in the remote rural village of Bengal.
►
A priest Hariharan, his wife Sarbajaya, his two children- Durga and Apu, and his
aged cousin Indir Thakrun. Hariharan is often away from home for work. The
wife, Sarbajaya, is raising her two children and caring for her elderly-aged
cousin Indir Thakrun.
►
She is the most lovable character, the old, cynical, and storytelling aunt of Apu and
Durga. Though this film deals with the grim struggle for survival, it has no trace
of melodrama.
►
Towards the end of the film, after the death of Durga, we see Apu brushing his teeth, combing his hair, and going
about performing tasks that included his sister.
►
Harihar returns unaware of Durga’s demise. In a jovial mood, he calls out for his children. Gradually Sarbajaya
breaks down while Hariharan shows the gifts he got for the two kids.
►
Learning about Durga’s loss, Harihar collapses on Sarbajaya. The film closes with an image of Hariharan, Sarbajaya,
and their son Apu moving away from their root on an ox-driven cart.
APARAJITO
This film is about Apu growing up and away from his mother. The highlight of this film is the mother-son
relationship and conflict. The characterization of Apu and his mother are a treat.

6. In the sequence of Harihar’s death, Harihar lies ill with Sarbajaya sitting beside him
through the night. He mumbles, ‘Ganga’, and Sarbajaya wakes up Apu to fetch water
from the Holy Ganges.
Apu brings the water and Sarbajaya pours it into his mouth and Harihar’s head drop’s
back on the
pillow. Harihar’s
demise leaves
Sarbajaya and
Apu alone to fend for themselves. In the sequence
of Sarbajaya’s death, Sarbajaya is seen sitting
leaning against a tree outside her house, waiting
for Apu to return.
A train passes, but she seems not to notice it because she knows that Apu is not traveling on the train. She suddenly
hears Apu beckoning to her. She drags herself out, hoping Apu has returned. But it is shown that she was
hallucinating.
Cut to a shot of a group of fireflies dancing and swirling in the dark, she
waits for Apu. Eventually, Sarbajaya breathes her last.
On his next visit, Apu comes back to an empty house and grieves the loss,
but gains the strength to leave the village for the last time to carry on with
his new life in the city.
APUR SANSAR
Apur Sansar shows Apu as a jobless graduate who lives in a rented room next to a busy railway yard. Apu finds
himself among many unemployed youths in the city. To pay his rent, he must sell his books. Searching for a job turns
out to be both an amusing and tormenting experience for him.

7. He drafts a novel based on his life, on which he pins his hopes of becoming famous. Apu’s life takes a turn, and
he gets married to his friend’s cousin. The sequences of Apu and Aparna, his wife, in Kolkata (Calcutta) are the
film’s catch.
The bachelor apartment of Apu has a clear feminine touch. With simple acts, a warm and caring relationship
develops between the two. Apu takes up a clerical job. Her baby is born, and Apu’s wife dies during delivery.
Apu’s world shatters.
A long wonderful and speechless sequence is shown that deals with Apu’s grief.
He stands leaning against the wall and the camera moves towards his shaving mirror to show his blank. Apu hears
the screech of a train whistle, and he reacts. The camera moves closer to his face. His eyes have a new look, and
the screen turns white.
A leans forward, his face still blank, and prepares himself to throw before the approaching train. A screech is
heard, and it is identified as the cry of a pig that’s been run over by the train. Apu’s spell and his determination to
take down his own life are broken. In the ultimate moments of the film, Kajal, Apu and Aparna’s son, rejected
Apu’s father-in-law and was about to strike
Kajal when he refused to leave with Apu. Apu rescues Kajal and a hint of trust begins to develop, and he
agrees to go with Apu. He runs away to Apu and sweeps up Kajal in his arms. Together they leave for
Calcutta to start a new beginning.
TEEN KANYA
► Teen Kanya’ is a great anthology film based on the stories of Rabindranath Tagore, as a tribute to the author’s
centenary. The title means ‘Three Daughters.’
► The film’s original Indian content is three stories, with three female central characters. ‘The Postmaster’ talks about
an orphan girl who grows attached to the postmaster she is caring for after she teaches her to read and write.

8. ► ‘Monihara’ is a supernatural tale about a woman who is obsessed with whether her husband buys
for her. ‘Samapti’ speaks about a young man who falls for an unconventional girl from his village
instead of the arranged bride, the daughter of a respectable family.
► The international release did not include Monihara because of the cumulative length of the
anthology and was thus released as ‘Dui Kanya’ or ‘Two Daughters.’ The Postmaster was 56
minutes, Monihara was 61 minutes, and lastly, Samapti was 56 minutes.
► Ray wound this masterpiece anthology with profound respect for womanhood and feminism. The
Academy Film Archive preserves the international version of Teen Kanya.
► Even though the three individual stories of Teen Kanya focus on a young woman, they appear to
have contrasting flavors themes, and far too many people seem quite distinct. The three stories
feature a young girl whose personal scope vastly exceeds the conventional roles to which she has
been assigned.
► In each case, there is a narrative perspective from a male observer, who is baffled and
bewitched by the girl, in alignment with the unseen narratives of the witnesses of the viewer.
POSTMASTER
In the first tale Nandalal, a knowledgeable younger man from Calcutta, arrives inside the small rural village of
Ulapur to take at the activity as the neighborhood postmaster. The pre-teenager orphan girl Ratan is assigned to be
his cook and housekeeper.
From the outset it's miles clean there may be a disconnect between Nandalal and the existence inside the village.
This is exemplified by Nandalal’s terror at the sight of a village lunatic, whom the diminutive Ratan shoos away as
only an innocent pest. At his post office, Nandalal’s regular paintings include consistent spectators – the idle
vintage guys of the village who are curious about the unusual newcomer.
But again, the disconnect is clear. In the meantime, Nandalal and Ratan get to understand each other touch. She sings a
captivating song for him, and he gives to spend some of his idle time teaching her a little and away examines and writing.
But Nandalal gets affected with a serious case of malaria.

9. In response, Ratan devotedly spends the entire night making use of compresses to his feverish forehead, and she
dedicates herself to nursing his lower back to fitness. For the duration of this era of the story, we get the feeling
that Ratan sees Nandalal as the needed-for replacement of her father, who died so early in her life that she can’t
even forget him.
Nandalal recovers and writes a simple poem for Ratan, one which she is now capable of reading aloud. She is so
extremely joyful. However, Nandalal is bored stiff with the uninteresting village decision to renounce his post and
go lower back to Calcutta.
The information of his impending departure crushes Ratan, she petulantly refuses even to renowned him while
her methods her for the closing time to say good-bye. It is most effective that Nandalal seems to understand that
he and Ratan shared a special bonding – a form of love – that he has deserted and is now lost. It's miles that
poignant ultimate shot showing Nandal’s very last discomfort that lengthy lingers inside the mind of the viewer
MONIHARA
The second segment is a dramatized ghost story that is read to the viewer by its author in the
footsteps of a ghat in front of the thought-to-be haunted Saha mansion. The narrator, who is a
local schoolmaster has an audience- a hooded figure sitting at the base of the ghat.
The ghost story is simple, but it is made interesting by the atmospheric way it is told. The narrator
starts his story dating back many years ago, Phanibhusan Saha and his wife Monimalika have
inherited a large mansion and an associated jute plat at Manikpur.
Phanibhusan is hopelessly and timidly in love with his wife, who is self-indulgent and obsessed with
her glamour and jewels. One day while Monimalika’s husband was out, she was visited by an
obscure ‘relative’, Madhusudan. He refers to him as her distant brother.

10. However, it was clear from the photography and the eerie music of the scene that there is
something sinister motive in this pen. He has passed with Monimalika and she wishes to have no
part of him in her present life.
She sings alone by the window a beautiful melancholic song that shows off her mysterious ethereal
beauty. But this scene also underlines her self-absorption. Her primary concern is her large collection
of jewelry.
A huge fire burns up their jute plantation and Phanibhusan rushes back to Calcutta to secure some
funds to pay the large debt. Monimalika chooses to stay back at Manikpur as she was terrified that her
husband will try to pay the debts by pawning her jewelry collection.
She decides to flee back to her own family up the river and calls Madhusudan for help, to take her
there on a boat. It becomes clear from the photography style of the scene that something mayhem is
going to happen with Monimalika on the way.
Phanibhusan returns with the necessary funds and some jewels for his wife. But he finds Monimalika missing from the
mansion. He keeps hearing footsteps in the hallway every evening which creates ghostly imagery of a haunted house in the
film.

11. While he hears the footsteps in the hallway, he thinks that his beloved Monimalika is returning,
but it turns out to be a ghost instead. All these shots are recorded with expressionistic spooky
effects leading up to the final encounter between Phanibhusan and the jewelry-adorned
skeleton.
When the narrator finishes his tale on the steps of the ghat, he looks over his hooded listener,
who has been only seen from behind. The hooded figure stands up and informs the narrator
that the tale has a lot of mistakes and inaccuracies and then introduces himself as Phanibhusan.
To the narrator’s horror, the figure magically disappears in the thin air indicating that he’s a
ghost too. Thus, the inner-narrative ghost story recoils back up to the outer narrative of the
local schoolmaster.
SAMAPTI
There is a young lady who baffles the man who is interested in her. This tale begins with
Amulya having effectively exceeded his college assessments, returning by riverboat to his
home village to visit his widowed mother.
Whilst he receives off the boat, he slips and falls at the muddy shore, tons to the mirthful
delight of an onlooking tomboyish and feisty teenage woman, Mrinmoyee. Amulya takes
notice of the source of this giggling mockery before she runs away.
Amulya’s mother, Jogmaya is delighted to see her son, however, she quickly tells him that it is now time for him to get
married and that she has already chosen an auspicious wedding day and a girl from an “appropriate own family”.
Amulya reluctantly but dutifully is going thru the motions of formally assembling the own family of the proposed woman
and listening to about the shy and taciturn female’s virtues. But the complete occasion is disrupted via the once more
onlooking and mischievous Mrinmoyee, who releases her pet squirrel into the room via the window, which causes chaos.

12. Then she steals Amulya’s shoes that he had taken off and placed by way of the door upon coming into the house
of the proposed bride.
All this tomfoolery on the part of Mrinmoyee annoys but also fascinates Amulya. He learns that she is an
impish tomboy who plays all the time with the more youthful boys of the neighborhood and has obtained the
nickname “Pagli”.
The naughty, and pretty, woman captivates his coronary heart. When he returns to his mom, he tells her that he
isn't always inquisitive about the proposed bride, however, is interested in Mrinmoyee. Jogmaya is at the
beginning horrified, but she is closing gives in to her beloved only son, and a wedding is duly organized for
Amulya and Mrinmoyee.
Mrinmoyee may be very reluctant to give up her gay, carefree existence and take at the obligations of
being a spouse, however, she is not able to face up to the relative’s pressures.
► The marriage is going on beforehand. On their wedding night, although Mrinmoyee tells
Amulya that she was compelled into the marriage and that she doesn’t need one into the
mattress with him.
► When they argue and he dozes off, she sneaks out of his residence by using the use of her
tree-climbing abilities and goes out to spend the nighttime swinging on her favourite
swing hung from a tree.
► The rebellious Mrinmoyee is captured and locked in Amulya’s room. His loved ones urge
Amulya to be difficult at the lady and woodwork out manly rights, but Amulya is too
civilized to do this. He tells Mrinmoyee that he's leaving her inside the care of her mom and
that he goes lower back to Calcutta.
► If and whilst she finally accepts him, he tells her, he'll return to her. Mrinmoyee is now
greater or less a prisoner in her home, and she takes to invariably sulking. After six months
of separation have passed, although, Jogmaya, lacking her son and feeling something must
be done, summons him to go back to their village at the undertext of her being ill.
► Amulya dutifully returns, and his mom convinces him to go to Mrinmoyee and inquire after
her. Mrinmoyee is overjoyed to hear that Amulya has come back, however, whilst she learns

13. that the cause for his return is to look at his supposedly unwell mom, she frowns. Her emotions appear now to be
torn.
► When Amulya involves her domestic, he learns that she has run off into the woods. Now
inside the pouring rain, Amulya searches the woods for her, calling out her name.
Nevertheless, hiding within the brush, Mrinmoyee hears Amulya’s voice and cannot
suppress a grin.
► Soaked to the skin from the rain, Amulya in the end gives up his search and returns to his
room, where he discovers a word on his mattress from “your Pagli”. Mrinmoyee has used
her tree-climbing capability to sneak back into Amulya’s room. Whilst he sees her, she
smiles meekly and promises in no way to run far away from him once more. They've in
the end been united in real love.
FELUDA SERIES
► Satyajit Ray’s immortal creation, detective Pradosh Chandra Mitra- more popularly known
as Feluda- often said that money was never a big enough motivation for him to accept any
case. For him, the opportunity to exercise his brain was far more interesting.
► Feluda, or Pradosh Chandra Mitter, is a fictional Bengali private investigator starring in a chain of Bengali novels of
Indian fictional detective novels and brief tales written using Indian Bengali film director and creator Satyajit Ray.

14. ► The detective lives at 21 Rajani Sen Road, Ballygunge, Kolkata, West Bengal, India. He
possesses a .32 Colt revolver; however, the weapon is used now and then and frequently for
non-violent functions. However, contemporary (the 2000s) movies primarily based on
Feluda’s stories feature scenes of violence uncharacteristic of the collection, where Feluda
demonstrates his martial artwork powers.
► Feluda is thought to be a skilful sleight-of-hand, and he positioned that skill to apply to
solving multiple cases. He is also adept at disguises. Feluda often calls a meeting whilst
fixing the thriller, in which he cajoles the culprit into admitting their crime.
► Feluda first made his look in a Bengali children's magazine called Sandesh in 1965, under the
editorial deliver of Satyajit and Subhas Mukhopadhyay. His first journey turned into Feludar
Goyendagiri.
► Feluda is often followed by way of his cousin, who's also his assistant, Tapesh Ranjan Mitter
(affectionately referred to as Topshe via Feluda), who serves as the narrator of the tales. In
the 6th story, Sonar Kella (The Golden Fortress), the duo is joined using a famous mystery
creator Jatayu (Lalmohan Ganguli).
► Satyajit Ray directed Feluda films — Sonar Kella (1974) and Joi Baba Felunath (1978).
Sandip Ray made a new Feluda movie series on Feluda's adventures which started with
Baksho Rahasya (1996). In this collection, he made ten TV films and six theatrical movies
in Bengali at the individual.
SONAR KELLA
► The film begins with Mukul Dhar who is a seven-year-old boy living in North Kolkata who can remember events and
scenes from his past life when he Used to live in Rajasthan for loads of years in the past.
► He talks about approximately a fort manufactured from gold and precious gemstones and stones which have been
buried inside the floor in his residence. While two seasoned criminals study Mukul from the local papers, they are
trying to kidnap him, hoping that he would be able to pinpoint the area of the buried treasure to them.

15. ► However, they soon find out that they've kidnapped the incorrect boy, and that the real
Mukul has long gone off to Rajasthan looking for the golden castle with a renowned
parapsychologist. Dr. Hemanga Mohan Hazra, who is gaining knowledge of reincarnations
Dr. Hemanga Hajra, a parapsychologist, offers his assistance, believing it'd assist him in
his studies.
► Mukul usually stays sombre and paints peacocks, forts, and war scenes in the dark; he
mentions that he lived in the Golden citadel (Sonar Kella) and that their residence had
many gems. Dr. Hajra decides to take Mukul on a journey to Rajasthan, famous for forts,
historical importance, and wasteland panorama.
► Pro fraudsters, Amiyanath Burman and Mandar Bose kidnapped Mukul to capture the
treasure. Their first strive on the kidnapping fails when they pick up another boy,
additionally named Mukul, from the equal neighborhood.
► Mukul’s father learns of the abduction-long gone incorrect, he seeks the assistance of
Feluda. And then, Feluda and his cousin Topshe embark on a move country chase of
the two criminals in a bid to nab them before they can get to Mukul.
► Feluda leaves for Rajasthan along with his cousin Tapesh or Topshe following Dr.
Hajra. In their manner, they meet and befriend Lalmohan Ganguly, or Jatayu, a
popular mystery creator.
► In the meantime, Burman and Bose kidnap Mukul and push Dr. Hajra off a cliff to his
presumed death at the Nahargarh citadel in Jaipur. Burman impersonates the Dr. and
Bose introduce himself as a globe-trotter. Dr. Hajra survived the fall and started to
further.
► Feluda arrives at Jodhpur Circuit house and meets Burman, assuming him to be Dr.

16. Hajra. Feluda starts evolving to suspect Bose based on his clothes and his accessory.
Feluda even suspects "Dr. Hajra's" behaviour appears uninterested in his studies.
► Mukul keeps pronouncing he is observed by using "awful man". Burman efficaciously
hypnotizes Mukul, who says that the Golden fortress is in Jaisalmer. Dr. Hajra
concludes by using gaining knowledge of approximately the history of the castle of
Jaisalmer from a police inspector.
► Feluda learns that the Jaisalmer fort is made from yellow limestone, giving it a golden
glow. Bose lies to Feluda by using announcing that Burman Dr. Hajra has already left
with Mukul for Barmer, to entice Feluda with the writhing music. Feluda suspects foul
play. His eye falls on the card of Dr. Hajra; a concept flashes in his mind and he rushes
to check the register of the circuit house and finds that its miles signed as 'Hazra' no
longer 'Hajra’.
► He's now certain approximately the person impersonating as Dr leaves for Jaisalmer via
car. Bose strands Feluda, Topshe, and Jatayu at the highway. Feluda takes a camel
caravan to the nearest station, from which he is taking the train to Jaisalmer.
► At night, inside the chamber Bose attacks and attempts to stab Feluda to death, who
expected the attack and almost defeats him; subsequently, Bose falls out of the train
and dies after seeing the actual Dr. Hajra in a separate compartment of the equal train
and assuming him to be a ghost.
► The trio arrives in Jaisalmer together with Dr. Hajra. They rush to the fortress, where
they locate Burman and Mukul trying to find the treasure. Feluda confronts and
captures Burman, telling him that there by no means was any treasure. They locate
that Mukul was cured and they return to Kolkata.

17. JOY BABA FELUNATH
In this movie, detective Prodosh Chandra Mitra -more popularly known as Feluda- faces difficult
conditions, and meets his archenemy, Maganlal Meghraj in Benaras. Later, Maganlal changed into
featured in a few greater Feluda books.
Maganlal had commonly created tough demanding situations for Feluda, for which he has ended up
Feluda’s archenemy. Maganlal creates several barriers for Feluda in their first encounter, and the
incredible Bengali detective ensures both take revenge or surrender his profession.
The mystic Benaras and its ambiance are captured fantastically within the film. Ray wrote the
screenplay of his film and was additionally the tune director of the movie. Set in 1975, Feluda,
altogether with his cousin Topshe, and their buddy, mystery writer LalMohan Ganguly (Jatayu),
come to Benaras on a holiday throughout the Durga Puja.
There they meet Umanath Ghoshal and his circle of relatives. Umanath requests Feluda to catch who
stole a precious Ganesh idol, which has been with the Umanath family for years and has sentimental
value. Across the equal time, a mysterious sadhu, by the call of Machhli Baba, has arrived within the
ghats of Benaras, claiming to have swum the swum river at once from Prayag all of the manner
manners.
As the story unfolds it mist discovered that Maganlal Meghraj is concerned with smuggling and
Machchli Baba to count illegal poaching of antiques. Each and each Feluda movie have stunning
details and situation of various Indian locations. And just like some other Feluda films, Joybaba
Felunath is about the age-old riverbanks of Kashi, and its winding lanes and by-lanes.
► The stunning cinematography of the film captures the essence of India’s background within the middle of the
20th
century. The opening scene of the movie serves as an ideal putting for a detective thriller film.

18. ► Simultaneously, the plot and location create an outstanding atmosphere for the
mystery movie. The homes proven in Ray’s movie have been extra than one
hundred years old, which deliver a vintage-global attraction and essence of
Hinduism.
► Inside the movie adaptation, a few twists and the finishing had been changed to
make the movie more realistic. The target audience gets a noir vibe inside the
scene of the poor sculptor getting stabbed.
► Every technical factor of the movie, along with the high satisfactory
camerawork, the artwork course, and the cinematography, makes each frame
seem likportrayaltray. The appearing performances are excellent.
► The iconic scene at Maganlal’s house is one of the most memorable scenes in the history of cinema, as
Jatayu’s apprehensive optimism, at being martyred, results in a distinctly comical scenario.
► However, Feluda, of the route, vows to avenge the insult to his friend which leads the target audience to the
thrilling climax of the film. The movie is a beautifully instructed narrative tale, with all of the ingredients to
make it a perfect thriller whilst it brings back nostalgia, a spirit of culture, and spiritualism.
► Satyajit Ray's Joy Baba Felunath is some other name among his illustrious work noted for the emotions,
brilliance, and first-rate amusement elements
GOOPY GYNE BAGHA BYNE
► Goopy Gyne Bagha Byne is a fantasy adventure involving the titular characters inspired by a story, written by Satyajit
Ray’s grandfather Upendrakishore Ray Chowdhury. He framed the story as a simple narrative of guys in exile and their
miraculous reviews. But Ray’s cinematic variation delivered new sides to the story.
► Within the beginning scene of the film, the target market is knowledgeable that Goopy is an impassioned singer though
he needs vital skills for the art. Subsequently, the villagers wanted to dispose of the song-complete discordance of
Goopy. They recommended that he move immediately to the king and attempt his luck by making a song to him. For
this reason, Goopy visited the royal area and started out singing sitting on a low wall just underneath the king’s
window.

19. ► The king looked down on Goopy’s unmusical singing smashed his ‘tanpura’ and banished him from the land. Ultimately
Goopy arrived at a wooded area and to his marvel heard water dripping on a drum. No marvel, Bagha changed into
slumbering through his drum at the foot of a tree.
► Bagha met a comparable destiny as his unskilled drumming instrumentalized his banishment from his village.
However, banishment did not dishearten them. They did not satisfy men with their singing and drumming however
their unmusical concord thrilled Bhooter Raja dwelling in the forest. Inside the authentic story, Upendrakishore
described a band of terrible ghosts being pleased with Goopy and Bagha and invited them to sing at the marriage
ceremony of their prince.
► He distinct the ghosts as black shadows sporting enamel-like radish and eyes as pink as brick-kiln. Upendrakishore
tried to revise the unoriginal portrayal of ghosts with Bengali literature. But Satyajit Ray appreciably deviated from
the conventional portrayal of the supernatural and handled it in a comic vein within the movie. Goopy and Bagha’s
unmusical making a song and drumming eventually pleased Bhooter Raja who spangled and twinkling apparition
stupefied the dynamic duo.
► The King of ghosts blessed three boons on the two incompetent musicians. They were given two pairs of magical
sandals and two pieces of luggage. They had been blessed to d emigrate to any vicinity within seconds via the mystical
sandals and consume any food they wished for from the bag. Similarly, they have been given the extraordinary ability
to freeze the listening target audience with their singing and drumming.
► They have done a song organized by using the best king of Shundi. The track is interestingly on the worldwide
identification of music. The song of Goopy and Bagha moved beyond the edge of nationalist identities and gives
worldwide fraternity. Unsurprisingly they won the contest. now they had been appointed as the courtroom musicians.
HIRAK RAJAR DESHE
The musical duo, uninterested in their lives as crown princes of Shundi and Halla, Goopy Gyne and Bagha Byne make a comeback, wherein
they're invited to the courtroom of the Hirak Raja (The Diamond King) for their musical talents. They are to perform at the kingdom's
Anniversary Celebrations by making a song and playing the dhol and captivating the king and his visitors with their track.

20. Goopy and Bagha are seeking out a trade which comes in the shape of a danger to visit Hirak Raj, recognized for its massive diamond mines.
They happily set out for Hirak inside the dress of commoners, unaware of the machinations of the King of Hirak, a tyrant. Diamonds and
riches get pent up in his treasuries, while his subjects starve and go through. Those who protest are taken care of in the ‘Jantar Mantar', a
chamber for brainwashing devised by means of the scientist, the king mocks calling "Gobeshok Gobochondro Gyanotirtho Gyanorotno
Gyanambudhi Gyanochuramoni." His ministers are mere puppets.

21. The most effective enemy, the king, has in his land is Udayan Pandit. He is a college teacher and, extra than that, he is a believer in values. The

22. king sees him as a risk to his nation's new generation and forcefully closes his faculty down and attempts to burn down books, and he flees to
cover within the mountains after attacking squaddies who were seeking to burn books. Meanwhile, Goopy and Bagha are on their way to
Hirak.
By a twist of fate, they meet Udayan, hiding in a cave, who informs them of the king's genuine nature. The two impress
Udayan with their magical powers, who makes plans to apply them to the tyrant. Goopy and Bagha agree then head into Hirak, wherein they're
welcomed with grandeur. They entertain the tyrant king, fooling him into believing that they suppose he's extraordinary.
They request him to show them his diamond mine, where Udayan, disguised as a miner, plants life a note in Bagha's shoe at the same time as
bowing to them. While the inauguration of the huge statue of the king, they check the be aware that are meeting him in the jungle at night.
While signaling to the duo, Udayan's signal is likewise visible by means of the king, who sends squaddies to seize him. They rob the treasury
of the king in keeping with the plan of Udayan (which turned into guarded by way of a tiger) the usage of their magical song, to get diamonds
for bribing the guards.
The king captures Udayan's college students and takes them to the Jantar Mantar for brainwashing. But Goopy and Bagha have already
reached there using their magical powers. They bribed the Gobeshok onto their aspect, with the guards. On reaching the laboratory, the king
and his ministers are greatly surprised magically with the aid of Goopy's making a song after which pushed into the Brainwashing gadget.
After the king is brainwashed, he turns to the coolest facet, he then, in conjunction with the villagers, pulls down his statue situated in the
middle of the village, and everything goes again to ordinary inside the land of Hirak Raj.
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