|Born||12 October 1930|
|Died||7 December 2001 (aged 70)|
Kolkata, West Bengal, India
|Fields||Photography & Cinematography|
Subrata Mitra (12 October 1930 – 7 December 2001) was an Indian cinematographer. Acclaimed for his work in The Apu Trilogy (1955–1959), Mitra often is considered one of the great Indian cinematographers.
He was born in Calcutta, Bengal (now Kolkata, West Bengal) to Shanti and Sudhangshu Bhushan Mitra. He was a great-grandson, on his paternal grandmother's side, of the orientalist Brajendranath Dey. He was a younger cousin of the singer Uma Bose and a nephew, even though he was older than him, of the historian Barun Dey. He was educated at Ballygunge Government High School, Kolkata.
At the age of 21, Mitra, who never had operated a motion picture camera, began his career as a cinematographer with Satyajit Ray, the legendary Indian film maker, for Pather Panchali (1955).He continued to work with him for many of Ray's later films. He is known for pioneering the technique of bounce lighting while filming The Apu Trilogy.
Satyajit Ray thought that "Subrata Mitra’s camera work is better than Raoul Coutard’s".Coutard was at the time much more acclaimed than Mitra having collaborated with Godard on many of his film projects. One of his most important technical innovations was his application of bounce lighting, pioneering the use of large scale diffusers to match studio lighting with location shooting. According to the Internet Encyclopedia of Cinematographers:
Mitra made his first technical innovation while shooting Aparajito. The fear of monsoon rain had forced the art director, Bansi Chandragupta, to abandon the original plan to build the inner courtyard of a typical Benares house in the open and the set was built inside a studio in Calcutta. Mitra recalls arguing in vain with both Chandragupta and Ray about the impossibilities of simulating shadowless diffused skylight. But this led him to innovate what became subsequently his most important tool - bounce lighting. Mitra placed a framed painter white cloth over the set resembling a patch of sky and arranged studio lights below to bounce off the fake sky.
His director Satyajit Ray also stated:
You know, about seven or eight years after Pather Panchali was made, I read an article in American Cinematographer written by Sven Nykvist — at the time of Bergman's Through a Glass Darkly , I think — claiming the invention of bounced light. But we had been using it since 1954.
Both Satyajit Ray and Subrata Mitra were greatly influenced by the photography of Henri Cartier-Bresson, in particular his use of natural light.The other great influence was Jean Renoir and it was in fact during the shooting of his film The River, the pair met in its sets.
Commenting on his own photography, Mitra said:
"Every cameraman has his own method of work innovated by his own conviction, taste, etc. One cameraman believes that he can please his audience and himself by glamourising the heroine only; another one believes that the main object of lighting and photography is to create various moods and feelings."[ citation needed ]
"I feel my most important technical innovation is the use of 'bounce lighting', induced by my love for naturalistic lighting."[ citation needed ]
"An actor can overact or underact. This equally applies to lighting and cameraman. He has to observe restraint in his work like the actor. I feel that in my own work I have a tendency to 'underact.'"[ citation needed ]
"My experience in Pather Panchali were rather unusual, because before this I had never touched a movie camera or even worked as an assistant to a cameraman...Almost every shot of Pather Panchali posed a problem for me, innumerable problems, many sleepless nights spent on ruminating over the prospects of the next day's shooting...Pather Panchali had many excellent shots--both technically and artistically, but it had many bad shots too."[ citation needed ]
From 1997 until his death, Mitra was an emeritus professor of cinematography at the Satyajit Ray Film and Television Institute (SRFTI) at Kolkata.
The Apu Trilogy comprises three Indian Bengali language epic drama films directed by Satyajit Ray: Pather Panchali (1955), Aparajito (1956) and The World of Apu (1959). The original music for the films was composed by Ravi Shankar.
Pather Panchali is a 1955 Indian Bengali epic drama film written and directed by Satyajit Ray and produced by the Government of West Bengal. It is based on Bibhutibhushan Bandyopadhyay's 1929 Bengali novel of the same name and is Ray's directorial debut. It features Subir Banerjee, Kanu Banerjee, Karuna Banerjee, Uma Dasgupta and Chunibala Devi. The first film in The Apu Trilogy, Pather Panchali depicts the childhood of the protagonist Apu and his elder sister Durga and the harsh village life of their poor family.
Aparajito is a 1956 Indian Bengali-language drama film written and directed by Satyajit Ray (1921–1992), and is the second part of The Apu Trilogy. It is adapted from the first half of Bibhutibhushan Bannerjee's novel Aparajito. It starts off where the previous film Pather Panchali (1955) ended, with Apu's family moving to Varanasi, and chronicles Apu's life from childhood to adolescence in college.
Bibhutibhushan Bandyopadhyay was an Indian writer in the Bengali language. His best known works are the autobiographical novel, Pather Panchali, Chader Pahar, and Aranyak.
Raoul Coutard was a French cinematographer. He is best known for his connection with the Nouvelle Vague period and particularly for his work with director Jean-Luc Godard. Coutard also shot films for New Wave director François Truffaut as well as Jacques Demy, a contemporary frequently associated with the movement.
Satyajit Ray (1921–1992), a Bengali film director from India, is well known for his contributions to Bengali literature. He created two of the most famous characters in Feluda the sleuth, and Professor Shonku the scientist. He wrote several short novels and stories in addition to those based on these two characters. His fiction was targeted mainly at younger readers, though it became popular among children and adults alike.
Bansi Chandragupta (1924–1981) was an Indian art director and production designer, regarded among the greatest of art directors of Indian film industry. He won Filmfare Best Art Direction Award thrice, for Seema in 1972, for Do Jhoot in 1976 and for Chakra in 1982. He was awarded Evening Standard British Film Award posthumously for "best technical/artistic achievement" in 1983. He was born in 1924 in Sialkot, Punjab, British India and died on 27 June 1981 in Brookhaven, New York, United States.
Karuna Banerjee was a Bengali actress best known for her role in Satyajit Ray's The Apu Trilogy (1955–1959) as the long suffering mother, Sarbajaya. She was nominated for Best Actress at the 1959 BAFTA Awards for her performance in Aparajito (1956), the second part of The Apu Trilogy. She appeared in a number of other films after that, including Ray's Devi (1960) and Kanchenjungha (1962).
Parallel cinema, or New Indian Cinema, was a film movement in Indian cinema that originated in the state of West Bengal in the 1950s as an alternative to the mainstream commercial Indian cinema.
Calcutta Film Society was India’s second film society in the city of Kolkata, West Bengal, India. It was founded in 1947, just after independence, by Satyajit Ray, Chidananda Dasgupta, RP Gupta, Bansi Chandragupta, Harisadhan Dasgupta and others. The 1925 silent film directed by Sergei Eisenstein, The Battleship Potemkin was the first film screened at the film society, which over the years developed the reputation of having the "most cine-literate audiences in the country". It was revived in 1956 with the efforts of stalwarts like Dasgupta, Vijaya Mulay, Diptendu Pramanick and Satyajit Ray.
Dulal Dutta was a film editor in the Bengali film industry located in Kolkata, West Bengal, India. He is especially remembered for his association with the acclaimed film director Satyajit Ray, whose films were all edited by Datta.
Subir Banerjee is an Indian actor who played Apu in Satyajit Ray's Bengali film Pather Panchali, the first installment of The Apu Trilogy.
In photography and cinematography, a reflector is an improvised or specialised reflective surface used to redirect light towards a given subject or scene.
Satyajit Ray was an Indian film director, scriptwriter, documentary filmmaker, author, essayist, lyricist, magazine editor, illustrator, calligrapher, and music composer. He is celebrated for works such as The Apu Trilogy (1955–1959), The Music Room (1958), The Big City (1963) and Charulata (1964). Ray was born in Calcutta to renowned writer Sukumar Ray who was prominent in the field of arts and literature. Starting his career as a commercial artist, he was drawn into independent filmmaking after meeting French filmmaker Jean Renoir and viewing Vittorio De Sica's Italian neorealist film Bicycle Thieves (1948) during a visit to London.
The Cinema of West Bengal, also known as Tollywood, refers to the Indian Bengali language film industry based in the Tollygunge region of Kolkata, West Bengal, India. The origins of the nickname Tollywood, a portmanteau of the words Tollygunge and Hollywood, dates back to 1932. It was a historically important film industry, at one time the centre of Indian film production. The Bengali film industry is known for producing many of Indian cinema's most critically acclaimed global Parallel Cinema and art films, with several of its filmmakers gaining prominence at the Indian National Film Awards as well as international acclaim.
Soumendu Roy is an Indian cinematographer most known for his work with noted director Satyajit Ray's films, starting with Teen Kanya (1961), when Subrata Mitra developed an eye-problem, though he has earlier shot Ray's documentary Rabindranath Tagore (1961) and has been an assistant to Subrata in post Pather Panchali films.
Subhrajit Mitra is a film maker from India working in Bengali film industry.
Aurora Film Corporation is a film production company based in Kolkata, West Bengal, India, and primarily involved in producing Bengali films. Aurora has produced and distributed several landmark Bengali-language films including Satyajit Ray's Pather Panchali.
Shehnad Jalal born 28 June 1978, is a cinematographer based in Kerala, India. After completing his Post Graduation in Commerce from the Kerala University, in 2002, he joined the Satyajit Ray Film and Television Institute (SRFTI), Kolkata for Post Graduate Diploma in Cinematography. After graduating in 2006, he started his career as an assistant to the renowned Cinematographer Venu and went on to work with him in several feature films, documentaries and television commercials. Shehnad Jalal made his debut as a Cinematographer in the film Chitrasutram, directed by Vipin Vijay. The film won him the Kerala State Film Award for Best Cinematography in the year 2010. The documentary, A Pestering Journey directed by K R Manoj won him the Navaroze Contractor Award for the Best Documentary Cameraman at the 4th International Documentary and Short Film Festival of Kerala, 2011., He won a nomination for Achievement in Cinematography at the Asia Pacific Screen Awards 2017, for his work in the movie Loktak Lairembee in the Meitei language, directed by Haobam Paban Kumar. The film had its world premiere at the Busan International Film Festival 2016 in the New Currents and was selected for the Berlinale FORUM 2017. The film won the Golden Gateway award for Best Film at the Mumbai International Film Festival 2016 and the National Award for the Best Indian Film on Environment Conservation, 2016.
Supratim Bhol is an Indian cinematographer known for his works in Hindi cinema and Bengali cinema. He has also worked in other regional language projects in Haryanvi, Odia and Chhattisgarhi. Supratim graduated from the Film and Television Institute of India (FTII) and debuted as an independent cinematographer with the film Colours of Innocence (2016) directed by Manas Mukul Pal, a National Award winner venture. His most recognized works are Chorabali (2016), Panchlait (2017), Abyakto (2018), Guldasta (2020), Avijatrik (2020), etc.