Satyajit Ray

Preface; acknowledgments; the way to "Pather Panchali"; "Pather Panchali" - Apu's childhood; "Aparajito" (the unvanquished) - Apu's youth; "Apur Sansar" (the world of Apu) - Apu's maturity; "Parash Pather" (the philosopher's stone) - a turn to comedy and satire; "Jalsaghar" (the music room) - the passing of the old order; "Devi" (the goddess) - the tragedy of incarnation; "Rabindranath Tagore" - the Brahmo Heritage; "Teen Kanya" (three daughters) - the shorter form; "Kanchanjugha" - Ray's first examination of contemporary India; "Abhijan" (the expedition) - a good man gone wrong; "Mahanger" (the big city) - the woman leads the way; "Charulata" - the seeds of reform; "Kapurush-O-Mahapurush" (the coward and the holy man) - a love story and a satire; "Nayak" (the hero) - a star falls; "Goopy Gyne Baha Byne" (the adventures of Goopy and Bagha) - a children's story; "Aranyer Din Ratri" (days and nights in the forest) - finding the way; "Pratidwandi" (the adversary) - the job seeker; "Seemabaddha" (company limited) - the price of success; "Ashani Sanket" (distant thunder) - starvation comes on slowly; "the inner eye and two" - two short films; "Sonar Kella" (the golden fortress) - a detective film; "Jana Aranya" (the middleman) - urban corruption; "Shatrani Ke Khilari" (the chess players) - the British takeover; "Joi Baba Felunath" (the elephant god) - more detective action; "Hirok Rajar Deshe" (the kingdom of diamonds) - political protest; "Pikko's Day" - an awakening; "Sadgati" (deliverance) - the caste system at its worst; "Ghare-Baire" (the home and the world) - a return to Tagore. Conclusion. Bibliography. Index. About the author.

?. . . Nyce's understanding of filmmaking is crucial in providing insightful interpretations of Ray's methods and skills. . . . In addition, a complete filmography and a bibliography that includes books, aritlces, films and general studies on Ray and his work are useful for exploring the subject further. Of all the works on Ray, this is the only one to focus systematically on the films, essentially in chronological order of production. . . .?-The Journal of Asian Studies