While our last two themes have focused on the big blockbuster franchises of James Bond and Star Wars we thought it was time to return to our pretentious artistic roots and point out a director who has had a fantastically praised career but due to the unavailability of much of his work he's unfortunately been ignored by many. Many in India know Bengali director Satyajit Ray as a master of form, character, and story but unfortunately outside of his native country and elite film circles the work of Ray was often hard to come by. However Criterion has restored and released most of Ray's 4 decades of directorial work including an incredible recent restoration of his crowning achievement, The Apu Trilogy.

To celebrate this release here is a primer for Ray's work. Of the mainly acclaimed and essential foreign filmmakers, I think Ray is one of the most accessible. His work is deeply humanistic mainly focusing on themes of family, contains sparkling dialogue, and has some of the best music you will ever hear on screen. His films are also all relatively short and if you have access to Criterion DVDs at your library or have access to a Hulu Plus account then these films are easier to find than ever before. I hope you'll give Ray a chance because I think if you do you will find a deeply rewarding director that can appeal to many different sensibilities.

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The Apu Trilogy (Pather Panchali, Aparajito, Apur Sansar)

Easily the most popular works by Satyajit Ray, this film trilogy follows the life of young Apu. Each film follows a stage in his life from childhood to adolescence to young adulthood and often focuses on the perils and joys that each stage of life brings. The life of Apu also parallels the rise of modern India beginning in the 1920s and gives a deeply personal account of life in both rural and urban India. All three boys who play Apu are outstanding and you will be moved deeply by the performances of Apu's mother and a certain woman I won't name from part three. In my mind this is the great cinematic trilogy in history and to tease a bit I think it has one of the best payoffs for a movie symbol ever. It's a tragic story at many times, but it's so full of perfect small intimate moments that you'll be immediately transported onto the screen. While most agree that either the first or third film is the best, each one can strike your heart at any age. Whether you relate to the chaos of youth, the turbulence of teenage life, or the frustrations and rewards of adulthood you can find something universal in each of these masterpiece films.

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The Big City - Easily the best none Apu film Ray made for me is The Big City. The film tells the story of a modern (at least when the film was made in 1963) Calcutta woman who breaks societal norms by becoming the sole breadwinner for her family. What could easily have been a preachy affair is instead presented with deep intelligence and an understanding that it's not evil people but backwards systems that fuel inequality. Both the wife and the husband are played brilliantly and you feel for both in the ways they know they are happier in this new arrangement yet consistently making themselves feel ashamed because society says it's wrong. The film works because you truly believe this to be a real couple who love each other, not just a stand-in for ideas. A simple story with a ton of emotional and societal weight that feels as urgent today and is must have felt back then.

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The Music Room - If you like your directors to be less Linklater and more Kubrick then this might be an interesting one to check out. While Ray's films were usually very humanistic, this one is extremely stylish with a cold foreboding tone. The film tells the story of an old-money land baron who begins to destroy himself and his family by trying to keep up the illusion of wealth when a successful businessman moves in next door. The film is one of the darkest views of the decay of the aristocracy and empires I've ever seen. It's so surreal to watch as the film subtly pushes the decadent ornate palace into a decaying ruin. There's a fabulous scene involving a chandelier that may be one of the most simple yet effectively creepy scenes in psychological horror history. It's a great film to show off Ray's range and that while he could move an audience like no other he could just as easily unnerve and terrify them.

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The Stranger (1991) - Sometimes the best way to see the lifespan of a director is to see their final film and thankfully Ray managed to make his last outing another masterpiece. The film tells the story of a woman who gets a note from a man claiming to be a long lost uncle but her husband thinks the man is actually a con artist. While not as great as his best films, this simple story about understanding and suspicion is deeply moving. The film works so well because of the performances and the honest approach Ray takes to his characters. Again the film could have been a disaster if the husband was a jerk or the "uncle" was super creepy. Instead it's more about the ways paranoia works in our minds and the power of suggestion and distrust. A really great film that shows how even with a simple concept Ray could work wonders.

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These are just a few of the excellent films directed by Ray over his long career. I also recommend The Lonely Wife, Devi, The Holy Man, Aranyer Din Ratri, and The Chess Players. If you love films about human interactions, families, and cultural clashes then you have to check out Ray. He was a one of a kind filmmaker who had incredible empathy for his subjects that made each of his film a rich viewing experience.