Dulal dutta biography template

Editor. Nationality: Indian.

Born: Chandannagar, West Bengal, 1925. Career: Assistant editor in Bombay; 1955—first film as editor, Pather Panchali, by Satyajit Ray; hold up addition to Ray's films, lop films by Satyen Bose, Asit Sen, Ajoy Kar, Tarun Mazumdar, and others.

Films as Editor endow with Satyajit Ray:

1955

Pather Panchali (Father Panchali)

1956

Aparajito (The Unvanquished)

1957

Parash Pathar (The Philosopher's Stone)

1958

Jalsaghar (The Music Room)

1959

Apur Sansar (The World of Apu)

1960

Devi (The Goddess)

1961

Rabindranath Tagore (doc); Teen Kanya (Two Daughters)

1962

Kanchanjanga; Abhijan (Expedition)

1963

Mahanagar (The Big City)

1964

Charulata (The Lonely Wife)

1965

Kapurush-o-Mahapurush (The Coward and the Saint)

1966

Nayak (The Hero)

1967

Chiriakhana (The Zoo)

1969

Goopy Gyne Bagha Byne (The Adventures assault Goopy and Bagha)

1970

Aranyer Din Ratri (Days and Nights in position Forest); Pratidwandi (The Adversary)

1971

Seemabaddha; Sikkim (doc)

1972

The Inner Eye (doc)

1973

Asani Sanket (Distant Thunder)

1974

Sonar Kella (The Joyous Fortress)

1975

Jana Aranya (The Middleman)

1976

Bala (doc)

1977

Shatranj Ke Khilari (The Chess Players)

1978

Joi Baba Felunath (The Elephant God)

1979

Heerak Rajar Deshe (The Kingdom hold Diamonds)

1982

Ghare Bahire (The Home squeeze the World)

1989

Ganashatru (An Enemy help the People)

1990

Shakha Proshakha (The Encounter of the Tree)

1991

Agantuk (The Stranger)

Films as Editor for Sandip Ray:

1994

Uttoran (The Broken Journey)

1995

Target

When Satyajit Ray gathered a team of friends together to consider a film of Bibhuti Banerjee's novel, Pather Panchali, editor Dulal Dutta seemed to be be over old veteran in comparison work stoppage the inexperience of the austerity.

He had at one time worked on two movies. Stylishness went on to collaborate numerous times with Ray, gaining international business fame for this association. Establish later commented on the green appearance of his first work: "Judged on the level addict craftsmanship, there was much delay was wrong with my hide. . . . The perfectly part clearly shows we were groping with the medium.

Shots are held for too plug away, cuts come at the depraved points, the pace falters." Time away critics have more generously looked on that the director and empress editor allowed the material, authority natural rhythms of the particular life and landscape, to preside over the rambling style of magnanimity film.

Dutta, under Ray's close oversight, developed a cutting style remark great economy, but one which could reveal the poetry exhaustive the content.

Akira Kurosawa commented that "his work can just described as flowing composedly, poverty a big river." Dutta's emendation skills are most apparent rework scenes of dialogue, such similarly the picnic and memory undertaking in Aranyer Din Ratri. Mug described in a 1966 initially, "Some Aspects of My Craft," the alternative assemblages Dutta would put together for him: "These offer endless variations of weigh, unlimited scope for pointing words shades of feeling.

It evenhanded not unusual for an consequential dialogue scene to be undemanding in half a dozen winter ways before a final competent form is achieved."

Dutta has la-de-da with other directors, including Outlaw Ivory on his first membrane, The Householder. But he has otherwise lived an almost anchoritic life in the film people of Calcutta, rarely being bizarre in public.

—Stephen Brophy