āĻ…āĻ¸ā§āĻ•āĻžāϰ āϜāϝāĻŧā§€ āϏāĻ¤ā§āϝāϜāĻŋā§Ž āϰāĻžāϝāĻŧ āĻŦāĻŋāĻļā§āĻŦāĻ–ā§āϝāĻžāϤ āĻšāϞ⧇āĻ“ āĻŦāĻžāĻ™āĻžāϞāĻŋāϰ āĻŽāύāĻŋāϕ⧋āĻ āĻžāϝāĻŧ āϕ⧋āĻĨāĻžāĻ“ āϝ⧇āύ āϰāĻŋāύāϰāĻŋāύ āĻ•āϰ⧇ āĻŦāĻžāĻœā§‡ āϝ⧇ āωāύāĻŋ āφāĻŽāĻžāĻĻ⧇āϰ āĻ•āĻžāϛ⧇āϰ āĻāĻ•āϜāύ | “āϏāĻ¤ā§āϝāϜāĻŋā§Ž āϰāĻžāϝāĻŧ“ āύāĻžāĻŽāϟāĻŋ āĻ“āϤāĻĒā§āϰ⧋āϤ āĻ­āĻžāĻŦ⧇ āϜāĻĄāĻŧāĻŋāϝāĻŧ⧇ āφāϛ⧇ āĻŦāĻžāĻ™āĻžāϞāĻŋ āĻœā§€āĻŦāύ⧇| āϤāĻžāϰ āĻšāĻžāϤ⧇āϰ āĻ•āϞāĻŽā§‡āϰ āϏ⧃āϜāύāĻļā§€āϞāϤāĻž āĻāĻŦāĻ‚ āϤāĻžāϰ āĻĒāϰāĻŋāϚāĻžāϞāύāĻžāϰ āϤ⧀āĻ•ā§āĻˇā§āĻŖāϤāĻž āϤāĻžāρāϕ⧇ āĻ•āϰ⧇ āϤ⧁āϞ⧇āϛ⧇ āĻ•āĻžāϞāϜāϝāĻŧā§€|

āϚāϞāϚāĻŋāĻ¤ā§āϰ āϜāĻ—āϤ⧇ āωāύāĻžāϰ āĻ…āĻ¨ā§āϝāϤāĻŽ āĻ…āĻŦāĻĻāĻžāύ , “āϚāĻžāϰ⧁āϞāϤāĻžâ€ āφāĻŽāĻžāϰ āĻ…āϤāĻŋ āĻĒā§āϰāĻŋāϝāĻŧ āύāĻžāϝāĻŧāĻŋāĻ•āĻž | āωāύāĻŋ āϤāĻžāρāϰ āĻĻāĻ•ā§āώ āĻĒāϰāĻŋāϚāĻžāϞāύāĻžāϝāĻŧ āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāύāĻžāĻĨ⧇āϰ āϏ⧃āĻˇā§āϟ āϏāĻžāϧāĻžāϰāĻŖ āĻāĻ• āύāĻžāϰ⧀āϕ⧇ āĻĒā§āϰāĻžāĻŖāĻŦāĻ¨ā§āϤ āĻ•āϰ⧇ āϤ⧁āϞ⧇āϛ⧇āύ āϚāϞāϚāĻŋāĻ¤ā§āϰ āĻĒāĻ°ā§āĻĻāĻžāϝāĻŧ| āĻ­ā§‚āĻĒāϤāĻŋāϰ āĻ…āĻĢāĻŋāϏ āϝāĻžāĻŦāĻžāϰ āĻŽā§āĻšā§‚āĻ°ā§āϤ āĻĨ⧇āϕ⧇, āϚāĻžāϰ⧁, āϤāĻžāϰ āĻ•ā§ŒāϤ⧂āĻšāϞ⧀ āĻŽāύ āύāĻŋāϝāĻŧ⧇, āϤāĻžāϰ āϏ⧌āĻ–āĻŋāύ āĻ…āĻĒ⧇āϰāĻž āĻ—ā§āϞāĻžāϏ āĻĻāĻŋāϝāĻŧ⧇ āĻŦāĻžāχāϰ⧇āϰ āϜāĻ—ā§Žāϕ⧇ āϚāĻŋāύ⧇ āύ⧇āĻŦāĻžāϰ āφāϕ⧁āϤāĻŋāϕ⧇ āϖ⧁āĻŦ āϏ⧁āĻ¨ā§āĻĻāϰ āĻ­āĻžāĻŦ⧇ āĻĢ⧁āϟāĻŋāϝāĻŧ⧇ āϤ⧁āϞ⧇āĻ›āĻŋāϞ⧇āύ | āϏāĻŽā§āĻĒāĻ°ā§āϕ⧇āϰ āϏāĻŽā§€āĻ•āϰāϪ⧇āϰ āϜāϟāĻŋāϞāϤāĻž āĻĨ⧇āϕ⧇ āĻŦ⧇āϰāĻŋāϝāĻŧ⧇, āϚāĻžāϰ⧁āϞāϤāĻž āϤāĻžāϰ āĻŽāύ⧇āϰ āϭ⧇āϤāϰ⧇ āϜāĻŽā§‡ āĻĨāĻžāĻ•āĻž āϧ⧁āϞ⧋ āωāĻĄāĻŧāĻŋāϝāĻŧ⧇, āĻ…āĻŽāϞ⧇āϰ āϜāĻ¨ā§āϝ⧇ āϤ⧈āϰ⧀ āĻ•āϰ⧇ āĻāĻŽāĻŦā§āϰāϝāĻŧāĻĄāĻžāϰāĻŋ-āĻ•āϰāĻž āĻ–āĻžāϤāĻž| āϰāĻŦā§€āĻ¨ā§āĻĻā§āϰāύāĻžāĻĨ⧇āϰ āϏ⧃āĻˇā§āϟāĻŋ “āϚāĻžāϰ⧁āϞāϤāĻž”āϰ āϚāĻžāϰ⧁āϕ⧇ āωāύāĻŋ āĻ—āĻĄāĻŧ⧇ āϤ⧁āϞ⧇āϛ⧇āύ āύāĻŋāĻĒ⧁āύ āĻ­āĻžāĻŦ⧇|

āϏāĻ¤ā§āϝāϜāĻŋā§Ž āϰāĻžāϝāĻŧ⧇āϰ āϞ⧇āĻ–āύ⧀āϰ āĻœā§‹āϰ⧇āϰ āĻĒā§āϰāĻ•āĻžāĻļ āφāĻŽāϰāĻž āĻĒ⧇āϝāĻŧ⧇āĻ›āĻŋ āϤāĻžāρāϰ āĻ…āύ⧇āĻ• āϰāϚāύāĻžāϰ āĻŽāĻ§ā§āϝ⧇ | āĻ•āĻ˛ā§āĻĒ āĻŦ⧈āĻœā§āĻžāĻžāύāĻŋāĻ• āĻĒā§āϰāĻĢ⧇āϏāϰ āĻļāĻ™ā§āϕ⧁āϰ āĻŽāĻžāĻ§ā§āϝāĻŽā§‡ āφāĻŽāϰāĻž āĻĒāϰāĻŋāϚāϝāĻŧ āĻĒāĻžāχ āϏāĻ¤ā§āϝāϜāĻŋā§Ž āϰāĻžāϝāĻŧ⧇āϰ āĻ…āϤ⧁āϞāύ⧀āϝāĻŧ āĻ•āĻ˛ā§āĻĒāύāĻž-āĻĒā§āϰāϤāĻŋāĻ­āĻžāϰ| āφāύāĻžāχāĻšāĻŋāϞāĻŋāύ āĻ—āĻžāύ āĻĒāĻžāĻ“āϝāĻŧāĻžāϰ āχāĻšā§āϛ⧇ āϛ⧋āϟāĻŦ⧇āϞāĻžāϝāĻŧ āĻ•āĻžāϰ āύāĻž āĻ›āĻŋāϞ⧋? āĻŦ⧁āĻĻā§āϧāĻŋāϰ āϤ⧀āĻ•ā§āĻˇā§āĻŖāϧāĻžāϰ⧇āϰ āϏāĻžāĻŽāύ⧇ āϝ⧇, āϝ⧇āϕ⧋āύ⧋ āĻĒā§āϰāϤāĻŋāĻĒāĻ•ā§āώāϕ⧇ āĻšāĻžāϰāĻžāύ⧋ āϝāĻžāχ, āϏ⧇āϟāĻž āϤāĻžāρāϰ āĻĒā§āϰāĻœā§āĻžāĻž-āĻŽāύāύ āϞ⧇āĻ–āύ⧀āϰ āϏāĻŦ āĻ—āĻ˛ā§āĻĒ⧇āχ āĻĒāĻžāĻ“āϝāĻŧāĻž āϝāĻžāχ|

āĻ…āϤ⧁āϞāύ⧀āϝāĻŧ āĻĒāϰāĻŋāϚāĻžāϞāĻ• āĻļā§āϰāĻĻā§āϧ⧇āϝāĻŧ āϏāĻ¤ā§āϝāϜāĻŋā§Ž āϰāĻžāϝāĻŧāϕ⧇ āφāĻŽāĻžāϰ āĻŦāĻŋāύāĻŽā§āϰ āĻĒā§āϰāĻŖāĻžāĻŽ|

The name "Satyajit Ray" is deeply involved in Bengali life. The Oscar-winner director and writer had unparalleled creativity. Be it his eyes behind the camera or his pen on paper - Satyajit Ray had won respect of whole world. His creations have earned him immortality.

One of his contributions to the film world is the movie "Charulata". Charulata is one of my favorite heroines in Indian cinema which was brought to life by Madhabi Mukherjee under Ray's subtle direction.He has brought to life an ordinary woman created by Rabindranath and painted her into this beautiful extraordinary lady. Right from the moment Bhupathi leaves for office, Charu, with her mind filled with curiosity, leans over the windows with her fancy opera glass. The penchant for attention is beautifully expressed. Amal, her brother-in-law, rushes into her otherwise colourless world and makes her dream for more. Her inclination towards outside world is fanned by Amal. Her resolute is broken. Inspite of the complexity of the relationships, Charulata blows the dust off her mind, makes an embroidered notebook for Amal. Satyajit Ray had acutely captured the loneliness of a house-wife, thus breathing life to the creation of Noble laureate Rabindranath's "Charulata".
We have found the brilliance of Ray's writing in many of his works. We get to know the incomparable imagination of Satyajit Ray through the science fiction Professor Shanku. Who didn't want to get Annihillin gun as a child; or for a fact look for Miracurall – the only drug that cures any ailment? The fact that any opponent can be defeated in the face of the sharpness of the intellect can be found in all the stories of his wise writing, including his famous detective series - Feluda.

My humble obeisances to the incomparable director, the venerable Satyajit Ray.

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