Satyajit Ray is a topic of discussion in every discussion of Cinema ever held. He was one of the few legends who won the Oscars. Also, his films were screened at great film festivals like Cannes. In his 37 years of filmmaking, Ray made 36 films. At his time, some believe Ray felt he had no choice but to keep making movies in order to ensure that his crew was never unemployed and that their families were adequately cared for. Every film stands out in its own way, making it tough to choose one above the other. Hence, below are some of his classic Satyajit Ray movies that are must-watch if you love Indian Cinema.

1. Pather Panchali (1955)

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The narrative of Apu, a little Indian child, and his life in his small town. His parents are impoverished; his father, Harihar, a poet and writer, sold the family’s fruit orchard to pay off his brother’s debts. Durga, his sister, and an elderly aunt still live with them. Sarbojaya, his mother, bears the brunt of the family’s hardship. She scrapes by, selling her personal belongings to provide food on the table, and she has to put up with her neighbors’ taunting since Durga is constantly stealing fruit from their orchard. When Harihar goes missing for five months and Durga becomes unwell, things grow even worse. The family is left with few options even after Harihar returns.

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2. Aparjito (1956)

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After staying in Benares for a while, Apu and his mother relocate to a small Bengali village to live with her uncle. Apu enrolls in a local school and excels. He has the scholarship to study in a college in Calcutta by the time he graduates. As a result, he departs. His mother is torn between her son’s departure and his growing independence. She adores her kid and wishes for him to succeed, but she does not want to be alone with him.

3. The World Of Apu (1959)

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Following Sarbojaya’s death in Aparajito (1956), Apu, now a hopeful 23-year-old idealist and struggling author, is free of any attachments that were keeping him from fully immersing himself in Kolkata’s cosmopolitan culture. Apu barely scrapes by, content with a meagre wage and a dingy roof over his head, until an unforeseen problem during the wedding of Aparna, the delicate sister of his university friend, Pulu, leads to a generous act of charity and a delightful, youthful romance. Apu has been accompanied by death and the sense of loss throughout his life on his never-ending quest for spirituality and knowledge, and now, a lifetime of joys, hopes, sadness, and tragedies has culminated in the most important decision of his life. However, tragedy cannot describe life’s fascinating duality.

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4. Devi (1960)

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Doyamoyee is left alone with her husband’s old father-in-law, a devout admirer of the goddess Kali, in ‘Goddess’ (originally named ‘Devi’). One night, the elderly widower she looks after has a dream that she is an incarnation of Kali who must be worshipped. Others begin to believe she is an incarnation of the divine as word spreads. When her husband, Umprasad, receives this distressing news, Doyamoyee begins to believe that she is an avatar, a belief that quickly turns tragic.

5. Jalsagar (1958)

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Biswambhar Roy is the last of his kind, a zamindar (landlord). He has none of the perks that come with the title, inheriting dwindling holdings that are being ravaged by the nearby river. However, he must retain his ancestors’ way of life. This ostentation is most evident in his mansion’s biggest chamber, the music room. He brings the best musicians and dancers to perform here, as well as the most powerful commoners in the area. His wife’s pleas to cut back on spending are ignored, and the puberty celebration he throws for his son depletes the family’s valuables to the last few sacks. Then, after being struck by tragedy, he locks the music room and falls into a coma – at least until a final lavish soiree depletes his funds.

6. Teen Kanya (1961)

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Nanda, a young guy from Calcutta, goes to work as a postal in a malaria-infested village in the first narrative. Ratan, a young orphan girl, looks after the postmaster. In the village, his main relief is teaching Ratan to read and write. The second narrative is about Amulya, a student who finishes his examinations and returns to his village. His widowed mother is desperate for him to marry, and she has already chosen a bride. He opposes his mother’s choice and, when compelled to marry, marries a fiery tomboy who refuses to give up her independence.

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7. Nayak: The Hero (1966)

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A matinée sensation Arindam Mukherjee will be receiving an acting prize by train. On the train, he is approached by Aditi, a journalist who reluctantly begins to conduct his interview. As the result, Arindam is won over by Aditi’s innocence and begins to reveal his past, worries, and secrets. A multitude of sub-plots plays out in the background, revealing society’s hypocrisies and frailties. In conclusion, when Arindam, burdened by guilt, considers suicide but is persuaded by Aditi. Aditi, who had secretly made notes of their chat, destroys them the next morning. As he does not want to divulge Arindam’s innermost secrets. When the train arrives at its destination, Arindam disembarks, surrounded by his fans, and resumes his daily routine.

So if you haven’t seen Satyajit Ray movies yet, we would definitely recommend it. Thanks reading the article comment down your favourite.