| 1 | '''Ajoy Kar (1914-85)''' |
| 2 | |
| 3 | |
| 4 | Bengali director and cameraman born in |
| 5 | Calcutta. Left college to become a professional |
| 6 | photographer (1931); assistant cameraman to |
| 7 | Jatin Das at East India Film (1935) and |
| 8 | cinematographer at Indrapuri Studios, Calcutta |
| 9 | (1938). Shot over 80 features. Became director |
| 10 | in the Sabhyasachi collective with Binoy |
| 11 | Chatterjee (scripts), Jatin Datta (sound), Kamal |
| 12 | Ganguly (editor), Bishnu Chakraborty (art d), |
| 13 | Bimal Ghosh (prod. controller) and actress |
| 14 | Kanan Devi. Signed first 3 films as |
| 15 | Sabhyasachi. Made several films based on |
| 16 | Rabindranath Tagore and Saratchandra |
| 17 | Chatterjee novels. Crucial figure in reformist |
| 18 | Bengali prose cinema of late 50s and 60s |
| 19 | surrounding Uttam Kumar (cf. the classic |
| 20 | Saptapadi). Founded India Film Laboratory in |
| 21 | Calcutta (1957). Studied colour film technology |
| 22 | in the USA (1976). Work often located on the |
| 23 | cusp between literary respectability and broad |
| 24 | melodrama (e.g. Malyadaan, adapting Tagore |
| 25 | to tell the story of a dull orphan girl growing |
| 26 | into womanhood). |
| 27 | ''' |
| 28 | FILMOGRAPHY:''' 1949: Ananya; Bamuner |
| 29 | Meye; 1950: Mejdidi; 1951: Jighansa; 1954: |
| 30 | Grihapravesh; 1955: Sajghar; Paresh; 1956: |
| 31 | Shyamali; 1957: Bardidi; Harano Sur; 1959: |
| 32 | Khelaghar; 1960: Suno Baro Nari; 1961: |
| 33 | Saptapadi; 1962: Atal Jaler Ahwan; 1963: |
| 34 | Saat Pake Bandha; Barnali; 1964: Prabhater |
| 35 | Rang; 1966: Kanch Kata Hirey; 1969: |
| 36 | Parineeta; 1971: Malyadaan; 1973: Kaya |
| 37 | Hiner Kahini; 1976: Datta; 1979: Nauka Dubi; |
| 38 | 1984: Bishabriksha; Madhuban. |
| 39 | |
| 40 | [[Director]] |
| 41 | |
| 42 | [[Camera]] |