A wonderful piece on Subrata Mitra, one of Indian cinema's pioneering cinematographers who brought a unique styule and sensibility to the art of capturing moving images. Mitra is acclaimed by cinematic greats around the world for his magical use of natural and 'bounce' light to create black-and-white masterpieces for film makers such as Satyajit Ray (Pather Panchali, Apur Sansar, Aparajito, Devi), Merchant-Ivory (Householder, Shakespearewalah) and Basu Bhattacharya (Teesri Kasam).
As the writer says:
"...Subrata Mitra can best be described as the perfect cinematic eye of Satyajit Ray. So well did he understand Ray’s thoughts, imagination and visualisation that his camera's interpretation of them was sans any flaws....
...Ray’s films after 'Nayak' (1966) lacked the genius of Mitra’s cinematography. Mitra sans Ray was also not at his altruistic best. One of Indian cinema’s greatest tragedies.
...The genius took a sabbatical from cinematography in mid 70s. He returned in 1986 to shoot Ramesh Sharma’s 'New Delhi Times'. The shot of Shashi Kapoor running in a dream sequence as his newspaper office burns remains a lesson in cinematography...."
Read the full article: http://www.thehindu.com/features/friday-review/with-a-perfect-eye/article7792914.ece
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