In a fairy tale like treatment, the film shows an encounter of two boys - a rich kid living in big house and a boy living in a slum. The rich boy’s window overlooks the slum.
The film moves through the attempts at one-upmanship evident in their successive display of their toys. When the slum boy takes out a flute, the rich boy drowns its sound by his loud toy-trumpet; when the slum boy switches to a home-made mask and spear, the rich boy becomes a cowboy with a gun; when the slum boy tries to fly a humble kite, the rich boy shoots it down by his toy rifle… The slum boy gives up trying to be friends with the rich boy and the rich boy seems proud of his victory. Not for long, though…
Notes of the slum boy’s flute are heard again as the rich boys noisy toy-robot trips and breaks down. The film ends with the rich boy pondering over his unspoken defeat.
Comments
Two was made as part of a trilogy of short films from India that were commissioned by the US Public Television under the banner of Esso World Theater. The other two films featured Pandit Ravi Shankar and a ballet troupe from Bombay.
Ray was asked make a film in English in a Bengali setting. Not very happy with the prospect, he opted to do away with the spoken word. A great admirer of the silent cinema, Ray pays a tribute to the genre.
The film “packs quite a punch in its ten (actually 15) minutes”, Ray wrote to Marie Seton at the timing of making the film.

An well-off Indian family is paid an unexpected, and rather unwanted, visit by a man claiming to be the woman's long lost uncle. The initial suspicion with which they greet the man slowly dissolves as he regales them with stories of his travels, tales that are at odds with their conventional middle class perspective on the world.

what a beautiful picture, what a great puzzle of poetry. there are many things that can be said about 'Sadgati'.
first of all, men try to succeed but fail in doing so, while women accomplish everything they want to do. women are happy, but become sad because of men. does this mean women do things better than men? this thought is shown with the use of insects: every time a woman does something in the film, we see grand things, like a big pile of mud and an expensive house. every time a man tries something in the film, he is put in the picture with insects close to the work he tries to do. does this mean men are insects? the dust can be Representative for the awareness of the women, who know something bad is going to happen. the big house of the 'bad' woman is full of richness and luxury. does this mean money kills emotion? could be, because the owners of the big house sleep in separate beds. so there's no mention of love in money? money is bad? but if money is bad, why do the poor men die? is poverty a richness? could be, because the real problems are left for the rich men, who will now have to explain why everything went wrong. however, the last image of the film shows us the real 'bad guy': the work itself. there will always be poor people and rich people because of the differences of work. that's not fair. because of that, accidents do happen as in the end of the film. if they should accept each other for who they are and without profits from work, everything would be fine.
with the difference of work, changes in character are important to the story too. the ant works hard and the grasshopper does nothing. it would be great if the ant and the grasshopper would be the same.
because that's the meaning of the picture: acceptance of who we are, knowledge of each others differences and the love of understanding.

The first story is about Nanda, a young man who leaves Calcutta to work as a postmaster in an isolated malaria-infested village. The postmaster is looked after by a young orphan girl, Ratan. His only solace in the village is in teaching Ratan how to read and write. The second story is about a student, Amulya, who returns to his village after finishing his exams. His widowed mother is very anxious for him to marry, and has already picked out a girl. He rejects his mother's choice and, being forced to choose some girl, marries a lively tomboy who is not ready to give up her freedom.

An underpaid middle-aged clerk finds a 'parash pathar', a stone that changes iron to gold on touch.

Ananda Majumdar, a wealthy, retired industrialist, suddenly falls ill during a ceremony in honor of his seventieth birthday. Three of his sons rush immediately to his bedside. The fourth son, Proshanto, already lives with his father. Considered the family failure, he spends his time listening to music and is considered to be mentally ill.
The two eldest sons, who are businessmen, live corrupt lives and do not want their father, an uncompromising moralist who believes in work and honesty, to find out. The youngest of the four, weary of office life, would love to become an actor. During a family meal and a picnic, tensions are accentuated. Waiting for resolution of their father's health crisis, the four brothers and their families reminisce and relive ideological differences.

你没看错，雷伊大师也拍过幻想片的。。。这是他所有作品中最特别的一部。
Evergreen Fairy tale
I rate 10 to the movies I can watch hundred times, time and again. Goopy Gyne Bagha Byne is one of them. I grew up watching this movie, watched several times and each time was none the less exciting...charming.
One of Ray's great directorial acumen was to select perfect casts for the movie. If you just see the actors he chose to perform various characters in the movie, you will think that the story was actually written keeping them in mind. And the actors impeccably perform their parts.
This is the story about two simpleton musicians who were respectively banished by their village for their cacophonous music and coincidentally teamed up in a forest lived by ghosts. Furtunately the king of ghosts liked their music and gave them three magical boons. There started the adventure of Goopy and Bagha.
Another powerful aspect of Ray's movies is their music. Mostly he composed himself. He did for this movie too. One more fact keeps you wondering is how such a fairy tale movie can be made with so less special affects and low cost. The sets were adorned with crafts and symbols that accentuate the ambiance, like the Magician's room in the palace of Shundi.
This is the first of the movies about adventures of Goopy Bagha. There are two more of them - Heerak Rajar Deshe (In the land of Diamond King) and Goopy Bagha Phire Elo (Goopy Bagha Return) - each worth watching, the third movie is directed by Ray's son, Sandip Ray.

记录神奴舞蹈家T.Balasaraswati的婆罗多艺术

The story revolves around a retired judge, Mr. Nishanath Sen, who stays at a farm house called Golap Colony (The Rose Colony) at the outskirts of Calcutta. The people who stay in the colony are a strange melee of handicaps, social outcasts and ex-convicts. One day the judge is murdered under mysterious circumstances. The local police assign Byomkesh to the investigation. As a close acquaintance of Sen, Byomkesh is more than willing to solve the murder mystery. Through many twists and turns in the story, he goes on to solve the mystery.

This powerful psychological drama follows a young executive's climb up the corporate ladder and his slow immersion into corruption, seen through the eyes of his young sister-in-law.
Shyamal (Barun Chanda) is an ambitious Marketing Manager in a British firm in Calcutta, manufacturing fans. He's married to Dolan, and lives in a company flat. He aspires to become the company director. For this he has to compete with a colleague who has a relative in the board of directors.
His sister-in-law Tutul (Sharmila Tagore) arrives from Patna to spend a few days with them. She has been a great admirer of the ideologist Shyamal and was envious of her sister's marriage with him. Tutul is Shyamal’s conscience. Shyamal shows her the delights of city life - the cocktail parties, the clubs and horse racing.
Life goes on smoothly for Shyamal until he learns that a consignment of fans meant for exports is defective. There is not much time to rectify the fans. It could result in cancellation of the export contract and an end to his dream of becoming a director.
Hopeless, Shyamal takes Tutul in confidence though not his wife. Late at night, he hatches a plan with the labor officer to provoke a strike at the factory. A factory watchman is badly injured and a lockout is declared. The export contract is saved.
Shyamal becomes a director but he has fallen low both in the eyes of Tutul and his own.
This is the second film of the Calcutta Trilogy. The other two were and Pratidwandi (The Adversary, 1971) and Jana Aranya (The Middle Man, 1975). All the three films study the effect the big city of Calcutta has on the educated youth and the price it extracts from them.
With an effortless conviction, Ray builds up the narrative, and characters including the minor ones. The film has a poetic and understated ending. As triumphant Shyamal returns home after being named a director, the elevator is out of order. A joyous Shyamal begins to climb the stairs. As he ascends his steps become slower. When he reaches the top, both physically and metaphorically, his joy has vanished. Tutul who has witnessed fall of her hero, sits beside him, they exchange glances. Without making a sound Tutul removes the watch that he had gifted her. She places it on the table. We see Shyamal from above a ceiling fan, with his head bowed in his hand and Tutul fading away.

（维基百科）
Mukul (played by Kusal Chakravarty) is a young boy who is said to be able to remember events of his previous life. He stays up late into the night and draws sketches that he claims are of battles he had seen. His father decides to take him to Dr. Hajra (Sailen Mukherjee), a parapsychologist, for treatment. After listening to his descriptions of deserts and peacocks, Dr. Hajra guesses that the place Mukul describes might be in the deserts of Rajasthan, a state in western India. Mukul also mentions that he lived in the Golden Fortress (Sonar kella), though he can't explain what this means, and that their house had lots of gems. Dr. Hajra decides to take Mukul on a trip to Rajasthan hoping this may shed deeper light into such parapsychological phenomenon, , as well as help cure the young boy.
A newspaper report on Mukul and an interview with Dr. Hajra alerts two men by the names of Amiyanath Burman (Ajoy Banerjee) and Mandar Bose (Kamu Mukherjee), the villains in the story. Burman and Bose had earlier had encounters with Dr. Hajra, when he had exposed fraudulent activities of the pair. They interpret his mention of gems as a hidden treasure and plan to kidnap Mukul in hope of getting their hands on it. Their first attempt at the kidnapping fails when they pick up another boy, also named Mukul (Santanu Bagchi), from the same neighborhood. Mukul had already left for Rajasthan.
Alarmed by the failed kidnapping of his son, Mukul's father engages the service of Feluda (Soumitra Chatterjee), a private investigator, to help protect his son. Feluda accepts the assignment and leaves for Rajasthan along with Topshe (Siddartha Chatterjee). On the way to Rajasthan Feluda and Topshe meet Lalmohan Ganguly, a.k.a. Jatayu (Santosh Dutta), a popular thriller-writer, for the first time.
Meanwhile, Burman and Bose befriend Dr. Hajra, who is travelling on the same train but fails to recognise them. Dr. Hajra finds out that Mukul's father was a gemcutter, so the gems mentioned by Mukul have nothing to do with treasure. But Burman and Mandar Bose don't know this. They push off Dr. Hajra from a cliff and kidnap Mukul, with Burman impersonating as Dr. Hajra and Mandar Bose as a globe-trotter. Unknown to them, Dr. Hajra survives the fall, though he is forced to rest for a few days to recover from his griveous injuries. Feluda meets Burman, thinking him to be Dr. Hajra. Burman tries to kill him secretly using a poisonous scorpion, but fails. Jatayu joins them and they move around Rajasthan showing various forts (Rajasthan is full of Rajput forts) to Mukul, but none of them are the Golden Fortress. Meanwhile Feluda starts to suspect Mandar Bose after he boasts to Jatayu of having killed a wolf in Africa.
One night, Burman uses his parapsychological background to hypnotise Mukul, when he says that the fort was in Jaisalmer. The next morning, Feluda reaches the same conclusion after remembering that the fort of Jaisalmer was made of golden yellow limestone. However, when he returns to the guest house he finds that Burman has already left. Mandar Bose tells him that Mukul remembered the name of the place to be 'Burmer' (imaginary name). Feluda suspects foul play, and is confirmed when he finds that Burman has misspelled the word Hajra in the attendance register of the guest house. He leaves for Jaisalmer by car, but Mandar Bose leaves first and scatters broken glass on the highway, puncturing the tires of their car.
Feluda takes a camel caravan to the nearest train station, after failing to stop the train carrying Burman and Mukul midway. They take the next train to Jaisalmer. In the night, Mandar Bose tries to stab Feluda, but Feluda was only pretending to be asleep and has him at gunpoint. But suddenly Jatayu tries to recover Mandar Bose's knife, which was stolen from Jatayu. Using Jatayu as a shield he jumps out and hangs onto the side of the train, returning to his compartment. By chance, that compartment is occupied by Mr. Hajra, who frightens the drunk Mandar Bose. A swinging door pushes him out to his death.
The next morning, the three reach Jaisalmer and talk with Dr. Hajra. Then they go to the fort, to find Burman and Mukul searching the ruins. Burman has a phobia of peacocks and tries to shoot one, which angers Mukul into running off. At this point, Feluda confronts and captures him. He also tells him that there never was any treasure, whether rebirth exists or not. They find that Mukul is cured, and return to Kolkata.

A bright and idealistic young graduate steels himself for a dog-eat-dog world, only to flounder in a job market packed with thousands of other hopefuls. When he eventually decides to start his own business as a middle-man, he discovers that the world of business does not live up to his lofty ideals.

The magically musical duo of Goopy Gyne and Bagha Byne make a comeback in this sequel, where they are invited to the court of the Hirak Raja (The Diamond King), for their musical skills. They are to perform at the kingdom's Jubilee Celebrations.
Goopy and Bagha are bored with their lives as crown princes of Shundi and Halla. They are looking for a change, which comes in the form of a chance to visit Hirak Rajya (Land of Diamonds), known for its huge diamond mines. They jocundly set out for Hirak Rajya. But little do they know of the machinations of Hirok Raja (Utpal Dutt). The king is a tyrant. Diamonds and riches get pent up in his treasuries, while his subjects starve and suffer. Those who protest are taken care of in the 'Jantarmantar', a chamber for brainwashing devised by the scientist (Santosh Dutta), whose full name is Gobeshok Gobochondro Gyanotirtho Gyanorotno Gyanambudhi Gyanochuramoni. His ministers are mere puppets. The only enemy the king has in his land is Udayan Pandit (Soumitra Chatterjee). He is a school teacher and, more than that, he is a believer of values. The king forcefully closes his school down. Udayan flees to hide in the mountains.
Meanwhile, Goopy and Bagha are on their way to Hirok Rajya. By coincidence, they meet Udayan, who intimates them of the king's true nature. The two impress Udayan with their magical powers, who plans to use them against the tyrant. Goopy and Bagha agree. The duo then head into Hirok Rajya, where they are welcomed with grandeur. They entertain the rogue king,fooling him into believing that they think he is great. They rob the treasury (which was guarded by a tiger) using their migical music, for bribing the guards.
The king has his tricks, too. He captures Udayan and all his students, and takes them to the Jantarmantar for brainwashing. But Goopy Bagha have already reached there using their magical powers. They have also bribed the Gobeshok onto their side, with the guards. On reaching the laboratory, the king and his ministers are stunned magically by Goopy's singing and then pushed into the Brainwashing machine.

The film is an adaptation of a play by Henrik Ibsen: An Enemy of the People.It is set in a small town in Bengal. Dr. Ashoke Gupta (Soumitra Chatterjee) is the head of a town hospital. Gupta's younger brother, Nisith (Dhritiman Chatterjee), is the head of the committees running the hospital and a temple. Both were built by a local Industrialist. The temple is also a big tourist attraction.
Dr. Gupta is convinced that the holy water of the temple is contaminated due to faulty pipe-laying. It is causing an epidemic in the town. He warns his brother Nisith.
Nisith, the Industrialist and other town officials reject the idea that holy water might be the cause of the epidemic. They refuse to close the temple to carry out the repairs.
Dr. Gupta wants to write an article in the newspaper to warn people, but giving-in to the pressure from the powerful people, the editor refuses to publish it.
Left with no alternative, Dr. Gupta organises a public meeting that is also sabotaged. And Dr. Gupta is proclaimed an enemy of the people.

1972 documentary film by Satyajit Ray

1980 film by Satyajit Ray

The film presents the life and work of the writer Sukumar Ray, Satyajit Ray's father. Ray made this film as a tribute to celebrate the centenary of his birth.