Tarini Khuro is a fictional character created by Satyajit Ray.[1] Literally it means respected uncle Tarini. Khuro in old colloquial Bengali means paternal uncle. The full name of Tarini Khuro is Tarini Charan Bandopadhyay. Tarini khuro's adventure stories have a touch of supernatural forces in them. Ray's earlier creations were Feluda and Professor Shonku. This character is central to about fifteen stories written by Ray.
It may be observed here that like Premendra Mitra's GhanaDa, Tarini khuro likes to tell tall tales, although unlike GhanaDa, there is no way of ascertaining the veracity of these stories. He has had an adventurous life and has (like his creator Ray) largely steered clear from the tremendous political (and social) upheavals that were so much visible in twentieth century India. Although Tarini is apparently born in a Bengali middle class family and is well-to-do in terms of inheritance and social networks, he seeks out occupations all over India (in other words, he does not limit himself to Bengal) for the sheer joy of doing so. And although it is clear that he does not enjoy the benefits of a pensionable service or an annuity or insurance policy, he has to tell tales to get his afternoon tea and snacks. His audience consists of five school children in a middle class dual income Bengali family, who do not have time to spend with their children during the afternoons or evening.
Tarini Khuro Stories Pdf 13
Tarinikhuror Kirtikolap (Meaning The Feats of Tarini Khuro) is a book written by Satyajit Ray which is the compilation of eight Tarini khuro stories. The book was first published in September, 1985 by Ananda Publishers.Later all the stories of "Tarini Khuro" were included in "Golpo 101" (Meaning One Hundred and One Stories), a book by Satyajit Ray.And there is a book, Tarini Khuror Abhijan (Meaning "The Adventure of Tarini Khuro") contains some stories of Tarinikhuro.
Paltu is a teenage boy who is the storyteller. Tarini khuro is not Paltu's uncle, but from Paltu's childhood he has seen Tarini khuro visit their place quite frequently. Before Paltu was born, Tarinkhuro and his family were neighbours in Dhaka. Hence, he was called khuro or uncle by Paltu's father. He has remained khuro or uncle for Paltu and his five friends as well. Napla, one of the five friends of Paltu once called him grandpa only to be scolded by Tarini khuro. He asked him to call him uncle or khuro since he was fitter than a lot of young men.
Tarini khuro visits Paltu's place and at once the news goes out to the other five friends. They all gather to hear the amazing stories from khuro. Tarinikhuro tells his amazing stories while enjoying the tea without milk and sugar as preferred by him, which is delivered by Paltu's servant Lakshman. He also smokes his favourite brand of export quality bidi.
Tarini khuro goes to Ajmer to work as a secretary of Seth Gangaram who is a patient of his uncle and very wealthy. Gangaram was a trader of jewels and has wealthy items like the locket of Jahangir. Gangaram appointed Khuro as the teacher of his notorious youngest son Mahabir. Mahabir did not like him at first and went on to throw scorpions at him but Khuro with his courage won his heart. Later on dacoit Tota Singh robbed Sethji and incidentally looked exactly like Khuro as Khuro had a Rajasthani style moustache at that point in time. The police were tipped of about Khuro being the dacoit and came to arrest him. But Mahabir saved Khuro by giving him sleeping pills in his drink and shaving his moustache and head as he was asleep.
Tarini khuro is appointed as the secretary of Virendrapratap Singh, king of Martandapur in Uttar Pradesh. Virendrapratap's father Rajendrapratap used to be a skilled cricketer in his day and had gone to England to watch the great Ranjitsinhji play. Ranjitsinhji had presented him a bat of his with which he had scored 202 runs for Sussex against Middlesex. Khuro has to play in a match against the British Planters' team for the Martandapur Cricket Club at the king's special request. Ranjitsinhji's amazing bat does the trick as khuro feels Ranjitsinhji himself has come inside him to play and eventually they win the match despite having a weaker team.
In Sunday Suspense series of 98.3 Radio Mirchi (Kolkata), many Tarini Khuro stories has been performed by Paran Bandopadhyay, Mir Afsar Ali, Deep (RJ), Richard (DJ) and various other artists.
Ray directed 36 films, including feature films, documentaries, and shorts. Ray's first film, Pather Panchali (1955) won eleven international prizes, including the inaugural Best Human Document award at the 1956 Cannes Film Festival. This film, along with Aparajito (1956) and Apur Sansar (The World of Apu) (1959), form The Apu Trilogy. Ray did the scripting, casting, scoring, and editing, and designed his own credit titles and publicity material. He also authored several short stories and novels, primarily for young children and teenagers. Popular characters created by Ray include Feluda the sleuth, Professor Shonku the scientist, Tarini Khuro the storyteller, and Lalmohan Ganguly the novelist.
In the same year, together with Subhas Mukhopadhyay and others, Ray was able to revive Sandesh, the children's magazine which his grandfather had founded.[8] Ray had been saving money for some years to make this possible. A duality in the name (Sandesh means both "news" in Bengali and also a sweet popular dessert) set the tone of the magazine (both educational and entertaining). Ray began to make illustrations for it, as well as to write stories and essays for children. Writing eventually became a steady source of income.[61]
In the post-Charulata period, Ray took on various projects, from fantasy, science fiction, and detective stories to historical dramas. Ray also experimented during this period, exploring contemporary issues of Indian life in response to the perceived lack of these issues in his films.
Also in the 1970s, Ray adapted two of his popular stories as detective films. Although mainly aimed at children and young adults, both Sonar Kella (The Golden Fortress) and Joi Baba Felunath (The Elephant God) became cult favorites.[83] In a 2019 review of Sonar Kella, critic Rouven Linnarz was impressed with its use of Indian classical instruments to generate "mysterious progression".[84]
Ray also wrote a collection of nonsense verse named Today Bandha Ghorar Dim, which includes a translation of Lewis Carroll's "Jabberwocky". He wrote a collection of humorous stories of Mullah Nasiruddin in Bengali.[100]
His short stories were published as collections of 12 stories, in which the overall title played with the word twelve (for example Aker pitthe dui, or literally "Two on top of one"). Ray's interest in puzzles and puns is reflected in his stories. Ray's short stories give full rein to his interest in the macabre, in suspense and other aspects that he avoided in film, making for an interesting psychological study.[101] Most of his writings have been translated into English. Most of his screenplays have been published in Bengali in the literary journal Eksan. Ray wrote an autobiography about his childhood years, Jakhan Choto Chilam (1982), translated to English as Childhood Days: A Memoir by his wife Bijoya Ray.[102] In 1994, Ray published his memoir, My Years with Apu, about his experiences of making The Apu Trilogy.[103]
He also wrote essays on film, published as the collections: Our Films, Their Films (1976), Bishoy Chalachchitra (1976), and Ekei Bole Shooting (1979). During the mid-1990s, Ray's film essays and an anthology of short stories were also published in English in the West. Our Films, Their Films is an anthology of film criticism by Ray. The book contains articles and personal journal excerpts. The book is presented in two sections: Ray first discusses Indian film, before turning his attention toward Hollywood, specific filmmakers (Charlie Chaplin and Akira Kurosawa), and movements such as Italian neorealism. His book Bishoy Chalachchitra was published in translation in 2006 as Speaking of Films. It contains a compact description of his philosophy of different aspects of the cinemas.[104]
Politics and ego have also influenced debate regarding Ray's work. Certain advocates of socialism claim that Ray was not "committed" to the cause of the nation's downtrodden classes while some critics accused him of glorifying poverty in Pather Panchali and Ashani Sanket (Distant Thunder) through lyricism and aesthetics. They said he provided no solution to conflicts in the stories, and was unable to overcome his bourgeois background. During the naxalite movements in the 1970s, agitators once came close to causing physical harm to his son, Sandip.[139]
Many literary works include references to Ray or his work, including Saul Bellow's Herzog and J. M. Coetzee's Youth. Salman Rushdie's Haroun and the Sea of Stories contains fish characters named Goopy and Bagha, a tribute to Ray's fantasy film. In 1993, University of California, Santa Cruz established the Satyajit Ray Film and Study collection, and in 1995, the Government of India set up Satyajit Ray Film and Television Institute for studies related to film. In 2007, the BBC declared that two Feluda stories would be made into radio programs.[164] During the London Film Festival, a regular "Satyajit Ray Award" is given to a first-time feature director whose film best captures "the artistry, compassion and humanity of Ray's vision".
Most of his novels and stories in Bengali have been published by Ananda Publishers, Kolkata; and most of his screenplays have been published in Bengali in the literary journal Ekshan, edited by his close friend Nirmalya Acharya. During the mid-1990s, Ray's film essays and an anthology of short stories were also published in the West. Many of the stories have been translated into English and published. 2ff7e9595c
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