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Similar references to Ray films are found in recent works such as Sacred Evil (2006), Another prominent Bengali filmmaker is Mrinal Sen, whose films have been well known for their Marxist views.
During his career, Mrinal Sen's films have received awards from major film festivals, including Cannes, Berlin, Venice, Moscow, Karlovy Vary, Montreal, Chicago, and Cairo.
He gave the industry the name Tollywood because the Tollygunge district in which it was based rhymed with "Hollywood", and because Tollygunge was the center of the cinema of India as a whole at the time much like Hollywood was in the cinema of the United States.
It soon was not favoured by the British, and the women were branded as prostitutes to defame them. They used to be the only source of popular music and dance and were often invited to perform on weddings and other occasions.
Some of them became concubines of maharajas and wealthy individuals.
By the 18th century, they had become the central element of polite, refined culture in North India.
These courtesans would dance, sing (especially ghazals), recite poetry (shairi) and entertain their suitors at mehfils.
Retrospectives of his films have been shown in major cities of the world.
Another Bengali filmmaker, Ritwik Ghatak, began reaching a global audience long after his death; beginning in the 1990s, a project to restore Ghatak's films was undertaken, and international exhibitions (and subsequent DVD releases) have belatedly generated an increasingly global audience.
Ever since Satyajit Ray's Pather Panchali (1955) was awarded Best Human Document at the 1956 Cannes Film Festival, Bengali films frequently appeared in international fora and film festivals for the next several decades.
Ira Sachs' Forty Shades of Blue (2005) was a loose remake of Charulata, and in Gregory Navas My Family (1995), the final scene is duplicated from the final scene of The World of Apu.
Many girls were taken at a young age and trained in both performing arts (such as Kathak and Hindustani classical music) as well as literature (ghazal, thumri) to high standards.
It is also believed that young nawabs-to-be were sent to these "tawaifs" to learn "tameez" and "tehzeeb" which included the ability to differentiate and appreciate good music and literature, perhaps even practice it, especially the art of ghazal writing.
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