Bimal Roy (1909–1966) remains one of Hindi cinema's most influential directors, known for a body of work that fused realism, social commitment and mainstream appeal. Born on 12 July 1909 in Suapur, Dhaka—then part of British India—Roy entered films after moving to Calcutta, joining New Theatres as a camera assistant. There, he worked on P.C. Barua's 1935 Devdas, an early assignment that shaped his understanding of performance, framing and narrative economy. Mentored by director, cinematographer and screenwriter Nitin Bose, Roy began his career at Calcutta's New Theatres as an assistant cameraman, refining his expertise in cinematography. His apprenticeship was formative, particularly in developing a distinctive command of lighting and composition, evident in films such as Mukti and Devdas Roy later emerged as a leading director, renowned for socially realist cinema and for mentoring influential filmmakers including Hrishikesh Mukherjee and Gulzar. Roy rose to prominence during the 1940s and 1950s, a period when post-war Indian cinema was beginning to explore more grounded storytelling. He contributed to Anjangarh (1948), one of New Theatres' last significant productions, before the industry's decline pushed him and his core team—including Hrishikesh Mukherjee, Nabendu Ghosh, Asit Sen, Kamal Bose, and later Salil Chaudhury—to Bombay in 1950. There, he launched the second phase of his career with Maa (1952). Deeply influenced by Italian neo-realism, Roy crafted Do Bigha Zamin (1953) after watching Vittorio De Sica's Bicycle Thieves. The film bridged art and commercial cinema for the first time in India and won the International Prize at Cannes in 1954, laying the foundation for the country's New Wave movement. Through films such as Parineeta, Biraj Bahu, Sujata, Parakh and Bandini, Roy sharpened a signature style built on restrained performances, stark imagery and sharp social observation. His 1958 film Madhumati—written by Ritwik Ghatak—became a landmark in commercial Hindi cinema. One of the earliest Indian films to explore reincarnation as a narrative device, it went on to win nine Filmfare Awards, a record that stood for nearly four decades. Devdas (1955) and Sujata (1959) further cemented his standing as a director with a keen understanding of human vulnerability and social inequity. In 1959, Roy served on the jury of the inaugural Moscow International Film Festival. Across his career, Roy collected eleven Filmfare Awards, two National Awards and international recognition that placed him among the few Indian filmmakers with a global imprint. He also produced notable works such as Kabuliwala (1961) and Benazir (1964), and his films continue to be restored, screened and studied worldwide. Roy died of cancer on 7 January 1966 at age 56. His legacy endures through the Bimal Roy Memorial Committee and an annual award established in his name, reaffirming his standing as a pioneer of socially engaged Indian cinema.