![]() ![]() In a scene entirely detached from the film’s main plot, Ray includes an extended sequence of insects delicately dancing on the placid surface of a lake, accompanied by Ravi Shankar’s lilting score. In this nearly nonverbal film, the subtle poetry of the natural world is observed in delicate, exquisite detail, in much the same way that a child’s voracious, developing mind observes with wonder the quotidian things that become invisible to adults through sheer familiarity. Following Apu as a very young boy, the film mirrors the protagonist’s current state of intellectual development in its highly nuanced visuals and use of sound. Pather Panchali is a miracle of purely cinematic expression. This technique can be seen most clearly in the trilogy’s first film, in which Ray immerses the viewer in a child’s vibrant experience of the world around him. While each film is an artistic triumph in its own right, one of the most impressive aspects of the trilogy is the way in which the stylistic developments across the three films reflect the developmental evolution of its protagonist. The trilogy, some of the earliest films of master Satyajit Ray and among the first works to bring Indian cinema to the attention of international filmgoers, were based on classic Bengali writer Bibhutibhushan Bandyopadhyay’s novel Pather Panchali and its sequel Aparajito. ![]() Still, it's a small complaint for a film that is otherwise so impressive.Satyajit Ray’s Pather Panchali (1955), Aparajito (1956), and The World of Apu (1959) form not only one of the great trilogies of cinematic history but also one of the most perfect cinematic examples of the Bildungsroman genre. It's in the pacing that the movie finally fails, as Ray's love for his material seems to have prevented him from administering some much-needed editorial adjustments. ![]() Ravi Shankar's score perfectly accompanies Ray's images, turning simple shots of dirty ponds and kittens playing into moments of high art. Ray proves to be a natural filmmaker, and his use of black and white photography (along with cinematographer Subrata Mitra) is often incredibly effective. Periphery characters, such as a mean and gossipy lady from the village, are surprisingly well developed and avoid the danger of becoming caricatures. Ray does a fantastic job of turning these two characters into more than just stereotypes, to the extent that their relationship remains intriguing even when both women are behaving stubbornly. Durga wants to do her own things, while Sarbojaya is more interested in preparing her for a life of domesticity. It's clear that Sarbojaya loves her daughter, but intensely disapproves of her rebellious ways. The heart of the movie is the relationship between Sarbojaya and Durga, which is - as one might expect - ridden with conflict. It's interesting that the film is known as the first part of Ray's Apu trilogy, as Apu's participation in the story is minimal. Still, the simplicity with which Ray tells this tale gives it a feeling of universality by stripping away superfluous elements, we come to really care about this family. Pather Panchali moves at an incredibly slow pace, but the film never becomes boring - although Ray might've been well advised to cut down the running time (at over two hours, there are a number of sequences that go on longer than necessary). Durga and Apu spend the majority of their time playing, though Durga's penchant for petty theft causes friction among their neighbors. Harihar is a struggling poet/playwright who's barely making ends meet by working odd jobs, while Sarbojaya has her hands full keeping their household running smoothly. ![]() Set in a Bengali village, this uncomplicated story revolves around a family of four - mom Sarbojaya (Karuna Bannerjee), dad Harihar (Kanu Bannerjee), daughter Durga (Uma Das Gupta), and son Apu (Subir Bannerjee). Ray, who also wrote the script, funded the majority of Pather Panchali with his own money and cast his family and friends in pivotal roles. Though Ray made his debut with this movie, his ability behind the camera is unmistakable. The camerawork isn't perfect and the acting is occasionally mediocre, but Satyajit Ray's Pather Panchali is nevertheless a compelling and surprisingly moving tale of a poor family trying to get by. ![]()
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