Pather Panchali is the first film in the critically acclaimed Apu Trilogy created by Bengali director Satyajit Ray in 1955. Pather Panchali was originally a novel written by the Indian writer Bibhutibhushan Bandopadhyay and Ray was inspired to make the film while working as a graphic designer for the Signet Press. Ray was inspired to create the film while working on the illustrations for the book’s re-release in 1944 and the drawings would later be used by Ray as a guide for the movie script during filming in 1952. Pather Panchali is a coming of age story about a young protagonist named Apu. Ray presents us with Apu’s journey from childlike idealism toward a harsher and more realistic adulthood. Durga is Apu’s older sister and much of the
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While the accusers are at the house Apu sees Durga approach and tries to warn her not to come home. I assume at this point in the story he presumes instinctually that she is innocent of the crime and tries to protect her. Unfortunately, Sarbajaya sees Apu warning Durga, calls her into the house, and proceeds to drag her out of the house by her hair and temporarily kicks her out. This reinforces her mother’s frustration with Durga continually damaging her social standing in the community. Later in the story, after Durga dies and the family is packing to move, Apu finds the necklace and is forced to confront the fact that his sister had lied to them and the trust he had so willingly given to her was undeserved. Apu runs from the house and throws the necklace into the pond before anyone can see what he has discovered and pensively watches as it sinks to the bottom of the …show more content…
I think Ray wanted to emphasize the tediousness and difficulty that came with every day Bengali life in that time. These scenes effectively contrast the carefree and playful scenes of Durga and Apu enjoying the simplicity of childhood. His use of very little dialogue and a gloomy soundtrack add a sense of realism to the story-telling throughout the movie. Ray’s use of lighting masterfully switches from high-key daytime scenes to low-key, film noir style lighting on the indoor scenes at night, for example, when Indir is singing to the children or when Sarbajaya is trying to protect Durga through the violent storm. This film was beautifully shot and I felt as though I was viewing art more than entertainment from start to
While the accusers are at the house Apu sees Durga approach and tries to warn her not to come home. I assume at this point in the story he presumes instinctually that she is innocent of the crime and tries to protect her. Unfortunately, Sarbajaya sees Apu warning Durga, calls her into the house, and proceeds to drag her out of the house by her hair and temporarily kicks her out. This reinforces her mother’s frustration with Durga continually damaging her social standing in the community. Later in the story, after Durga dies and the family is packing to move, Apu finds the necklace and is forced to confront the fact that his sister had lied to them and the trust he had so willingly given to her was undeserved. Apu runs from the house and throws the necklace into the pond before anyone can see what he has discovered and pensively watches as it sinks to the bottom of the …show more content…
I think Ray wanted to emphasize the tediousness and difficulty that came with every day Bengali life in that time. These scenes effectively contrast the carefree and playful scenes of Durga and Apu enjoying the simplicity of childhood. His use of very little dialogue and a gloomy soundtrack add a sense of realism to the story-telling throughout the movie. Ray’s use of lighting masterfully switches from high-key daytime scenes to low-key, film noir style lighting on the indoor scenes at night, for example, when Indir is singing to the children or when Sarbajaya is trying to protect Durga through the violent storm. This film was beautifully shot and I felt as though I was viewing art more than entertainment from start to