The smallest of moments depict the biggest of emotions – the way Apu tries to comb his hair himself for the first time after Durga dies or how the rain which used to thrill him earlier scares him away or the shot of the train from the fields as if Durga is bidding her family goodbye as they leave the village…each frame, each scene, each expression is a story unto itself. This film is a study in mis-en-scene, cinematography and in a very basic sense – how scenes are broken down & what they are designed to say. I had long heard my parents, sibling, fellow cinephiles, Martin Scorsese, basically the entire world rave about this classic but nothing anyone says can ever prepare you for the cinematic brilliance & emotional journey that Pather Panchali is.Īs I write this, scene after scene from the movie is playing before my eyes – Durga & Apu’s introduction, Indir eating plain rice the rains the field where they play & wait for the train Durga combing Apu’s hair Dugra leaving Apu all alone & then the rains again… ![]() I am perhaps one of the few people who read the book by Bibhutibhushan Bandyopadhyay before watching the film, in fact 10 years before for the book had such an impact on me that I couldn’t bear to have a cinematic representation of it.īut then IHC decided to screen the film and I decided to watch it and the rest as they say is history. One such film is Satyajit Ray’s debut as a film director – Pather Panchali. ![]() ![]() There are certain films that leave an imprint on your mind beyond what one would usually expect from a piece of celluloid.
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