Thus, it is safe to say that a film like this was always meant to be and that was the only reason why it was made and saw the light of the day. The film is also able to convey to its viewer the troublesome circumstances that the film in question was always in and how any number of issues could have stopped its completion but didn’t. If that was not enough, Aparajita is made to talk about the iconic train scene and how his lack of theoretical understanding of rules involving shot-framing and execution made him make an error that to the viewers appeared as a masterstroke. In addition to all these, the film also documents how Ray wrote, envisioned, and shot some of the most iconic scenes of the film and why they were rendered in a certain manner. The film is peppered with numerous such sequences that sustains your interest in the narrative throughout. After his film becomes a hit with audiences abroad, Aparajito Ray receives a call from an American filmmaker that we immediately know is Martin Scorsese. The CM releases him some funds allocated under a road development scheme just because his film was called Pather Podaboli which has a reference to roads. When Aparajito doesn’t have funds to continue shooting, he walks up to the chief minister of Bengal and request for funds. The protagonist (renamed Aparajito Ray) watches “ Bicycle Thieves” in UK and is immediately inspired to make Pather Panchali into a film and do things with it that he witnessed in “ Bicycle Thieves”. I was almost instantly hooked by the film and its simplistic way of telling us how Pather Panchali came into being, how Satyajit Ray had never read the source material before it was handed to him by his boss at an advertising company, and how making a Bengali film was one of the last things that anyone who knew Ray would expect him to do.Īparajito is rendered memorable because of how many iconic incidents and elements are incorporated into the story. Having said that, the film still remains extremely grounded and shows things that can be found in the narratives of numerous works about Satyajit Ray and his Apu Trilogy. There must have been a certain amount of hero worship that must have crept into the making of the film owing to the towering presence of Satyajit Ray in Bengal and also the looming shadow that he casts on Indian cinema as a whole. It is impossible to tell if the film is authentic or not in terms of all that it shows. He also successfully incorporates emotional and dramatic elements that may or may not have been part of the actual story but that never for once felt forced or unwarranted. Instead, they add a lot to the overall experience of the film.
Anik Datta makes Aparajito with a clear objective in mind – to cover as much of the process of making Pather Panchali (renamed here to Pather Podaboli) as possible. If the film in question happens to be the great Pather Panchali, which practically put India on the map of World cinema, then the interest and pull of that film is elevated two-folds. Cast: Jeetu Kamal, Saayoni Ghosh, Debashis Royįor a filmi keeda like me, a film about the making of a film is even more interesting than the actual film.
This acclaimed debut by Satyajit Ray is the first part of a trilogy of poetic, lyrical works. Months later, Harihar returns to face the tragedy that forces them to leave their ancestral home. In his absence, their condition deteriorates. But when Harihar loses his position, he leaves his family to search elsewhere for work. For a brief period afterward, their mother, Sarbajaya, manages to make ends meet, and the children are left to their own devices and run freely. Their father Harihar, a poet and lay priest, finds a treasury job that will bring the family steady income for the first time in a while. His loving older sister, Durga, is a sweet girl, but has formed the bad habit of stealing fruit from an aunt's orchard, much to her mother's dismay. A boy named Apu is born to a poor but proud Brahmin family. The first film in director Ray's acclaimed Apu Trilogy (which also includes APARAJITO and THE WORLD OF APU) shows Bengali life through the life of Apu, an Indian boy.
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