![]() Although it differs from commercial western narratives, with their linear cause-effect plots and clear resolution, the film made its way to western audiences winning the Best Human Document award at the 1956 Cannes Film Festival (among many others). ![]() Much like the source novel and the Mangal-Kāvya poems in Bengali literature (made up of episodic poems called panchali), it is the periodic nature of rural life which drives the film forward. The film’s pacing alternates between quiet, domestic chores and vibrant, exterior episodes in which Apu and Durga behave as children do. The shot remains helplessly ‘immobilised’ as the anguished father rises out of the camera’s view, then returns helplessly to it. In a celebrated scene, the mother is unable to communicate to the father that their daughter Durga died from a cold the mother’s cries are replaced by wailing sitar notes. The director has a keen eye for establishing natural pacing devices-from gathering storms to flitting mosquitoes-accompanied by Ravi Shankar’s sitar music. 1944–1952), which was based on serious concerns and social realism. However, it commands pacing, cinematography, and performance which make it a distinguishable work in its own right and a prime example of India’s transcendental take on Italian Neorealist cinema (c. Adapted from Bibhutibhushan Banerji’s novel of the same name, it reproduces many of the episodes from the book. This is Satyajit Ray’s first film and the first in a trilogy depicting Apu’s coming of age and a family’s fateful descent into misfortune while the father works in the city. Maybe monumental isn’t the right word for this humble movie and yet, it is apt because of the film’s intense depiction of human emotions and its towering position in Indian cinema. Satyajit Ray’s monumental Pather Panchali deals with an impoverished family in rural Bengal. ![]()
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