Second entry in the "Apu" trilogy continues to deliver it's poetic, believable story of poverty, tragedy and a little bit hope. It has the same strengths as the original really something that is seldom to see in a sequel. Still beautifully shot and edited as we see how Apu grows up and loses a tiny bit of his innocence on his way.
What is most admirable about Ray's work is the way he deals with his subject matter. Often, it is some pretty hard stuff. But he is too smart to think that life is all tragedy and no relief. He's a master of the little beauties of life, and balancing the pain with the joy. No matter how bad things get, there is always hope in Ray's world.
the faulty and reductive boundaries between world films as pigeonholes of their own culture is shattered by the power of the imagery of this and the two other films in the trilogy. the films are not just about india but us as humans. ray, along with ghatak, has given us these films as a priceless gift to mankind.
Aparajito is a melancholy film that straddles the industrial transition of Bengali society and the subsequent shifts in consciousness. So many of the emotions conveyed by Apu and his mother feel universal and genuine. While I missed some of the charm found in Pather Panchali, Aparajito finds its strength by dramatizing transition and opposition.
As Aparajito cover so much wider a swath of time than Pather Panchali, the sense of the cyclical, seasonal passage(s) of time becomes more foregrounded - of time eddying, of time lost (and found) - however, the requisite amount of story material that must be dealt with is amplified. We are invited to occupy this world, to be carried by its quiet currents, at the same time arriving at powerful, cathartic plateaus.
The older you get, the more remarkable it seems that everything that happened to you is all the same life—it feels more like different mini-lives placed end to end. From the opening shots from a moving train, this transience is the heart of part 2 of the Apu Trilogy. Where part 1 was rooted in one place, part 2 cycles through locations & casts and ends before you get your bearing. Which is why I'm glad there's a 3rd.
In a sense, though I prefer Pather Panchali, this seems the most impressive of the trilogy. It starts out as a tale about a village family trying to survive in the big city (Benares), but a half hour in becomes a radically different and much more profound film about the tragedy of the parent-child bond. A good case could be made that Sarbojaya (the mother) is one of the most tragic female characters in films.
Apu sigue cargando nuevas tragedias, pero en paralelo va construyendo su lado personal, ese que lo va separando tanto de su familia como de sus tradiciones. El personaje de Ray va asumiendo la senda de la madurez, de la autodependencia. Se va formando en el una suerte de dureza. Muy a pesar, no deja de sorprender esos momentos de sensibilidad innata. Pero hay más. Es también la historia maternal, sobre la abnegación.
REVIEW: 97/100. http://nextprojection.com/2014/07/05/sun-moon-films-satyajit-ray-aparajito-review-np-approved/ Ray’s Aparajito is an example of Indian Neorealism, wherein naturalism and depth come together through artifice as a means of expressing truth. The truth which Aparajito conveys is beyond words and beyond definition; one must experience the middle-child of Ray’s monumental trilogy for oneself...