One of the most beautiful human portraits ever captured on film, as well as a masterful representation of a child’s point of view. Neorealist mechanisms are fused with an elegant, empathetic lyricism that is singular to Ray’s work. Simply put, a masterpiece and, by the way, one that features what is, perhaps, the best character introduction in film history.
By all rights, Apu's life should really suck for him. He's poor, he loses family members, his home is destroyed. But despite this, the film never takes on a dark tone. Bad things happen but Ray always finds the brightness in life to overcome the dark. The death of a family member can't taint the memories of joy shared with them, and the movies hope, and Apu's hope, is irrepressible.
Every time there's hope, it's followed by tragedy. And yet, it never feels like tragedy porn, as the film balances the two emotions in parallel, rarely over-emphasizing one above the other. It's less Song of the Little Road and more Symphony of Life.
during every minutes it is attaching ignored details that couldnt find today's cinema.A packed reality . I do not know that old woman was amateur or professional ... but she was great. I ll always remember that children's following scene ,salesman and their reflection on water .It was so good...
At the risk of sounding like a philistine, I found this movie pretty boring. The narrative shuffles along, stopping to stare at its navel every few minutes; its major character, the mother, is a reductive harpy, only given an emotional allowance near the end of the film; and its best characters, Apu and Durga, are relegated to avatars, faces that have no apparent interior lives outside of small hints. Dull.
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.
It's tender, beautiful and utterly heart-breaking. The sheer poverty of the individuals is overwhelming and each one exhibits their poverty and destitution differently. But Ray doesn't sentimentalise or condemn; he merely observes. And in doing so he's created one of the greatest films the world has ever seen. Watch the entire trilogy and you'll wonder afresh at what cinema, at its best, is capable of achieving.
Just had the opportunity to see the new 4K restoration in a movie theater. Revelatory. I have never been a full-on Satyajit Ray convert and have not seen Pather Panchali since the late 90s. It always struck me as something naked and simple, almost primitivist. Which is wrong. Totally backwards, in fact. The level of sophistication in terms of narrative, blocking, camera positioning, and the use of actors is stunning.