3-4. About my only beef with it is that conflict is kind of sporadic, and a couple of times the move falls to moving, but plausible coincidences, (a couple of deaths) but otherwise, a decently evocative depiction of an Indian family suffering beneath the twin hands of God and class, while waiting for the literal and metaphorical way out. But the movie's biggest saving grace is its well-drawn family circumstances.
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.
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.