Film Review
With
Apur Sansar (a.k.a.
The World of Apu), the acclaimed
Indian filmmaker Satyajit Ray concludes his spellbinding masterwork,
The Apu Trilogy, and emerges as one
of the finest creative talents of the Twentieth Century. This
third instalment goes way beyond the detached neo-realist melodrama of
the previous two,
Pather Panchali (1955) and
Aparajito
(1956), and takes us on an intensely lyrical journey to discover the
true meaning of life. The subject of the film is simple, a
portrait of a young man assuming the burden of adulthood, yet Ray
handles it with such sensitivity and delicacy that no one who watches
it can fail to be moved to tears by the sheer potency of its eloquence
and humanity.
Much of this film's haunting power of expression lies in Subrata
Mitra's cinematography, which conveys, with blistering vividness, the
mood of the film's protagonists, be it carefree elation, angry
frustration or abject despair. The landscape is so much a part of
Apu's existential voyage of discovery that it almost becomes part of
his persona, an expression of his inner angst, and also the means of
his deliverance. Yet the film also owes much to Soumitra
Chatterjee, an inexperienced 24-year-old actor who portrays Apu's
transition from free-spirited bachelor to a reluctant father with
heart-wrenching conviction. Remarkably, this was Chatterjee's
first film appearance, and he would go on to become one of India's most
sought after actors, returning to star in several of Ray's subsequent
films.
Satyajit Ray is one of a very small minority of auteur filmmakers who
consistently made films having an impact far beyond his own country,
films that would touch the hearts of audiences across the world.
Apur Sansar illustrates Ray's
ability to tell a very simple story to maximum effect, stimulating our
emotions and holding our interest without resorting to the cheap tricks
of Hollywood-style melodrama. The raw poetry and authenticity of
this film help it to transcend the cultural barriers, but what makes it
so universally appealing is that it deals with the most fundamental
truths of human experience. This is a film not for one audience
but for all mankind.
© James Travers 2010
The above content is owned by filmsdefrance.com and must not be copied.
Next Satyajit Ray film:
Devi (1960)
Film Synopsis
Apu has completed his studies but, despite being a graduate, he is
unable to find work. Living in a small rented room in Calcutta,
he just manages to survive by pawning his books and giving private
lessons. He hopes one day to be a great writer and so he occupies
himself by writing a novel based on his life experiences. One
day, he is visited by his university friend Pulu, who invites him to
attend his cousin's wedding in his ancestral village. When
the bridegroom is found to be a deranged cripple, Apu is persuaded,
against his will, to marry the bride, Aparna, to save the family's
honour. The couple return to Calcutta and, after a strained
period of adjustment, begin to enjoy their new life together. Apu
finds work as a clerk and abandons his novel, without regret. He
could not be happier. But then tragedy strikes again.
Aparna dies in childbirth and Apu is thrown into despair.
He cannot bear to see his son, who is being reared by Aparna's parents,
and pursues the life of a wanderer. Several years later, Apu, now
a mineworker, is reunited with Pulu, who is shocked to see the change
in his friend's appearance and demeanour. Apu is the wreck of a
man, his spirit broken, his dreams shattered. Pulu persuades Apu
that he must take charge of his son, Kajal, who has grown wild without
his father's care and attention. As soon as he sees his son, Apu
is overwhelmed by an unconditional love for the little boy. But
Kajal is not yet ready to accept him as his father...
© James Travers
The above content is owned by filmsdefrance.com and must not be copied.