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The Apu Trilogy

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Wikipedia article




'The Apu Trilogy' comprises three Indian Bengali-language drama films directed by Satyajit Ray: 'Pather Panchali' (1955), 'Aparajito' (1956) and 'The World of Apu' (1959). The original music for the films was composed by Ravi Shankar.

The films are based on two Bengali novels written by Bibhutibhushan Bandopadhyay: 'Pather Panchali' (1929) and 'Aparajito' (1932). The three films went on to win many national and international awards, including three National Film Awards and seven awards from the Cannes, Berlin and Venice Film Festivals. The films were produced on a shoestring budget ('Pather Panchali' had a budget of roughly 150,000 ($45,300)) using an amateur cast and crew.

Plot summaries



The three films comprise a "coming of age" narrative in the vein of a 'bildungsroman'; they describe the childhood, education and early maturity of a young Bengali named Apu (Apurba Kumar Roy) in the early part of the 20th century.

'Pather Panchali' (English, "Song of the Little Road")


Apu's early experiences in rural Bengal as the son of a poor but high caste family are presented. Apu's father Harihar, a Brahmin, has difficulty in supporting his family. After the death of Apu's sister, Durga, the family moves to the holy city of Benares.

'Aparajito' (English, "The Unvanquished")


The family's finances are still precarious. After his father dies there, Apu and his mother Sarbajaya come back to a village in Bengal. Despite unrelenting poverty, Apu manages to get formal schooling and turns out to be a brilliant student. He moves to Calcutta to pursue his education. He slowly distanced himself from his rural roots and his mother who was not keeping well at the time. In the process the growing Apu comes into conflict with his mother. Later he is informed that, when his mother dies too, he has to learn to live alone.

'Apur Sansar' (English, "The World of Apu")


Attempting to become a writer, Apu unexpectedly finds himself pressured to marry a girl whose mother rejected her mentally ill bridegroom on the day of their wedding. Their blossoming marriage ends in her death in childbirth, after which the despairing Apu abandons his child, but eventually returns to accept his responsibilities.

Production



In 1950, Ray had decided that 'Pather Panchali', the classic coming of age story (bildungsroman) of Bengali literature, published in 1928 by Bibhutibhusan Bandopadhyay, would be the subject matter for his first film. This semi-autobiographical novel describes the growing up of Apu, a small boy in a Bengal village. He went ahead with the film after meeting Jean Renoir during filming of 'The River' (1951) and after watching the Italian neorealist film 'Bicycle Thieves' (1948) while he was in London. Besides the influence of European cinema and Bengali literature, Ray is also indebted to the Indian theatrical tradition, particularly the 'rasa' theory of classical Sanskrit drama. The complicated doctrine of 'rasa' centers predominantly on feelings experienced not only by the characters but also conveyed in a certain artistic way to the spectator. The duality of 'rasa' representation shows in 'The Apu Trilogy'.

Ray gathered an inexperienced crew, although both his cameraman Subrata Mitra and art director Bansi Chandragupta went on to achieve great acclaim. The cast consisted of mostly amateur artists. Shooting started in late 1952, using Ray's personal savings. He had hoped that once the initial shots had been completed, he would be able to obtain funds to support the project; however, such funding was not forthcoming. 'Pather Panchali' was shot over the unusually long period of three years, because shooting was possible only from time to time, when Ray or production manager Anil Chowdhury could arrange further money. With a loan from the West Bengal government, the film was finally completed and released in 1955 to great critical and popular success, sweeping up numerous prizes and having long runs in both India and abroad. During the making of the film, Ray refused funding from sources who demanded a change in script or the supervision of the producer, and he ignored advice from the government (which finally funded the film anyway) to incorporate a happy ending in having Apu's family join a "development project". Even greater help than Renoir's encouragement occurred when Ray showed a sequence to John Huston who was in India scouting locations for 'The Man Who Would Be King'. The sequence is the remarkable vision Apu and his sister have of the train running through the countryside. It was the only sequence Ray had filmed due to his small budget. Huston praised Ray to Monroe Wheeler at the New York Museum of Modern Art, saying that a major talent was on the horizon.



In India, the reaction to the film was enthusiastic; 'The Times of India' wrote that "It is absurd to compare it with any other Indian cinema [...]. 'Pather Panchali' is pure cinema". In the United Kingdom, Lindsay Anderson wrote a glowing review of the film. However, the reaction was not uniformly positive. After watching the movie, Franois Truffaut is reported to have said, "I don't want to see a movie of peasants eating with their hands." Bosley Crowther, then the most influential critic of 'The New York Times', wrote a mixed review of the film that its distributor Ed Harrison thought would kill off the film when it got released in the United States; however, it enjoyed an exceptionally long run.

Ray's international career started in earnest after the success of his next film, 'Aparajito' ('The Unvanquished'). This film shows the eternal struggle between the ambitions of Apu as a young man and the mother who loves him. Some critics, notably Mrinal Sen and Ritwik Ghatak, rank it even higher than the first film. Aparajito won the Golden Lion at the Venice Film Festival. The film is also notable for its application of bounce lighting to recreate the effect of daylight on sets with the use of large scale diffusers, pioneered by the cinematographer Subrata Mitra.

Ray had not thought about a trilogy while making 'Aparajito', and it occurred to him only after being asked about the idea in Venice. The final installation of the series, 'Apur Sansar' ('The World of Apu'), was made in 1959. A number of critics find this to be the supreme achievement of the trilogy (Robin Wood, Aparna Sen). Ray introduced two of his favourite actors, Soumitra Chatterjee and Sharmila Tagore, in this film. The film finds Apu living in a nondescript Kolkata house in near-poverty. He becomes involved in an unusual marriage with Aparna, the scenes of their life together forming "one of the cinema's classic affirmative depiction of married life", but tragedy ensues. After 'Apur Sansar' was harshly criticised by a Bengali critic, Ray wrote an article defending ita rare event in Ray's filmmaking career (the other major instance involved the film 'Charulata', Ray's personal favourite).Ray mentions this in His success had little influence on his personal life in the years to come. Ray continued to live with his mother, uncle and other members of his extended family in a rented house.

Cast and characters



Critical reception



This trilogy is considered by critics around the globe to rank among the greatest achievements of Indian film, and it is established as one of the most historically important cinematic debuts. 'Pather Panchali' won at least thirteen international prizes (including Best Human Document at the 1956 Cannes Film Festival), followed by eleven international prizes for 'Aparajito' (including the Golden Lion at the Venice Film Festival) and numerous other awards for 'Apur Sansar' (including the Sutherland Trophy at the London Film Festival). When Ray made 'Pather Panchali', he worked with a cast and crew most of whom had never been previously involved in film. Ray himself at the time of directing 'Pather Panchali' had primarily worked in the advertising industry, although he had served as assistant director on Jean Renoir's 1951 film 'The River'. From this foundation, Ray went on to create other highly acclaimed films, like 'Charulata', 'Mahanagar', and 'Aranyer Din Ratri', and his international success energised other Bengal filmmakers like Mrinal Sen and Ritwik Ghatak.



This extract from 'Youth', by South African author J. M. Coetzee, talks of the music in the 'Apu trilogy', which is based on Indian classical music:

On Rotten Tomatoes, 'Pather Panchali' has a 97% fresh rating based on an aggregate of 38 reviews and in 2009 was included in its list of top 100 foreign films. 'Aparajito' has a 94% fresh rating based on an aggregate of 16 reviews, and 'Apur Sansar' ('The World of Apu') has a 100% fresh rating based on an aggregate of 22 reviews. This makes 'The Apu Trilogy' one of the highest-rated film trilogies of all time (97%, 94%, 100%), along with the 'Toy Story' trilogy (100%, 100%, 99%), 'The Lord of the Rings' trilogy (91%, 96%, 93%), the original 'Star Wars' trilogy (94%, 97%, 78%), and the 'Before' trilogy (100%, 95%, 98%).

Film critic Roger Ebert, when including the films in his Great Movies list, wrote about the trilogy:

Theme



Andre Robinson, in his book 'Satyajit Ray: The Inner Eye,' comments that the three films differ in their predominant moods, and he compares the trilogy to the development of an Indian classical 'raga'.

Legacy



'Sight & Sound', the British Film Institute's film magazine, listed 'Pather Panchali' several times in its Critics' Poll of all-time greatest films, in 1962 (ranked #11), 1982 (ranked #79), 1992 (ranked #6) and 2002 (ranked #22). 'The World of Apu' appeared in 1982, ranked at #42. In the 1992 edition, both 'Aparajito' and 'The World of Apu' were tied at #127, while 'The Apu Trilogy' was ranked separately at #88. In a combined list of 'Sight & Sound' critics' and directors' poll results in 2002, 'Pather Panchali' was ranked at No. 28, 'The World of Apu' at No. 93 and 'Aparajito' at #160. If the votes are combined, then 'The Apu Trilogy' as a whole would be ranked at No. 14 in 1982, No. 4 in 1992 and No. 14 in 2002.

In 1988, John Kobal's poll of critics and filmmakers ranked 'The Apu Trilogy' at No. 35 on their list of Top 100 Movies. In 1998, the Asian film magazine 'Cinemaya's critics' poll of all-time greatest films ranked 'The Apu Trilogy' at No. 7 on the list, while 'Pather Panchali' alone was ranked at No. 2 on the same list. If the votes are combined, then 'The Apu Trilogy' would be ranked at #1. In 1999, 'The Village Voice' ranked 'Pather Panchali' at No. 12 (tied with 'The Godfather') in its top 250 "Best Films of the Century" list, based on a poll of critics, while 'The Apu Trilogy' was ranked separately at No. 54 in the same poll. If the votes are combined, 'The Apu Trilogy' would be ranked at #5. In 2000, an audience poll of best Asian films conducted by 'MovieMail' ranked 'The Apu Trilogy' at No. 2 on the list. In January 2002, the trilogy as a whole was voted at No. 70 on the list of the "Top 100 Essential Films of All Time" by the National Society of Film Critics. In 2021 the trilogy was ranked at No. 65 on 'Time Out' magazine's list of 'The 100 best movies of all time'. 'The Independent' ranked 'The Apu Trilogy' at No. 4 on its list of "10 greatest movie trilogies of all time".

'Pather Panchali' was included in various other all-time greatest film lists, including 'Time Out' magazine's "Centenary Top One Hundred Films" in 1995, the 'San Francisco Chronicle's "Hot 100 Films From the Past" in 1997, the 'Rolling Stone' "100 Maverick Movies of the Last 100 Years" in 1999, and the British Film Institute's Top Fifty "Must See" Children's Films in 2005. Akira Kurosawa ranked 'Pather Panchali' at No. 37 on his 'Top 100 favourite films of all time' list. In 1996, 'The World of Apu' was included in Movieline Magazine's "100 Greatest Foreign Films". In 2002, 'Pather Panchali' and 'The World of Apu' featured in "The New York Times Guide to the Best 1,000 Movies Ever Made".[https://www.nytimes.com/ref/movies/1000best.html The Best 1,000 Movies Ever Made], THE FILM CRITICS OF THE NEW YORK TIMES, 'The New York Times', 2002 'The Apu Trilogy' as a whole was included in film critic Roger Ebert's list of The Great Movies in 2001 and in 'Time' magazine's All-Time 100 best movies list in 2005. It was also ranked No. 17 in 'Empire' magazine's "The 100 Best Films of World Cinema" in 2010. The original Trilogy has been reconstructed via the Harvard Film archive & Criterion and was shown in Kendall Square, Cambridge, MA the 1st week of July 2015.

'Apur Panchali' is a Bengali film based on Subir Banerjee's life, who played child 'Apu' in the first installment of 'Apu Trilogy'. Director Kaushik Ganguly won the award of best director for 'Apur Panchali' in the 44th International Film Festival of India (IFFI) in November 2013. The director mentioned in an interview that he found similarities between certain parts of the life of Subir Banerjee and the iconic character Apu. In the film actor Parambrata Chatterjee portrays a younger Subir Banerjee, while Ardhendu Bannerjee plays the role of the aged Banerjee.

Influence

According to Michael Sragow of 'The Atlantic Monthly' in 1994:

Across the world, filmmakers such as Martin Scorsese,

James Ivory,

Abbas Kiarostami, Elia Kazan, Carlos Saura, Isao Takahata, Barry Jenkins, Philip Kaufman, Wes Anderson and Danny Boyle have been influenced by 'The Apu Trilogy', with many others such as Akira Kurosawa praising the work. Filmmaker Martin Scorsese when talking about 'The Apu Trilogy' remarked "Without a doubt, in his(Ray's) films the line between poetry and cinema, dissolved." In Gregory Nava's 1995 film 'My Family', the final scene is duplicated from the final scene of 'Apur Sansar'. Similar influences and references to the trilogy can be found, for example, in recent works such as 'Sacred Evil',

Paul Auster's 2008 novel 'Man in the Dark', the 'Elements trilogy' of Deepa Mehta and even in films of Jean-Luc Godard.

The technique of bounce lighting pioneered by Subrata Mitra, to recreate the effect of daylight on sets, has also had a profound influence on the development of cinematography. Ravi Shankar's soundtracks to the films were also a major influence on The Beatles, specifically George Harrison.

Awards and nominations



National awards

;President's Medals

* 'Winner' 1955 President's Gold & Silver Medals (New Delhi) 'Pather Panchali' ('Song of the Little Road')

* 'Winner' 1959 President's Gold Medal (New Delhi) 'Apur Sansar' ('The World of Apu')

;National Film Awards

* 'Winner' 1956 Best Film 'Pather Panchali' ('Song of the Little Road')

* 'Winner' 1956 Best Feature Film in Bengali 'Pather Panchali' ('Song of the Little Road')

* 'Winner' 1960 Best Film 'Apur Sansar' ('The World of Apu')

International film festivals

;Cannes Film Festival

* 'Winner' 1956 Best Human Document 'Pather Panchali' ('Song of the Little Road')

* 'Winner' 1956 OCIC Award (Special Mention) 'Pather Panchali' ('Song of the Little Road')

*Nominated 1956 Golden Palm for Best Film 'Pather Panchali' ('Song of the Little Road')

;Venice Film Festival

*'Winner' 1957 Golden Lion of St. Mark for Best Film 'Aparajito' ('The Unvanquished')

*'Winner' 1957 Cinema Nuovo Award 'Aparajito' ('The Unvanquished')

*'Winner' 1957 Critics Award 'Aparajito' ('The Unvanquished')

;Berlin International Film Festival

*'Winner' 1957 Selznick Golden Laurel for Best Film 'Pather Panchali' ('Song of the Little Road')

*'Winner' 1960 Selznick Golden Laurel for Best Film 'Aparajito' ('The Unvanquished')

;British Film Institute Awards, London Film Festival

*'Winner' 1957 FIPRESCI Award 'Aparajito' ('The Unvanquished')

*'Winner' 1960 Sutherland Trophy for Best Original And Imaginative Film 'Apur Sansar' ('The World of Apu')

*'Winner' 1980 Wington Award Apu Trilogy (for each film)

;Edinburgh International Film Festival

*'Winner' 1956 Diploma of Merit 'Pather Panchali' ('Song of the Little Road')

*'Winner' 1960 Diploma of Merit 'Apur Sansar' ('The World of Apu')

;San Francisco International Film Festival

*'Winner' 1957 Golden Gate for Best Picture 'Pather Panchali' ('Song of the Little Road')

*'Winner' 1957 Golden Gate for Best Director 'Pather Panchali' ('Song of the Little Road') Satyajit Ray

*'Winner' 1958 Golden Gate for Best Picture 'Aparajito' ('The Unvanquished')

*'Winner' 1958 Golden Gate for Best Director 'Aparajito' ('The Unvanquished') Satyajit Ray

*'Winner' 1958 International Critics' Award 'Aparajito' ('The Unvanquished')

;Vancouver International Film Festival

*'Winner' 1958 Best Film 'Pather Panchali' ('Song of the Little Road')

;New York Film Festival

*'Winner' 1959 Best Foreign Film 'Pather Panchali' ('Song of the Little Road')

;Stratford Film Festival

*'Winner' 1958 Critics' Award for Best Film 'Pather Panchali' ('Song of the Little Road')

Other international awards

;National Board of Review Awards (United States)

*'Winner' 1958 Best Foreign Film 'Pather Panchali' ('Song of the Little Road')

*'Winner' 1960 Best Foreign Film 'Apur Sansar' ('The World of Apu')

;Kinema Junpo Awards (Tokyo)

*'Winner' 1967 Best Foreign Film 'Pather Panchali' ('Song of the Little Road')https://www.imdb.com/Sections/Awards/Kinema_Junpo_Awards/1967

;Bodil Awards (Denmark)[http://www.filmkritik.dk/1b.lasso?n=4 ]

*'Winner' 1967 Best Non-European Film 'Aparajito' ('The Unvanquished')

*'Winner' 1969 Best Non-European Film 'Pather Panchali' ('Song of the Little Road')

;British Academy Film Awards (United Kingdom)

*Nominated 1958 BAFTA Award for Best Film 'Pather Panchali' ('Song of the Little Road')

*Nominated 1959 BAFTA Award for Best Film 'Aparajito' ('The Unvanquished')

*Nominated 1959 BAFTA Award for Best Foreign Actress 'Aparajito' ('The Unvanquished') Karuna Banerjee

*Nominated 1962 BAFTA Award for Best Film 'Apur Sansar' ('The World of Apu')

;Other awards

*'Winner' 1956 Golden Carbao (Manila) 'Pather Panchali' ('Song of the Little Road')

*'Winner' 1956 Vatican Award (Rome) 'Pather Panchali' ('Song of the Little Road')

*'Winner' 19581959 Golden Laurel for Best Foreign Film (United States) 'Aparajito' ('The Unvanquished')

See also



* 'Avijatrik'

* Bengali cinema

** Cinema of West Bengal

* Cinema of India

** Parallel Cinema

References



Citations



General bibliography

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Further reading



* Nyce, Ben. 'Satyajit Ray: A Study of His Films', Praeger, 1988.


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