Aparajito (El invencible)

This is so much heart touching movie with extra ordinary acting. The acting of the mother of apurba by Karuna Bannerjee is marvelous. The relationship between mother and son, showing in the film is so much heart touching. I watched with my friend at 7 pm and before complete the movie i called the mom and again after completing i calling her twice. She wondered what happened to me ! Not only me, my friend also call his home now regularly. That's the effect of the Aparajito. Satyajit Ray is the greatest director of India. There have no mistake in this classic play. Apu, his father, the principal, everyone is perfect. If you still not watching this movie, you missing something in your life. Enjoy and feel it, still hurting me.

Each of the three films of the Apu Trilogy exhibit the extraordinary quality of a documentary film on the conditions of life in India at the time they are set. I think this is what I like best in them through numerous viewings. The films are shot in locations that appear untouched by any art department - remote countryside in Bengal, the great cities - Benares and Calcutta. The characters eke out an adequate life in their sufficient poverty - a life sustained by their faith and simple devotion to one another. At the same time there are moments that are pure cinema. There is an exquisite swish pan cut from Kurana (the mother) leaning against a tree, full of emptiness as Apu has just left for Calcutta, to the swift dynamo of the train crossing a bridge with the trestles a blur. At the moment Kanu (the father) gives up his soul a flock of birds alights over the Ganges. Later as Kurana is gradually sinking into the depths of loneliness - a sickness unto death - she has a vision of fireflies swirling around in the falling darkness.

These films traverse the drama of life and death touching gently on all of the salient points along the path. They put us face to face with the challenge of living in a world, which constantly give us disappointment. At the same time there is a celebration of that ineffable quality which gives life meaning.

This is one of the few films that, ever since first viewing, have reverberated daily in my consciousness--and no doubt on a subconscious level as well.

If somebody wanted to acclaim "Aparajito" as the finest film ever made, I would not offer resistance, though of course that's a kind of meaningless claim to make. It's similar to calling Mozart the finest composer who ever lived--meaningless, yet somehow appropriate.

See "Aparajito" and find out if you don't agree. This film can change the way you look at life and human interaction--forever.

Only slightly weaker, in my opinion, is the first of the three films in this "Apu Trilogy," "Pather Panchali." "Pather Panchali" may be even stronger than "Aparajito" in that it repeatedly reaches heart-wrenching emotional peaks with the slightest of cinematic means. Both films are testimony to the great human heart of Satyajit Ray, surely one of the masterful geniuses of any day, in any medium.

I wish the third member of the trilogy, "The World of Apu," lived up to the standard of the first two. Unfortunately, it's flawed by an excess of sentimentality and melodrama. Still a fine film by ordinary standards, it does fail when measured against its two masterful predecessors. But that's often the way in multi-volume works.

All three films should be seen by anybody who considers film important as a means of human communication, or who cherishes learning about other cultures, or who simply feels in need of some affirmation of the occasional nobility of spirit and mysterious ways of the souls of ordinary human beings.

'Aparajito', the second film of Satyajit Ray's brilliant 'Apu Trilogy', is one of the great masterpieces of film. The gritty realism melds expertly with the beautiful shot selection and cinematography. In fact, I would say Ray's India is presented at least as well as John Ford's American West. What is essentially a simple tale of one particular family turns into an epic of emotion and the difficulties of growing up. Truly amazing.

I am always a bit dismayed by the attention that Pather Panchali and Charulata command in discussions on Ray because while they are fine films, they do not account for Ray's cinema as a whole. In fact, I would resist from picking one or even three films that 'speak for Ray'- but I would be lying if I said I didn't have a favourite. Aparajito is a wonderful work of art, an extremely moving melodrama and a remarkably accurate portrayal of adolescence. Of course, it would be shameful to give all the credit to Ray. Bibhuti Bhusan Bandhyopadhaya's novels (Aparajito is adapted from the last part of Pather Panchali and the first half of Aparajito) are meticulously descriptive and Ray's success with the film owes much to the simplicity and honesty of his source. But there is something in Aparajito that belongs exclusively to the cinema - something that has to do with the the mixture of distance and intimacy in the movies, of identification and unfamiliarity. You want to feel like Aparajito is a film about you, but you secretly admit that it isn't, it cannot be - because you experience it outside yourself, in Ravi Shankar's beautiful music, in the photography that oscillates between banality and the deeply metaphoric, in the wonderful performances (especially by Karuna Bannerjee), and finally in Ray's masterful vision in putting it all together. I couldn't say much else - you must experience it for yourself!