La canción del camino

This is a tour de force around a family's quest for that better future amidst sheer poverty. The film's success is not limited only to realistic depiction of human condition in early 20th century Bengal, but it brings up the triumph of human spirit, love and affection in spite of utter struggle in the most poignant way that one may think. Anybody remotely connected with movie making should also watch APARAJITO AND APUR SANSAR, to complete the experience, and off course to understand the art and craft of cinematic expression from the Maestro. No doubt it ranks in top 100 movie list from Time magazine, not to speak of almost all Indian publications connected with films rate this one as THE MOVIE.

I don't know how even 6.4% of the female voters could have given this movie a 2!!!!! This was Ray's first movie, but his economy of dialog, his synchronization and sympathy with India's rural life is incredible. So little said, yet so much! Apu and Durga following the sweetmeat seller, the scene where they run through a "kash" field....superb, the work of a real artist, a master. The film develops its characters and the atmosphere slowly and resolutely. The narrative builds up to a powerful climax. Ray had an ancient camera while shooting this movie, did it matter? No. His expression and technique was more than sound, although this was a maiden venture.

Some critics found(and still find, I might add) the film to be too slow. Satyajit Ray wrote about the slow pace - "The cinematic material dictated a style to me, a very slow rhythm determined by nature, the landscape, the country. The script had to retain some of the rambling quality of the novel because that in itself contained a clue to the authenticity: life in a poor Bengali village does ramble."

There you are, if you have not watched this movie, you'll probably missed the greatest movie made on Indian rural life. That's why Akira Kurosawa said of him:"To have not seen the films of Ray is to have lived in the world without ever having seen the moon and the sun"

This film is based on the the Bengali novel "Pather Panchali" by Bibhutibhushan Bandyopadhyay. It is hard to believe Satyajit Ray made his directorial debut with this film. The movie itself is the evidence what Satyajit Ray was capable of. Story is simple but the things that make the film great are its soulful scenes without using dialogues, camera work technically very much ahead of its time and the background score by Pandit Ravi Shankar setting the tone for the movie. The style of detailings used in this film help us to connect with the film. Cinematography and believable acting are the strength of this film. No wonder why Martin Scorsese was a great admirer of Satyajit Ray's work.

It is a little known fact that India produces more films per year than any other country. The reason that most people don't know that is because their films do not generally appeal to us, and we would see them as oddities suspended in their own culture. Possibly they'd be amusing or interesting to watch, but they would probably be hard to enjoy (to demonstrate the difference in taste, Roger Ebert attended an Indian film festival a year or two ago, and when he questioned its director what American film did the best business over there, he answered that the movie _Baby's Day Out_, which is basically like one of those Popeye cartoons where Sweet-Pea wanders through construction sights blindly, except extended to 90 minutes, had theaters packed in India all throughout its run; the film bombed completely in the US). Tastes differ. Humanity does not. This is proved to the utmost in Ray's masterful _Pather Panchali_.

This film has got to be the best ever made about, well, life in general. It reminded me a lot of a Chinese film, Zhang Yimou's _To Live_, which was good, but its situations finally seemed a bit contrived. _Pather Panchali_ feels as real as life itself. To be sure, it contains great moments of sadness, but, for the most part, it concentrates on the beauty of the world around us. One of the major characters is this ancient woman, maybe even in her nineties. She is hunched over, has no teeth, and has crooked eyes. But Ray makes her form beautiful. He often finds characters with exaggerated and odd features. And there is nothing more beautiful in this world than the love between members of a family, and Ray revels in this. The relationship between the brother and sister is heartstoppingly beautiful.

I could not say anything bad about this film. But there is one thing I would like to see: a DVD version of this film, and indeed of each of the films of the Apu Trilogy, and only Criterion could do this effectively, which is kind of disappointing, since I know a major film company already owns its rights and would probably never give them up without huge pay; a DVD version with scholarly commentary. Hindu symbology is present in a large quantity in this film, along with several Hindi ceremonies. Of course, I loved seeing this. I am not completely unfamiliar with the culture, so I was able to catch a little, but there is so much I don't know. A commentary track on a DVD would help me understand the film better, and thus love it even more.

I originally saw the Apu trilogy in 1961 in a little theater in Berkley. Sat through a straight showing of all three films and walked out after six hours in awe. It was a defining day in the development of an avid film buff. I have waited three years for the DVDs to be released, and hoped against hope that Criterion would get the rights, but it was not to be. Sony has released an unadorned, Mirchant and Ivory Foundation restoration: but they are finally available. I bought all three of the Trilogy the day they were released, but have been reluctant to put them on. So many of my memories of "great" films have made me wonder what I was on when I saw it to think that was great. Think "Brewster McCloud." My experience of Pather Panchali and the full trilogy was a memory I didn't want diminished in any way. Tonight I came home from work, put the Pather Panchali in and sat totally rapt for the full two hours. The DVD production values and the print quality are really bad in spots, but all that fades as one of the really great art films takes over, and the immersion in the lives behind the film works its magic. Film doesn't have to be an act of corporate commerce: Pather Panchali is living proof that film can be a medium of great art.