El mundo de Apu

About midway through Apur Sansar there is an interjection of a film in the style of typical Indian cinema. The contrast in Ray's approach with his classic trilogy is astonishing, considering the mileau in which it emerged. Filmmaking in the 1950's in Hollywood as well as India was studio-driven with light-weight stories having little connection with reality. As another commentator pointed out, this film is closer to the Italian realism films such as "The Bicycle Thief". Every shot is a masterpiece of composition and lighting. It does not intrude on the story, but advances it. Likewise, the music composed by Ray, is natural and integral to the scene. This ranks with the all-time greatest watershed movies.

"The World of Apu" is a tale joy of and tragedy, unmatched in its beauty and profound emotion. Satyajit Ray's final film in the Apu trilogy ranks with King Vidor's "The Crowd" and Carl Theodor Dreyer's "Ordet" as a cinema landmark of family life. But it far exceeds those films in its visual poetry. Apu's journey with a friend and his unplanned marriage sets the stage for a story of domestic life in all its simple joy and awful despair. The serene, contented beauty of the girl is a soaring vision, matched in its humanity only by the broken heart of Apu when she dies. The pages of an unfinished novel, a life's work floating in the mountain air like the seeds of a dandelion, become the symbol of Apu's devastation. The rebirth of life and hope realized in the child illustrates a fundamental belief of Hinduism. Beautifully photographed and edited, "The World of Apu" is a masterpiece of film as narrative storytelling. It is the most "Indian" of all Indian films.

I found Apur Sansar, the final part of the Apu Trilogy, every bit as superb as its prequels. I liked the pacing even better than its predecessors, as there was not a single moment that didn't keep me interested. Although the ending wasn't as powerful as its prequels, I thought it was a more hopeful and fitting ending for the saga. However, it did give me the feeling that I didn't want the story to end at all.

Soumitra Chatterjee's debut performance as the adult Apu was truly Oscar-worthy (like Karuna Bannerjee who played his mother in the first two films) and a young Sharmila Tagore was also convincing in her debut performance as his wife. Overall, I'd say Apur Sansar is my second favourite in the Apu Trilogy, after Aparajito.

Now that I've finally finished watching the Apu Trilogy, I must say this is probably the greatest film trilogy I've ever seen. Although it's a simple story about a country boy's growth to adulthood, it felt like I was watching a truly epic saga. Satyajit Ray really is one of the greatest filmmakers of the 20th century in my opinion.

10/10

I am not usually drawn to slow-moving, "artistic" films. But this film is of rare beauty and insight. I found it much more moving than the first two films in the Apu trilogy. The themes of loss, of running away from grief, and ultimately of reconciliation and responsibility have rarely been handled with a wiser eye.

Sometime a person wants freedom in the form of limited attachments to people or places because they have endured so much pain and loss in life. That's one of the themes here, and a reminder to me to be more empathetic towards people I randomly meet, each of whom may be carrying around hidden scars and damage, or doing things in their lives which may seem puzzling.

The third Apu film tells a pretty simple story, but I have to say, I really didn't see its big events coming, and it's full of emotional power. The quality of filmmaking is superb, with stunning cinematography from Subrata Mitra and a soundtrack from Ravi Shankar which harmonizes with its mood perfectly. Soumitra Chatterjee and Sharmila Tagore are heartwarming in their roles, and Satyajit Ray ties it all together beautifully. Fantastic film, with an ending that hits all the right emotional notes. See this.