Le monde d'Apu

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

The final episode of the Trilogy takes us to a young adult Apu. Received the British Film Award which Sathyajits' other two episodes (Song of the Road, Unvanquished) also received.

This movie together with the other two movies are a monumental work in movie making. The way the story is portrayed, and the use of many details, enrich the emotional experience it provides. One can recall the way the screen of the movie theatre fades into the window of the horse carriage, or the way the hole on the window curtain reverberates with the spotted decorations on the actress face and etc.

This a "must see" movie for all, in the different ways emotions are expressed and the way it takes the audience in a roller coater ride of emotions. It is an enriching and a moving experience. It reinforces and reinvigorates the humanity within each of us.

To enjoy the movie most, viewers should see the first two episodes in sequence before viewing "Apur Sangsar."

The final episode of the Trilogy takes us to a young adult Apu. IMdb seems to have missed the British Film Award that this and Sathyajits' other two episodes (Song of the Road, Unvanquished) received.

This movie together with the other two movies are a monumental work in movie making. The way the story is portrayed, and the use of many details, enrich the emotional experience it provides. One can recall the way the screen of the movie theatre fades into the window of the horse carriage, or the way the hole on the window curtain reverberates with the spotted decorations on the actress face and etc.

This a "must see" movie for all, in the different ways emotions are expressed and the way it takes the audience in a roller coater ride of emotions. It is an enriching and a moving experience. It reinforces and reinvigorates the humanity within each of us.

To enjoy the movie most, viewers should see the first two episodes in sequence before viewing "Apur Sangsar."

This movie is Ray at his best. Its sublime. Its distilled to perfection. You need not hear the dialogs or read the subtitles to follow and appreciate it. The visuals and background score tell the store more eloquently. The movie has a soul which will get destroyed if you make even the slightest change to the story, acting, cinematography, music etc. Ray has brought out the best in his actors. They are not experienced actors though both of the leading pair later go on achieve mega success as movie stars. If you blink an eye, you will miss out on the emotions captured. For example, when Aparna is brought to her new home, there is moment in which she matures – from a girl to a woman – while gazing out of the torn curtain. There are several such brief moments. The dialog is minimalist but enchanting. The letter from Aparna to Apu captures love in all its glory – longing, desire, concern and trust. Its movie-making at its best.

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.