Il mondo di 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.

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.

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.

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."