Mar 26, 2010 09:50 AM
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Multitude of thoughts are hovering my mind while I think of scripting something about my “Pather Panchali” experience. As a kid, I loved watching the chemistry of Durga and Indir Thakrun(the aged cousin of her father), the sister – brother relation(Durga and Apu) which I have never experienced in life; later as a teen ager, I became sensitive about the miseries and turmoil of a poor family! Later, when I read a lot of stories from Satyajit Ray and after watching a couple of realistic movies, I started exploring the new dimension of the movie and its universal appeal. This time, I observed the bucolic charm of the distant Bengali village; limited means of entertainment, day to day toiling for making both ends meet but yet aspiring for a better tomorrow. Every time, this movie got something more for you to offer! Is this what we often refer to as the “spark of genius”
The plot is progressing through the experience of Sarbajaya(Karuna Banarjee) and her daughter Durga. From the mother’s point of view, she needs to manage everything at home and keep worrying about her husband Harihar’s(Kanu Banarjee) profession. She is strict with Durga and within the limited means also, wanted to keep the dignity of the Bengali Brahmin which they might defend even if they are subject to extreme penury. Here Durga find solace in Indir Thakrun(Chunibala Devi), the aged cousin of her father who is a bit cynical but still amicable.
Durga not privileged to get exposed to the rosy side of childhood wanted to keep her engaged with kiddish fixtures of the simplest form. Might be, collecting the fruits from the ground, providing comfort to Indir, being the one who can guide and lead her younger brother Apu.
The interaction between Sarbajaya and Indir was often fiery and has been a classic example of venting out the pent up feelings in whatever manner possible. Sarbajaya always keep fire in her heart worrying about future. Indir is too old to get worried about worldly pursuit and simple things satisfy her.
When Durga was punished alleging theft, you will see the importance of “reputation” in the conservative Bengali family. They might be ready to starve but yet would not compromise on the reputation.
Slowly, the focus of the movie is shifted to the relation between Durga and Apu. How they discover the world is being beautifully shown from the view point of a child. Witnessing marriage ceremony, watching a moving train etc. are trivial scenes from day to day life but again we will find the classic Ray touch in all those brilliant shots. It is because; he introduced the kids and their priorities in an enigmatic and convincing manner to us so that we will automatically watch everything like an unprivileged kid.
Many of us might not be that much unprivileged to go after a candy seller without a single penny at hand. But again, when Durga and Apu follow him in hope, we are brought closer to the ground realities of life and life full of miseries. Each shot is being shot with poetic precision and the poignant moments are never being overboard with sappy appeal. Also, he was quite particular about retaining the essence of the literature as an ovation to Bibhutibhushan Bandopadhyay.
Literature and Motion Picture are two different form of art but yet, how to retain the literary and poetic quality in motion picture without eroding the cinematic appeal is a skillful task and there we have the genius behind the camera.
Ray’s movie is deeply influenced with the neo realistic piece of art which was quite popular those days. He himself admitted the influence of movies like “Bicycle Thieves” etc. but again, it was the overall style which influenced him and not the theme or execution. For those who are quite used to the fast tempo of movies might found this to be a bit dragging but again Ray himself gave an apt manner “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 it contained a clue to the authenticity: life in a poor Bengali village does ramble”
Survival tactics, struggling to meet both ends meet, life amidst of scarcities – this being the central theme of the movie which in every probability might have slipped into a sentimental track. But here, Ray made a bold attempt to highlight those unexplored dimensions of human life and brilliant and unconventional execution of scenes; to quote a few
Lost Innocence; Durga was alleged to be a thief but in the penultimate scene, Apu discover the necklace stolen by Durga but yet he wanted to hide the fact.
Music of Death;Durga succumbed to death and when her mother conveys the news to dad, the entire mood is being set not with their reaction but you have the brilliant score by Pandit Ravishankar. The high pitch tone of Tarshahnai in this scene typifies the excruciatingly poignant reaction of the loss.
The future; And the camera focuses on Apu the one around whom the life is going to be surrounded in future. Apu is the future and that is being executed by a single shot. In the coming years, the story is being told through Aparajito(The Unvanquished) and Apur Sansar(The World of Apu)
In short, 115 minutes of cinematic excellence shall not be missed by any movie lovers. I am sure, there would be DVDs with sub title available. Do watch it not for old times’ sake but to bring us closer to the spark of a genius.
