Aparajito

After watching Pather Panchali, I watched the sequel Aparajito the next day. My only criticism with the first film was the slow pace, but it looks like Satyajit Ray improved on this aspect for the sequel and thus eliminated any pacing issues I may have had with the original. This time the story moved along at a fairly quick pace, as we see months and sometimes years go by in a matter of minutes.

Although I often hear about Pather Panchali being regarded as the best in the Apu Trilogy, I personally liked Aparajito even better than the first. The story was gripping throughout the entire film, Karuna Bannerjee gave a truly Oscar-worthy performance as Apu's mother (even though it was only her second film) and the ending was just as powerful as the original (although Pather Panchali had a more powerful theme music). In fact, I might even go as far as saying Aparajito could possibly be my favourite film of all time.

10/10

I am always a bit dismayed by the attention that Pather Panchali and Charulata command in discussions on Ray because while they are fine films, they do not account for Ray's cinema as a whole. In fact, I would resist from picking one or even three films that 'speak for Ray'- but I would be lying if I said I didn't have a favourite. Aparajito is a wonderful work of art, an extremely moving melodrama and a remarkably accurate portrayal of adolescence. Of course, it would be shameful to give all the credit to Ray. Bibhuti Bhusan Bandhyopadhaya's novels (Aparajito is adapted from the last part of Pather Panchali and the first half of Aparajito) are meticulously descriptive and Ray's success with the film owes much to the simplicity and honesty of his source. But there is something in Aparajito that belongs exclusively to the cinema - something that has to do with the the mixture of distance and intimacy in the movies, of identification and unfamiliarity. You want to feel like Aparajito is a film about you, but you secretly admit that it isn't, it cannot be - because you experience it outside yourself, in Ravi Shankar's beautiful music, in the photography that oscillates between banality and the deeply metaphoric, in the wonderful performances (especially by Karuna Bannerjee), and finally in Ray's masterful vision in putting it all together. I couldn't say much else - you must experience it for yourself!

Although Satajit Ray was to old, sick and spent to fully appreciate his special Oscar, it was to the Academy's credit that it finally did recognize this supreme artist.

It's often been said that "Aparajito" is the lesser of the three film that comprise "The Apu Trilogy." I personally don't buy that. Here is a finely etched portrait of a young man as he leaves his primitive Indian village and widowed mother to better himself through education at a Calcutta University.

The relationship between mother and son are beautifully presented, with their differing values representative of passing generations. The circumstances may be specific, while the story is universal.

It is about the age-old tension between human choices and challenging environments, about the balancing of values in achieving one's heart's desires.

The emotional fluctuations felt by both mother and son are sharply depicted, including the loss of one's parents as a unique, one-time experience. One must pick up the pieces and move on, as Apu does.

Viewing "Pather Panchali," "Aparajito" and "The World of Apu" in one continuous sequence is the proper way to get the full impact of this incredible piece of work.

Each of the three films of the Apu Trilogy exhibit the extraordinary quality of a documentary film on the conditions of life in India at the time they are set. I think this is what I like best in them through numerous viewings. The films are shot in locations that appear untouched by any art department - remote countryside in Bengal, the great cities - Benares and Calcutta. The characters eke out an adequate life in their sufficient poverty - a life sustained by their faith and simple devotion to one another. At the same time there are moments that are pure cinema. There is an exquisite swish pan cut from Kurana (the mother) leaning against a tree, full of emptiness as Apu has just left for Calcutta, to the swift dynamo of the train crossing a bridge with the trestles a blur. At the moment Kanu (the father) gives up his soul a flock of birds alights over the Ganges. Later as Kurana is gradually sinking into the depths of loneliness - a sickness unto death - she has a vision of fireflies swirling around in the falling darkness.

These films traverse the drama of life and death touching gently on all of the salient points along the path. They put us face to face with the challenge of living in a world, which constantly gives us disappointment. At the same time there is a celebration of that ineffable quality which gives life meaning.

This is so much heart touching movie with extra ordinary acting. The acting of the mother of apurba by Karuna Bannerjee is marvelous. The relationship between mother and son, showing in the film is so much heart touching. I watched with my friend at 7 pm and before complete the movie i called the mom and again after completing i calling her twice. She wondered what happened to me ! Not only me, my friend also call his home now regularly. That's the effect of the Aparajito. Satyajit Ray is the greatest director of India. There have no mistake in this classic play. Apu, his father, the principal, everyone is perfect. If you still not watching this movie, you missing something in your life. Enjoy and feel it, still hurting me.