The Apu Trilogy on DVD

Zamy from London [Highly rated reviewer] , 23/03/2005

It is difficult to put into words the almost overwhelming experience that these three films can bring to the viewer. I had seen the first film a couple of times and now dvd has made it possible to see the trilogy of films one after the other. The story is the deceptively simple one of Apu growing up in poverty in rural India, moving to the city to study and his subsequent marriage and work in the India of the 1950's. The director Ray, working with minimal resources, quite simply produces a masterwork. He has a painter's eye and the black and white images are simply ravishing. In fact, everyone involved in these films deserves the highest praise, not least Ravi Shankar for the music. I have never been to India but every frame of these films seem to be saturated with the reality of life in this poor country. A way of life that has probably gone on relatively unchanged for centuries. So much so that the presence of a train produces in Apu feelings of tremendous excitement and you can sense the great continent opening up to him. Without giving anything away there are two deaths in each film and they are incredibly moving in their presentation on screen. One of these is a spiritual death rather than a physical one and leads to a re-birth. Intrigued? Take a rental and be amazed at the power of these wonderful films.

  16 out of 16 people found this review helpful

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spooby from London , 27/05/2004

When this was first shown at Cannes in 1956, there were no subtitles, and little was known of the 36 year old debut director.

Its slight but satisfying narrative, gorgeous monochrome photography and marvellous music by Ravi Shankar, as well as the fact that it was totally unrepresentative of Indian cinema of the period, resulted in the special award of Best Human Document for that year.

And that is precisely what the film is – a simple tale told about “real” people, firmly rooted in their immediate environment and community. Inspired by his viewing of Ladri di biciclette, Ray realised that the neo-realist method would allow him to follow in the path of his master, Renoir, in telling specifically human stories.

The result is a striking and heartfelt film, documenting life in a tiny Bengali village community with apparent fidelity. Although himself a comfortable and educated urbanite, Ray appears in total sympathy with the existence and experiences of the rural poor, whilst avoiding the common neo-realist pitfall of wallowing in the squalor of poverty.

With his largely observational film-making style, Ray pulls of two fine balancing acts: in providing a vivid physical, economical and cultural setting which neither overshadows nor solely defines the characters, but does play a legitimate part in bringing about the denouement of the film; and in privileging the largely unself-conscious acting over the spare script in such a way that the emotional effort of involvement demanded of the spectator is both willingly given and amply rewarded.

  13 out of 14 people found this review helpful

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spooby from London , 10/06/2004

Ray’s immediate follow-up to his internationally successful debut Pather Panchali is the second instalment in what would become the Apu trilogy.

In place of the microscopic depiction of life in a Bengali village, the action here ranges more widely, between the cities of Benares and Calcutta, with interludes in the Bengali countryside.

As with Pather Panchali the film is full of strikingly beautiful moments, and Ravi Shankar’s wonderful music again provides support and counterpoint, but here the scope of the film is widened both dramatically and geographically.

Sequences of city life carry the familiar semi-documentary feeling, but the narrative is more forceful, prompted both by an early tragedy and the explosion of Apu’s worldview as he discovers an insatiable desire (and capacity) for learning. And this is the most winning element of the film, as the young man’s newly-awakened passion for knowledge is perfectly captured in his flashing eyes and nascent moustache, and in montages of him at study.

By contrast, in the melancholy story of the mother bereft of her loved ones, she alternates helplessly between oppressively mothering her boy, and loving him selflessly as only a mother can, whilst Apu returns to her the unselfconscious affection of childhood mingled with the natural selfishness of adolescence.

What Aparajito may lose in opening up from the crystalline unities of the first film, it gains in the deepening of the characters’ emotional lives, and in the tragedy inherent in the gulf that inevitably widens between the mother and the growing son.

  10 out of 11 people found this review helpful

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Nick Proctor from Nelson Lancs uk , 26/04/2004

An excellent blend of direction,music, acting,filming. The music by Ravi Shankar in a folk/semi classical style matches beautifully the underplayed acting from the amateur actors/esses. To have filmed this in colour would have totally altered the feel of the piece.

  7 out of 9 people found this review helpful

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spooby from London , 27/05/2004

When this was first shown at Cannes in 1956, there were no subtitles, and little was known of the 36 year old debut director.

Its slight but satisfying narrative, gorgeous monochrome photography and marvellous music by Ravi Shankar, as well as the fact that it was totally unrepresentative of Indian cinema of the period, resulted in the special award of Best Human Document for that year.

And that is precisely what the film is – a simple tale told about “real” people, firmly rooted in their immediate environment and community. Inspired by his viewing of Ladri di biciclette, Ray realised that the neo-realist method would allow him to follow in the path of his master, Renoir, in telling specifically human stories.

The result is a striking and heartfelt film, documenting life in a tiny Bengali village community with apparent fidelity. Although himself a comfortable and educated urbanite, Ray appears in total sympathy with the existence and experiences of the rural poor, whilst avoiding the common neo-realist pitfall of wallowing in the squalor of poverty.

With his largely observational film-making style, Ray pulls of two fine balancing acts: in providing a vivid physical, economical and cultural setting which neither overshadows nor solely defines the characters, but does play a legitimate part in bringing about the denouement of the film; and in privileging the largely unself-conscious acting over the spare script in such a way that the emotional effort of involvement demanded of the spectator is both willingly given and amply rewarded.

  13 out of 14 people found this review helpful

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Sam#36 from TANSLEY , 02/03/2004

A brilliant and beautiful conclusion to the trilogy. Filmed with a deep understanding of and compassion for the human race, india and bengal. Rays films are very pure and uncontrived, unlike many of the modern day films, this raw nature allows the viewer in and able to become involved in the film, increasing its relevance. Another positive i will add to the list is the fact that Rays films constantly demand all of your attention to fully appreciate the deep, intelligent nature of his films thus making the films more rewarding and powerful.<p>

An experience no-one should miss out on. Very fullfilling.

  1 out of 1 person found this review helpful

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