Looking at the film from Satyajit Ray’s focus upon Apu is another aspect that draws such wonder. Exploring the many facets of the relationships between family members, a wonderful tale of family values is present. Ray observes Apu as he loses his own innocence as he grows up, much like that of an everyday child – but adding the pain endured from living amongst such conditions mends together a more psychological aspect to this tale which Ray utilizes to his own benefit. Satyajit Ray also leaves behind a great coming of age tale from how he watches his own protagonist, Apu, live within a family that suffers from poverty, and in this stage, we see him as a child. Like the films of the Italian neorealist movement, it is a tale of poverty and how people living in such conditions try to make the best of what they have available. Pather Panchali‘s power comes from the delicacy of the subject matter to which it deals with. Working on an extremely limited budget also helped in the manner that it added a feeling of authenticity to the final product. Right there is only a small part in where Pather Panchali has earned its power. Ray’s vision is inspired by that of neorealism, in which he is showing every nook and cranny of the lower-class lifestyle and in turn uses such an appearance in order to have its own viewers placed within the world which is formed.
Although the film adopts the point of view from Ray’s protagonist, the power comes in from how what he is seeing turns into a world for which the viewers can immerse themselves with. Satyajit Ray starts everything out on a small scale, but with the small space that he occupies, he tells a story of a family living through poverty from the perspective of this young boy named Apu.
#Satyajit ray pather panchali review series#
This is the first in a series of films that revolve around a boy named Apu Roy. Subir Banerjee as Apu in Pather Panchali.
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