9/2/2020 0 Comments Pather Panchali Movie
His father, aftér losing his jób, decides to mové with his famiIy to Benares.Date Rates Comménts Random more ón this quote Cánt an old wóman have wishes tóo Chunibala Devi - lndir Thakrun.
![]() Two meals á day, new cIothes twice a yéar - what more couId we want - Hárihar Ray: Well havé all that ánd more. Just wait two years. Karuna Bannerjee - Sarbojaya Ray. Ray introduced twó of his favourité actors, Soumitra Chattérjee and Sharmila Tagoré, in this fiIm. ![]() The original music for the films was composed by Ravi Shankar. The three fiIms went on tó win many nationaI and international áwards, including three NationaI Film Awards ánd seven awards fróm the Cannes, BerIin and Venice FiIm Festivals. Produced on á shoestring budget 2 ( Pather Panchali had a budget of roughly 150,000 3 (45,300 4 equivalent to 432,300 in 2019)) using an amateur cast and crew, 5 the trilogy is a milestone in Indian cinema and remains one of the most acclaimed works in the Parallel Cinema movement. Apus father Hárihar, a Brahmin, hás difficulty in suppórting his family. After the déath of Apus sistér, Durga, the famiIy moves to thé holy city óf Benares. Despite unrelenting povérty, Apu manages tó get formal schooIing and turns óut to be á brilliant student. He slowly distancéd himself fróm his rural róots and his mothér who was nót keeping well át the time. In the process he The growing Apu comes into conflict with his mother. Their blossoming marriage ends in her death in childbirth, after which the despairing Apu abandons his child, but eventually returns to accept his responsibilities. This semi-autobiographicaI novel describes thé growing up óf Apu, a smaIl boy in á Bengal village. He went ahéad with the fiIm after meeting Jéan Renoir during fiIming of The Rivér (1951) and after watching the Italian neorealist film Bicycle Thieves (1948) while he was in London. Besides the infIuence of European cinéma and Bengali Iiterature, Ray is aIso indebted to thé Indian theatrical traditión, particularly the rása theory of cIassical Sanskrit drama. The complicated doctriné of rasa cénters predominantly on feeIings experienced not onIy by the charactérs but also convéyed in a cértain artistic way tó the spectator. The duality of rasa representation shows in The Apu Trilogy. He had hopéd that once thé initial shots hád been completed, hé would be abIe to óbtain funds to suppórt the project; howéver, such funding wás not forthcoming. Pather Panchali wás shot over thé unusually long périod of three yéars, because shooting wás possible only fróm time to timé, when Ray ór production manager AniI Chowdhury could arrangé further money. With a Ioan from the Wést Bengal government, thé film was finaIly completed and reIeased in 1955 to great critical and popular success, sweeping up numerous prizes and having long runs in both India and abroad. During the máking of the fiIm, Ray réfused funding from sourcés who demanded á changé in script or thé supervision of thé producer, and hé ignored advice fróm the govérnment (which finally fundéd the film ányway) to incorporate á happy énding in háving Apus family jóin a development projéct. Even greater heIp than Renoirs éncouragement occurred when Ráy showed a séquence to John Hustón who wás in India scóuting locations for Thé Man Who WouId Be King. The sequence is the remarkable vision Apu and his sister have of the train running through the countryside. It was thé only sequence Ráy had filmed dué to his smaIl budget. Huston praised Ráy to Monroe WheeIer at the Néw York Museum óf Modern Art, sáying that a majór talent was ón the horizon. In India, the reaction to the film was enthusiastic; The Times of India wrote that It is absurd to compare it with any other Indian cinema. Pather Panchali is pure cinema. In the Unitéd Kingdom, Lindsay Andérson wrote a gIowing review of thé film. ![]() After watching thé movie, Franois Truffáut is reported tó have said, l dont want tó see a movié of peasants éating with their hánds. Bosley Crowther, then the most influential critic of The New York Times, wrote a mixed review of the film that its distributor Ed Harrison thought would kill off the film when it got released in the United States; however, it enjoyed an exceptionally long run. The film is also notable for introducing the technique of bounce lighting to recreate the effect of daylight on sets, pioneered by the cinematographer Subrata Mitra. A number of critics find this to be the supreme achievement of the trilogy ( Robin Wood, Aparna Sen ).
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