Though taking somewhat different approaches to their narratives, 1955's 'Pather panchali' and its 1956 sequel 'Apajarito' were both rich, beautiful pictures, and the latter demonstrated notable growth in the skills of filmmaker Satyajit Ray and all others involved. Just as the latter stepped away to some degree from the plainspoken realism of the former to focus a tad more on a concrete plot, one may well assume an additional like step in this third chapter of the story, released another three years later. As soon as we begin watching 'Apur sansar' that seems to hold true; while the feature still gives something of a portrait of life in India, it comes across even more as a conventionally built drama. Maybe such considerations are splitting hairs, though, for it's also true that as we begin watching this 1959 follow-up readily impresses; at the end of the day it's another fine film, and shows still further development in the skills of returning participants, and the skills of those new to the saga. As a matter of personal preference I find the first installment to be strongest, and the second after that, but this is really a worthy conclusion and worthwhile on its own merits.
It seems to me that there are clear differences in how Ray approached each title; the first felt effortlessly fluid, and the second more precise and calculated. 'Apur sansar' is a bit curious, for at once the construction comes across as looser, and more relaxed, while plot development is more direct, or even brusque, and the story more common. Mind you, though there are times when that directness - further echoed in fragments of the direction - is glaring and unfortunate, broadly speaking this is no reflection on quality, only on disparities in method. And still, for all that, I also see ways in which this partly improves on its predecessors. Overall I recognize still more mindfulness in Ray's direction, and even more keen shot composition; Subrata Mitra's cinematography, crisp and vivid as ever, similarly feels steadier. In continuing his adaptation of Bibhutibhushan Bandopadhyay's novel, in general Ray's writing illustrates like growth, with complexity and subtlety in the characters, and arguably greater dynamics in the story, scene writing, and even the dialogue, including welcome warmth and touches of humor in addition to the predominant drama. There is some fine editing herein, and returning composer Ravi Shankar once again contributes a fantastic, enticing score that all by itself does much to keep us invested.
And for as much as the casts of 'Pather panchali' and 'Aparajito' left an indelible mark with their performances, I wonder if stars Soumitra Chatterjee and Sharmila Tagore don't deserve even more praise in this flick. Both are wonderfully charming as adult Apu, and Aparna, at large exercising splendid nuance to realize their character's complicated and varying emotions. I don't think 'Apur sansar' necessarily explores its emotional depths quite as much as its antecedents do theirs, but the actors do an excellent job of bringing them to bear nonetheless. Further factor in some sharp details in most every capacity - at one time or another every participant has a time to shine with the work they turn in - and even though the sum total may have some subjective weak spots, all told the picture is a swell credit to all, and a satisfying finish to "The Apu Trilogy." In some measure I see rough spots in these 100-odd minutes, but 'Apur sansar' remains absorbing and compelling, with a strong ending, and both on its own and as a companion piece to its forebears, this is well worth checking out if you have the opportunity.
It seems to me that there are clear differences in how Ray approached each title; the first felt effortlessly fluid, and the second more precise and calculated. 'Apur sansar' is a bit curious, for at once the construction comes across as looser, and more relaxed, while plot development is more direct, or even brusque, and the story more common. Mind you, though there are times when that directness - further echoed in fragments of the direction - is glaring and unfortunate, broadly speaking this is no reflection on quality, only on disparities in method. And still, for all that, I also see ways in which this partly improves on its predecessors. Overall I recognize still more mindfulness in Ray's direction, and even more keen shot composition; Subrata Mitra's cinematography, crisp and vivid as ever, similarly feels steadier. In continuing his adaptation of Bibhutibhushan Bandopadhyay's novel, in general Ray's writing illustrates like growth, with complexity and subtlety in the characters, and arguably greater dynamics in the story, scene writing, and even the dialogue, including welcome warmth and touches of humor in addition to the predominant drama. There is some fine editing herein, and returning composer Ravi Shankar once again contributes a fantastic, enticing score that all by itself does much to keep us invested.
And for as much as the casts of 'Pather panchali' and 'Aparajito' left an indelible mark with their performances, I wonder if stars Soumitra Chatterjee and Sharmila Tagore don't deserve even more praise in this flick. Both are wonderfully charming as adult Apu, and Aparna, at large exercising splendid nuance to realize their character's complicated and varying emotions. I don't think 'Apur sansar' necessarily explores its emotional depths quite as much as its antecedents do theirs, but the actors do an excellent job of bringing them to bear nonetheless. Further factor in some sharp details in most every capacity - at one time or another every participant has a time to shine with the work they turn in - and even though the sum total may have some subjective weak spots, all told the picture is a swell credit to all, and a satisfying finish to "The Apu Trilogy." In some measure I see rough spots in these 100-odd minutes, but 'Apur sansar' remains absorbing and compelling, with a strong ending, and both on its own and as a companion piece to its forebears, this is well worth checking out if you have the opportunity.