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Bezig met laden... The Apu Trilogydoor Satyajit Ray
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Two decades after its original negatives were burned in a fire, Satyajit Ray's breathtaking milestone of world cinema rises from the ashes in a meticulously reconstructed new restoration of a family saga. Pather Panchali (Song of the Little Road) follows a poor Bengali family living in a village. The boy Apu's development grows as he witnesses the protection of family members' reputations, the relationship of the family group to an elderly 'aunt', and the first confrontations with death. His father's dreams prevail over the objections of his mother so that at the end of the film the family moves to the big city of Benares. Aparajito (The Unvanquished) follows Apu and his encounter with the school system in Benares, and later with the intellectual life at university in Calcutta. Apur Sansar (The World of Apu) shows Apu drawn into marriage out of regard for friendship and for Hindu custom, but ending in his realization of his deep love for his wife. They experience happiness together for one year, until she dies in childbirth and he is left desolate, the stricken father of an unwanted child. Geen bibliotheekbeschrijvingen gevonden. |
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Google Books — Bezig met laden... GenresDewey Decimale Classificatie (DDC)791.4375The arts Recreational and performing arts Public performances Film, Radio, and Television Film Films, screenplays Multiple films, collections of film reviewsLC-classificatieWaarderingGemiddelde:
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Pathar Panchali (1955)
With the release in 1955 of Satyajit Ray’s debut, Pather Panchali, an eloquent and important new cinematic voice made itself heard all over the world. A depiction of rural Bengali life in a style inspired by Italian neorealism, this naturalistic but poetic evocation of a number of years in the life of a family introduces us to both little Apu and, just as essentially, the women who will help shape him: his independent older sister, Durga; his harried mother, Sarbajaya, who, with her husband away, must hold the family together; and his kindly and mischievous elderly “auntie,” Indir—vivid, multifaceted characters all. With resplendent photography informed by its young protagonist’s perpetual sense of discovery, Pather Panchali, which won an award for Best Human Document at Cannes, is an immersive cinematic experience and a film of elemental power.
Aparajito (1956)
Satyajit Ray had not planned to make a sequel to Pather Panchali, but after the film’s international success, he decided to continue Apu’s narrative. Aparajito picks up where the first film leaves off, with Apu and his family having moved away from the country to live in the bustling holy city of Varanasi (then known as Benares). As Apu progresses from wide-eyed child to intellectually curious teenager, eventually studying in Kolkata, we witness his academic and moral education, as well as the growing complexity of his relationship with his mother. This tenderly expressive, often heart-wrenching film, which won three top prizes at the Venice Film Festival, including the Golden Lion, not only extends but also spiritually deepens the tale of Apu.
Apur Sansar 1959
By the time Apur Sansar was released, Satyajit Ray had directed not only the first two Apu films but also the masterpiece The Music Room, and was well on his way to becoming a legend. This extraordinary final chapter brings our protagonist’s journey full circle. Apu is now in his early twenties, out of college, and hoping to live as a writer. Alongside his professional ambitions, the film charts his romantic awakening, which occurs as the result of a most unlikely turn of events, and his eventual, fraught fatherhood. Featuring soon to be Ray regulars Soumitra Chatterjee and Sharmila Tagore in star-making performances, and demonstrating Ray’s ever more impressive skills as a crafter of pure cinematic imagery, Apur Sansar is a moving conclusion to this monumental trilogy.
(source: Criterion)