![]() Pather Panchali was born from two major influences - the first being Ray's acquaintanceship with Jean Renoir during the shooting of the French auteur's The River in India and the other being Vittorio De Sica's Bicycle Thieves (aka The Bicycle Thief). This was no epic melodrama with song and dance routines set against mythical backdrops of the past and relegated to larger-than-life studio sets and backlots. Ray's film clearly threw the Indian film industry for a loop. (And never, EVER, will a big sister's promise to her little brother be as deeply and passionately moving as this one proves to be.) The train, alas, takes a strange backseat to the journey itself and later in the film, there's a moment where Durga promises Apu a better, more proper opportunity to see the train. The train, of course, represents flight as well as progress and one of the most magical sequences ever committed to film is an odyssey Durga takes little Apu on to see the train. She delights in their happiness at attaining these skills, but has virtually no interest in acquiring them herself.ĭurga also understands fully the desire of her little brother to see a train, a miracle of the modern world that seems so far removed from their little village. So many girls of her age have already been in serious training to satisfy their husbands-to-be. At the same time, she has a curiosity in the ways of the world that suggest how much she desires to maintain her individuality. For all her chicanery, Durga seems almost saint-like in wanting to use her wiles to assist others. It's Durga's promise as a human being, as a beautiful, intelligent young woman that, in spite of so many alternately heartbreaking and joyous moments in the film (and threads in the story), is what finally seems the most poignant and tragic of all. In spite of this and a slight shift in the film's perspective when the character of Apu is finally born, it's always been Durga's character who I've been especially drawn to - possibly because Apu (Subir Banerjee), though always compelling to keep one's eye on is, in many ways a very reactive, witness-like presence in the tale, whereas Durga is so vibrant and active. Pather Panchali is the first film in a trilogy that focuses upon a male character called Apu and is based on a classical Indian novel rooted in the country's strong tradition of "coming-of-age" stories. In many ways, he might well be the Neo-Realist Indian equivalent to the great George Cukor in that respect. Yes, all his characters have depth, but there's something so unique and compelling about his sensitivity towards women. It also irks Mom to no end since she's concerned that Durga's thieving will reflect badly on the family and her upbringing.įor me, Satyajit Roy has always delivered movies with exceptionally varied female characters. Lord knows, this pays off in spades for the old gal since the kid is happily plying her with juicy mangoes, a far cry from the spartan slop served up at the deeply impoverished family dinner table. Most importantly, Durga doesn't steal the fruit for herself, but to give it to Auntie. Even at her young age, this isn't lost on Durga, but also, she's a child and as such, their home is surrounded with more than enough fruit for everybody. Pather Panchali begins with the child Durga brazenly (and clearly for the umpteenth time) stealing fruit from the orchards belonging to the neighbours, who are blood relatives of the nastiest kind and as it turns out, have swindled the orchard from Durga's father Harihar (Subir Banerjee). However, the sword on this, cuts two ways. If Auntie can do anything for Durga's future, it's to impart a sense of wonder and adventure within the child (Auntie's a spirited storyteller), but to also encourage her happy, willing young charge to properly utilize her smarts - the kind that allow a woman a depth of understanding in a patriarchal world and to use every bit of cunning at her disposal. On the surface, Auntie has always adhered to her Old World "place" as a woman in Bengali society, but deep down her spirit has always been modern - ahead of its time, really. Auntie's feisty, impish and individualistic nature has been a particular thorn in Mom's side as she believes the old woman's been a bad influence upon her first-born. Starring: Subir Banerjee, Kanu Banerjee, Karuna Banerjee, Uma Dasgupta, Runki Banerjee, Chunibala Devi, Tulsi Chakrabortyįrom childhood to adolescence, Durga (Runki Banerjee and Uma Dasgupta respectively) has always adored Auntie (Chunibala Devi), but to everyone else, especially Durga's mother Sarbajaya (Karuna Banerjee), the wizened, hobbling, hunched-over old "hag" is not only an annoyance, but a burden. Pather Panchali (Song of the Little Road (1955) dir. Little Durga & Auntie: Birds of a Feather. Uma Dasgupta plays the sweet, saintly & sadly doomed Durga.
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