Pather Panchali (1955) (aka Song Of The Little Road)
Satyajit Ray
Bengali
Blood diamond solomon vandy download music. “This is my home, too. But look at it. It’s like living in the forest. “
Satyajit Ray’s name has become synonymous with quality cinema from the country and his opera primaPather Panchali, (1955) its prime example. Made under hopeless production situation like many other great films of that period, Pather Panchali has been hailed by critics, filmmakers and cinema lovers across the world as one of the greatest of all times. And what a legacy it has left behind!
Download Pather Panchali: Song of the Road PDF eBook Review by Bibhutibhushan Bandyopadhyay (1975) for free in pdf and ePub Format. Pather Panchali deals with the life of the Roy family, consisting of Harihar, Sarbajaya, Apu and Durga, both in their ancestral village Nishchindipur.
Based on a book by Bibhutibhushan Bandopadhyay, Pather Panchali is a series of loosely knit episodes in a poor Brahmin family in rural Bengal. Harihar (Kanu Banerjee) is a priest who also dabbles in play writing. His wife, Sarbojaya (Karuna Banerjee) manages the household and her two children Durga (Uma Das Gupta) and Apu (Subir Banerjee). There is also their old “aunt” Indir (Chunibala Devi) who loves eating the fruits given to her by Durga. Then there are their neighbours, the well-off Mukherjees, who share a love-hate relationship with their family. Mrs. Mukherjee helps out when Durga falls sick almost as her surrogate mother (as Ray hints early in his mise en scène) and Sarbojaya does the cooking in Mrs. Mukherjee’s daughter’s wedding. It’s a warm and isolated little world of theirs.
The biggest curse for Pather Panchali is that it was made immediately after the war. More precisely, at a time when neo-realism was the almost the in-thing. Almost every description or review of the film seems to kick off by assigning the neo-realistic tag to the film, perhaps more so after Ray’s enthusiastic comments about The Bicycle Thief(1947). It is beyond doubt that Ray’s employment of non-professional actors, use of natural locations, refusal of make-up and high-key lighting, the tendency of having the backdrop speak for itself and a complete abstinence from the exaggerated gestures and practices of popular cinema owe their debt to the masters of the neo-realist movement. But broadly calling Pather Panchali a neorealist film, basing arguments on the above conditions alone, is but unfair to Ray and his style. In fact, Pather Panchali often works against the “written principles” of neo-realism that pioneers like Zavattini proposed.
The neo-realists strongly emphasized that the neo-realist filmmaker be just a passive observer of reality without imposing his interpretations on it. That whatever the situation of their characters, – glory or misery – the filmmaker must maintain objectivity, always subordinating reason to action. Although many of the staunch neo-realists themselves couldn’t achieve this complete objectivity, they did attempt to do so in theory. However, in Pather Panchali, Ray never claims to be a mere observer. It is true that he does not comment on the characters’ actions and situation or throw hints to the audience so as to tell them what to feel. But that does not mean Ray does not take a stance (or a neutral stance for that matter). Ray is biased for sure, but not towards his characters but towards life itself. He takes immense joy in infusing life on to the screen and providing a channel of hope to his protagonists. Quite in contention with the neo-realist theory, Ray does not hesitate using Pt. Ravi Shankar’s soundtrack generously (but not without much caution) or in concocting sequences with a tinge of humour.
Further, deeming Pather Panchali to be a neo-realist film would only result in an over-simplification of Ray’s knowledge of cinema. Ray, being one of the country’s biggest and most renowned cinephiles, has evidently seen and absorbed a large cross-section of world cinema that spans various decades, geographies and cultures. And Pather Panchali stands as a testament for that wherein Ray incorporates many of his influences without ever making it look contrived or out of place. Apart from the overt nods to the neo-realist customs, Ray constructs sequences that conform to Eisenstein’s rules of montage (the scene where Durga is punished by her mother stands out), employs indoor sets that have an expressionistic touch to them. Some of his compositional practices, too, show closeness to Japanese cinema. If you ask me, Ray’s filmmaking in Pather Panchali is nearer to Fellini’s than De Sica’s. Ray’s penchant for close-ups, the dramatic zooms, the occasional submission to simple melodrama and the sheer lust for life that he paints on screen are closer in spirit to Fellini’s works, especially La Strada (1954), than any other director.
Like La Strada (another victim of the neo-realist baptism), that was as much away from its purely neo-realist contemporaries as it was close to them, Ray marries the neo-realist objectivity that avoids hyperbole and his own subjective view of life producing what may be, like Fellini’s film, called “neo-realism with a heart”. But again, Ray absorbs and deviates. Where, like many a film of later years, La Strada compares a road trip to life, Pather Panchali compares life to a road trip. Ray treats life as an inevitable journey which should go on no matter how shattering its events are. He punctuates his film with images of little roads through the woods and of characters arriving or departing from the village. In other words, Satyajit Ray presents life as a train journey where passengers may come and passengers may go, but the train itself never stops. Ray wasn’t kidding when he put that train in Pather Panchali – a train that Durga never manages to get on and one that Apu would, in Aparajito (1957), my favorite film of the trilogy.
But clearly, the most important character in the film is Durga – one that is very close to nature. Durga is Nature. Ray shoots her almost always amidst flora and fauna. She roams freely through the woods, groves, rice fields and in the rain without anyone stopping her. She is intrigued by man-made objects like locomotives and telegraph poles. Why, she even passes away after getting drenched in the rain. So is Auntie Indir who is nobody but a grown up version of Durga. Like Durga, she is also thrown out of house by Sarbojaya and who, too, passes away in the middle of the forest. Ray captures Auntie Indir and Durga regularly together in the same frame as he strikes a parallel by cutting back and forth between them. After all, both of them brought Apu up in their own ways. In the poignant end scene, Apu throws the necklace (that Durga was accused of stealing) into the river without an iota of hesitation – returning it back to Durga who has now returned to her nascent form.
Because Ray lets us see only one world (with the occasional letter being the only mode of communication), – that of the village and its people – one can safely assume that Ray is normalizing the world into it and, consequently, that the statements Ray makes about the village are, in fact, applicable to the whole world (or the country in case of social and political observations). Killer instinct gold characters. However, contrary to popular opinion that the film just talks about the misery of poverty, Pather Panchali goes beyond trivial economic connotations. Except for a few inherent observations about the class system, economics isn’t even a major concern for the film. So aren’t politics and theology that are kept are remote as possible. But that does not mean that the film is entirely universal and just for the sake of being so. Apart from the universal theme of man and nature, Ray’s major concern is the position of women in the society. Although Sarbojaya is the most thoughtful and resourceful member of the family, Harihar rarely listens to her. She is treated no better than a nanny for his kids. Like Mizoguchi (whom he admires, according to his essays) in Sansho the Bailiff (1954), Ray uses his mise en scène to express more than what the script does. But unlike Mizoguchi who used his aesthetics to denote the inevitability of fate, Ray uses it to comment on the pressing social condition of the family, especially Sarbojaya. Ray films her along the margins of the film frame. She is often seen stifled by artificial (physical and social) structures. Ray and cinematographer Subrata Mitra employ POV shots through doors, holes and ruptures to present a picture like snapshot of the family, with the image of a door often denoting freedom or the lack of it.
If there ever was life on celluloid, it has to be last twenty minutes of Pather Panchali. As the monsoon season takes over summer, skies darken and a breeze picks up. As the surface of the water starts pulsating, flies and other minute life forms start gathering. One wishes that this sequence never ends. The whole scene has a haiku-like visual quality and feel to it, not surprising considering Ray’s exposure to and admiration for Japanese art forms, especially cinema. He notes in his essay “Calm Without, Fire Within” (from his book Our Films, Their Films):
“Then there is the Japanese use of camera, of light. Light is used as the brush is by the painter – to feel and reveal the texture of things, to capture moods, to lend the right expressive weight to a given image.”
In fact, the same text can be used to describing Ray’s style in Pather Panchali that flourishes on the strength of its atmosphere, creating its own world and enticing the audience into it. Unlike the director’s later films such as Charulata (1964), which actually starts seeping through once it has ended, Pather Panchali appeals directly to the sub-conscious. Hypnotic may be the proper word. Throughout the film, there is almost no shot where life is not seen. We always see some life form or the other playing around on the screen. Dogs, cats, cattle and humans galore, Pather Panchali is a film that overflows with vitality. However, such reductive mapping would only lead to another over-simplification that Pather Panchali has been regularly subjected to. Both Pather Panchali and Ray have been called, rather labeled, humanist by admirers and critics all over the world. But such a reading of the film would just conform to a pseudo-liberal view of destitution and reinforce Nargis Dutt’s claims of selling of poverty to the West. In Pather Panchali, Ray turns out to be an animist rather than a humanist and the film itself, pro-life and anti-mankind.
Mrs. Mukherjee confiscates the family’s grove as a penalty for the failure of repayment of loan. Later, the people of the village persuade Harihar to stay and tell him that this place is their ancestral land. It is as if the people of the village have assumed the land to be theirs despite of the fact that it was already there much before them. Ray touches upon the conflict between man and nature that has been dear to so many filmmakers before and after him. And this is where Pather Panchali gets deeper than meets the eye. Exactly like Herzog would do in Signs of Life (1968), Ray often composes his shot such that there is interaction between man and nature, with the latter overpowering. It is essentially because of nature – the rains and the cold winds – that the family is forced to move out. Nature has indeed taken revenge. Earlier in the film Sarbojaya tells Harihar that it feels like living in the forest, insisting they move on, and Mrs. Mukherjee that no names are written on fruits. She is, in fact, the only adult in the film who realizes that Land belongs to no body except nature itself. As Harihar and his family move out, a huge cobra is seen moving into the now-deserted house of his. At last, Nature has reclaimed what was always its.