After the success of Pather Panchali, Satyajit Ray—who had never intended to make a sequel to the film—was encouraged to take the story of Apurba ‘Apu’ Ray forward, a story that emerged in Aparajito.
This instalment of the story of Apu begins a few years after the last scene of Pather Panchali. Apu (now Pinaki Sen Gupta) has now moved to Banaras, with his priest father Hori (Kanu Bannerjee) and mother Sarbojaya (Karuna Bannerjee). Hori goes to the riverside every day to deliver sermons to a group of Bengalis, most of them widows. He makes enough money for the little family to be just about comfortable, no more.
What can one write about a film about which so much has already been written? Dare one even attempt a review?
But since I did watch Pather Panchali (‘Song of the Little Road’) recently, and since it is such an iconic film, a review is in order.
Satyajit Ray’s debut film has been hailed as one of the hundred greatest films ever made, but its making was fraught with difficulty for Ray. Funds were hard to come by, since investors were unwilling to put their money into a film that had no major stars, no songs (though Ravi Shankar did compose the background music for Pather Panchali, a score which forms an important part of the film), and was so bleakly real. Pather Panchali eventually ended up being funded by the government of West Bengal, and took three years to make.
Based on the 1929 novel of the same name by Bibhutibhushan Bandyopadhyay, Pather Panchali begins in a small, sweet way which nevertheless manages to establish the main theme of the story: the poverty of Hori (Kanu Bannerjee) and his little family. Hori is a priest, a learned man, but he is constantly trying to make ends meet. He is not at home in this scene, where his wife Sarbojaya (Karuna Bannerjee) is doing her chores. Hori’s cousin, the elderly widow Indir Thakrun (Chunibala Devi, an octogenarian veteran actress whom Ray coaxed out of retirement to do this, her last role) also stays with the family.