Pather Panchali

This article is about the lm. For the novel on which it isbased, see Pather Panchali (novel).

Pather Panchali ([pt er ptali], English: Song of theLittle Road) is a 1955 Bengali drama lm directed bySatyajit Ray and produced by the Government of WestBengal, India. It is based on Bibhutibhushan Ban-dopadhyay's 1929 Bengali novel of the same name andis Rays directorial debut. It features Subir Banerjee,Kanu Banerjee, Karuna Banerjee, Uma Dasgupta andChunibala Devi. The rst lm in the Apu trilogy, PatherPanchali depicts the childhood of the protagonist Apu(Subir Banerjee) and his elder sister Durga (Uma Das-gupta), and the harsh village life of their poor family.Production was interrupted due to funding problems andit took nearly three years for the lm to be completed.The lm was shot mainly on location, had a limited bud-get,[lower-alpha 3] featured mostly amateur actors, and wasmade by an inexperienced crew. The sitar virtuoso RaviShankar composed the lms soundtrack and score usingclassical Indian ragas. Subrata Mitra was in charge ofthe cinematography while editing was handled by DulalDutta. Following its premiere on 3 May 1955 during anexhibition at New Yorks Museum of Modern Art, PatherPanchaliwas released in Calcutta later the same year to anenthusiastic reception. A special screening was attendedby the Chief Minister of West Bengal and the Prime Min-ister of India. Critics have praised its realism, humanityand soul-stirring quality, while others have called its slowpace a drawback, and some have condemned it for ro-manticising poverty. Scholars have commented on thelms lyrical quality and realism (inuenced by Italianneorealism), its portrayal of the poverty and small de-lights of daily life, and the use of what the author Dar-ius Cooper has termed the epiphany of wonder, amongother themes.The tale of Apus life is continued in the two subsequentinstallments of Rays Apu trilogy: Aparajito (The Un-vanquished, 1956) and Apur Sansar (The World of Apu,1959). Pather Panchali is described as a turning point inIndian cinema, as it was among the lms that pioneeredthe Parallel Cinema movement, which espoused authen-ticity and social realism. The rst lm from independentIndia to attract major international critical attention, itwon Indias National Film Award for Best Feature Filmin 1955, the Best Human Document award at the 1956Cannes Film Festival, and several other awards, establish-ing Ray as one of the countrys most distinguished lm-makers. It is often featured in lists of the greatest lms

ever made.

1 Plot

Harihar Roy (Kanu Banerjee) earns a meagre living as apujari (priest) in Nischindipur, rural Bengal, and dreamsof a better career as a poet and playwright. His wifeSarbajaya (Karuna Banerjee) takes care of their chil-dren, Durga (Uma Dasgupta) and Apu (Subir Banerjee),and Harihars elderly cousin, Indir Thakrun (ChunibalaDevi). Because of their limited resources, Sarbajaya re-sents having to share her home with the old and helplesscripple Indir. At times, Sarbajayas taunts become oen-sive, forcing Indir to take temporary refuge in the home ofanother relative. Durga is fond of Indir and often givesher fruit she has stolen from a wealthy neighbours or-chard. One day, the neighbours wife accuses Durga ofstealing a bead necklace (which Durga denies) and blamesSarbajaya for encouraging her tendency to steal.As the elder sibling, Durga cares for Apu with motherlyaection, but spares no opportunity to tease him. To-gether, they share the simple joys of life: sitting qui-etly under a tree, viewing pictures in a travelling ven-dors bioscope, running after the candy man who passesthrough the village, and watching a jatra (folk theatre)performed by a troupe of actors. Every evening they aredelighted by the sound of a distant trains whistle. Oneday they run away from home to catch a glimpse of thetrain, only to discover Indir lying dead on their return.Unable to earn a good living in the village, Harihar travelsto the city to seek a better job. He promises Sarbajayathat he will return with money to repair their dilapidatedhouse. During his absence, the family sinks deeper intopoverty. Sarbajaya grows increasingly lonely and bitter.One day during the monsoon season, Durga plays in thedownpour for too long, catches a cold and develops a highfever. Adequate medical care being unavailable, the feverbecomes worse, and on a night of incessant rain and gustywinds, she dies. Harihar returns home and starts to showSarbajaya the merchandise he has brought from the city.Sarbajaya, who remains silent, breaks down at the feet ofher husband, and Harihar cries out in grief as he discoversthat he has lost his daughter. The family decide to leavetheir ancestral home. As they start packing, Apu ndsthe necklace that Durga had earlier denied having stolen;he throws it into a pond. Apu and his parents leave thevillage on an ox-cart.

1

2 3 PRODUCTION

2 Cast

Kanu Banerjee as Harihar Roy

Karuna Banerjee as Sarbajaya Roy

Subir Banerjee as Apurba Roy (Apu)

Runki Banerjee as Durga Roy (child)

Uma Dasgupta as Durga Roy (teenager)

Chunibala Devi as Indir Thakrun, the old aunt

Tulsi Chakraborty as Prasanna, school teacher

3 Production

3.1 Novel and title

Main article: Pather Panchali (novel)

Bibhutibhushan Bandopadhyay's novel Pather Panchali isa classic bildungsroman (a type of coming-of-age story)in the canon of Bengali literature.[6][7] It rst appearedas a serial in a Calcutta periodical in 1928,[8] and waspublished as a book the next year.[9] The novel depicts apoor familys struggle to survive in their rural ancestralhome and the growing up of Apu, the son of the family.The later part of the novel, where Apu and his parentsleave their village and settle in Benaras, formed the basisof Aparajito (The Unvanquished, 1956), the second lmof the Apu trilogy.[10]

Satyajit Ray, working as a graphic designer for SignetPress, created the illustrations for a new abridged edi-tion of the book in 1944.[11][12] At that time, Ray readthe unabridged novel;[13] Signets owner D. K. Gupta toldRay that the abridged version would make a great lm.[14]The idea appealed to Ray, and around 194647, when heconsidered making a lm,[15] he turned to Pather Pan-chali because of certain qualities that made it a greatbook: its humanism, its lyricism, and its ring of truth.[16]The authors widow permitted Ray to make a lm basedon the novel; the agreement was in principle only, and nonancial arrangement was made.[17]

The Bengali word path literally means path, and pathermeans of the path. The word panchali refers to a typeof narrative folk song that used to be performed in Ben-gal and was the forerunner of another type of folk per-formance, the jatra.[18] English translations of the Ben-gali title include Song of the Little Road,[8] The Lament ofthe Path,[5][19] Song of the Road,[20] and Song of the OpenRoad.[21]

A page from the lms storyboard, created by Ray

3.2 Script

Pather Panchali did not have a script; it was made fromRays drawings and notes.[22] Ray completed the rstdraft of the notes during his sea voyage to and fromLondon in 1950.[23] Before principal photography be-gan, he created a storyboard dealing with details andcontinuity.[24] Years later, he donated those drawings andnotes to Cinmathque Franaise.[25]

In Apur Panchali (the Bengali translation of My Yearswith Apu: A Memoir, 1994), Ray wrote that he had omit-ted many of the novels characters and that he had rear-ranged some of its sequences to make the narrative betteras cinema.[26] Changes include Indirs death, which oc-curs early in the novel at a village shrine in the presenceof adults, while in the lm Apu and Durga nd her corpsein the open. The scene of Apu and Durga running to catcha glimpse of the train is not in the novel, in which neitherchild sees the train, although they try. Durgas fatal feveris attributed to a monsoon downpour in the lm, but isunexplained in the novel. The ending of the lmthefamilys departure from the villageis not the end of thenovel.[10]

Ray tried to extract a simple theme from the random se-quences of signicant and trivial episodes of the PatherPanchali novel, while preserving what W. Andrew Robin-son describes as the loitering impression it creates.[10]According to Ray, the script had to retain some of therambling quality of the novel because that in itself con-tained a clue to the feel of authenticity: life in a poor Ben-gali village does ramble.[16] For Robinson, Rays adap-tation focuses mainly on Apu and his family, while Ban-dopadhyays original featured greater detail about villagelife in general.[27]

3.3 Casting

Kanu Banerjee (who plays Harihar) was an establishedBengali lm actor. Karuna Banerjee (Sarbajaya) was anamateur actress from the Indian Peoples Theatre Asso-ciation, and the wife of Rays friend. Uma Dasgupta,

3.4 Filming 3

who successfully auditioned for the part of Durga, alsohad prior theatre experience. For the role of Apu, Rayadvertised in newspapers for boys of ages ve to seven.None of the candidates who auditioned fullled Raysexpectations, but his wife spotted a boy in their neigh-bourhood, and this boy, Subir Banerjee, was cast as Apu.(The surname of three of the main actors happened to beBanerjee, but they were not related to each other). Thehardest role to ll was the wizened old Indir. Ray even-tually found Chunibala Devi, a retired stage actress livingin one of Calcuttas red-light districts, as the ideal candi-date. Several minor roles were played by the villagers ofBoral, where Pather Panchali was lmed.[28]

3.4 Filming

Apu and Durga running to catch a glimpse of a train, a famousscene of the lm

Shooting started on 27 October 1952.[29] Boral, a villagenear Calcutta, was selected in early 1953 as the main lo-cation for principal photography, and night scenes wereshot in-studio.[29] The technical team included severalrst-timers, including Ray himself and cinematographerSubrata Mitra, who had never operated a lm camera.Art director Bansi Chandragupta had professional experi-ence, having worked with Jean Renoir on The River. BothMitra and Chandragupta went on to establish themselvesas respected professionals.[30][31]

Mitra had met Ray on the set of The River, where Mitrawas allowed to observe the production, take photographsand make notes about lighting for personal reference.Having become friends, Mitra kept Ray informed aboutthe production and showed his photographs. Ray was im-pressed enough by them to promise him an assistants po-sition on Pather Panchali, and when production neared,invited him to shoot the lm. As the 21-year-old Mi-tra had no prior lmmaking experience, the choice wasmet with scepticism by those who knew of the produc-tion. Mitra himself later speculated that Ray was nervousabout working with an established crew.[32]

Funding was a problem from the outset. No producer

was willing to nance the lm, as it lacked stars, songsand action scenes.[17][33] On learning of Rays plan, oneproducer, Mr Bhattacharya of Kalpana Movies, contactedBandopadhyays widow to request the lming rights andget the lm made by Debaki Bose, a well-establisheddirector. The widow declined as she had already per-mitted Ray to make the lm.[34] The estimated bud-get for the production was 70,000 (about US$14,613in 1955).[33][lower-alpha 4] One producer, Rana Dutta, gavemoney to continue shooting, but had to stop after someof his lms opped.[35]

Ray thus had to borrow money to shoot enough footageto persuade prospective producers to nance the wholelm.[17] To raise funds, he continued to work as a graphicdesigner, pawned his life insurance policy and sold hiscollection of gramophone records. Production man-ager Anil Chowdhury convinced Rays wife, Bijoya, topawn her jewels.[35] Ray still ran out of money partwaythrough lming, which had to be suspended for nearly ayear. Thereafter shooting was done only in intermittentbursts.[36] Ray later admitted that the delays had madehim tense and that three miracles saved the lm: One,Apus voice did not break. Two, Durga did not grow up.Three, Indir Thakrun did not die.[37]

Bidhan Chandra Roy, the Chief Minister of West Ben-gal, was requested by an inuential friend of Raysmother to help the production.[36] The Chief Ministerobliged, and government ocials saw the footage.[38] TheHome Publicity Department of the West Bengal govern-ment assessed the cost of backing the lm and sanc-tioned a loan, given in installments, allowing Ray to n-ish production.[37][lower-alpha 5] The government misunder-stood the nature of the lm, believing it to be a documen-tary for rural uplift,[36] and recorded the loan as being forroads improvement, a reference to the lms title.[39]

Monroe Wheeler, head of the department of exhibitionsand publications at New Yorks Museum of Modern Art(MoMA),[40] who was in Calcutta in 1954, heard aboutthe project and met Ray. He considered the incompletefootage to be of very high quality and encouraged Ray tonish the lm so that it could be shown at a MoMA ex-hibition the following year.[36] Six months later, Amer-ican director John Huston visited India for some earlylocation scouting for TheManWhoWould Be King (even-tually made in 1975).[41] Wheeler had asked Huston tocheck the progress of Rays project.[42] Huston saw ex-cerpts of the unnished lm and recognised the workof a great lm-maker.[41] Due to Hustons positive feed-back, MoMA helped Ray with additional money.[43]

Including the delays and hiatuses in production, it tookthree years to complete the shooting of Pather Pan-chali.[44]

4 6 RELEASE AND RECEPTION

4 InuencesThe realist narrative style of Pather Panchali was inu-enced by Italian neorealism and the works of Frenchdirector Jean Renoir.[45][46] In 1949 Renoir came toCalcutta to shoot his lm The River (1951).[47] Ray, afounding member of the Calcutta Film Society (estab-lished in 1947), helped him scout for locations in thecountryside.[47] When Ray told him about his longstand-ing wish to lm Pather Panchali, Renoir encouraged himto proceed.[48] In 1950 Ray was sent to London by hisemployer, the advertising agency D.J. Keymer, to work attheir headquarters. During his six months in London, hewatched about 100 lms.[49] Among these, Vittorio DeSica's neorealist lm Bicycle Thieves (1948) had a pro-found impact on him. In a 1982 lecture, Ray said thathe had come out of the theatre determined to become almmaker.[49] The lm made him believe that it was pos-sible to make realistic cinema that was shot on locationwith an amateur cast.[50]

The international success of Akira Kurosawa's Rashomon(1950) and Bimal Roy's 1953 lm Do Bigha Zamin(which was shot partly on location and was about a peas-ant family) led Ray to believe that Pather Panchali wouldnd an international audience.[35] Ray also had more in-digenous inuences, such as Bengali literature and the na-tive Indian theatrical tradition, particularly the rasa the-ory of classical Sanskrit drama. Darius Cooper describesthe complicated doctrine of rasa as center[ed] predom-inantly on feelings experienced not only by the charac-ters but also conveyed in a certain artistic way to thespectator.[51]

5 Soundtrack

Ravi Shankar (1988 photograph) composed the soundtrack forthe lm.

The soundtrack of the lm was composed by the sitarplayer Ravi Shankar, who was at an early stage of his ca-reer, having debuted in 1939.[52] The background scoresfeature pieces based on several ragas of Indian classi-cal music, played mostly on the sitar. The soundtrack,described in a 1995 issue of The Village Voice as atonce plaintive and exhilarating,[53] is featured in TheGuardian ' s 2007 list of 50 greatest lm soundtracks.[54] Ithas also been cited as an inuence on The Beatles, specif-ically George Harrison.[55]

Shankar saw about half the lm in a roughly editedversion before composing the background score, buthe was already familiar with the story.[41][56] Accord-ing to Robinson, when Ray met Shankar the latterhummed a tune that was folk-based but had a certainsophistication.[41] This tune, usually played on a bam-boo ute, became the main theme for the lm. The ma-jority of the score was composed within the duration ofa single night, in a session that lasted for about elevenhours.[41] Shankar also composed two solo sitar piecesone based on the raga Desh (traditionally associated withrain), and one sombre piece based on the raga Todi.[57]He created a piece based on the raga Patdeep, played onthe tar shehnai, to accompany the scene in which Hari-har learns of Durgas death.[58] The lms cinematogra-pher, Subrata Mitra, performed on the sitar for parts ofthe soundtrack.[59]

6 Release and receptionRay and his crew worked long hours on post-production,managing to submit it just in time for MoMAs Textilesand Ornamental Arts of India exhibition of May 1955.[60]The lm, billed as The Story of Apu and Durga, lackedsubtitles. It was one of a series of six evening perfor-mances at MoMA, including the US debut of sarod playerAli Akbar Khan and the classical dancer Shanta Rao.Pather Panchali ' s MoMA opening, on 3 May, was wellreceived.[58] Subsequently, the lm had its domestic pre-miere at the annual meeting of the Advertising Club ofCalcutta; the response there was not positive, and Ray feltextremely discouraged.[61] Before its theatrical releasein Calcutta, Ray designed large posters, including a neonsign showing Apu and Durga running, which was strategi-cally placed in a busy location in the city. Pather Panchaliwas released in a Calcutta cinema on 26 August 1955 andreceived a poor initial response. Due to word of mouth,the screenings started lling up within a week or two. Itopened again at another cinema, where it ran for sevenweeks.[61] A delay in subtitling led to the postponementof the UK release until December 1957. It went on toachieve great success in the US in 1958, running for eightmonths at the Fifth Avenue Playhouse in New York.[62]

In India the lms reception was enthusiastic. The Timesof India wrote, It is absurd to compare it with any otherIndian cinema ... Pather Panchali is pure cinema.[63]

5Chief Minister Roy arranged a special screening in Cal-cutta for Prime Minister Jawaharlal Nehru, who cameout of the theatre impressed.[64] Despite opposition fromsome within the governments of West Bengal and Indiabecause of its depiction of poverty, Pather Panchali wassent to the 1956 Cannes Film Festival with Nehrus per-sonal approval.[65] It was screened towards the end of thefestival, coinciding with a party given by the Japanese del-egation, and only a small number of critics attended. Al-though some were initially unenthusiastic at the prospectof yet another Indian melodrama, the lm critic ArturoLanocita found the magic horse of poetry ... invadingthe screen.[66] Pather Panchali was subsequently namedBest Human Document at the festival.[66]

Lindsay Anderson commented after the Cannes screen-ing that Pather Panchali had the quality of ultimateunforgettable experience.[67] In subsequent years crit-ics have given positive reviews. A 1958 review in Timedescribed Pather Panchali as perhaps the nest pieceof lmed folklore since Robert Flaherty's Nanook of theNorth".[19] In her 1982 book 5001 Nights at the Movies,Pauline Kael wrote, Beautiful, sometimes funny, and fullof love, it brought a new vision of India to the screen.[68]Basil Wright considered it a new and incontrovertiblework of art.[69][lower-alpha 6] James Berardinelli wrote in1996 that the lm touches the souls and minds of view-ers, transcending cultural and linguistic barriers.[70] In2006 Philip French of The Observer called it one of thegreatest pictures ever made.[71] Twenty years after therelease of Pather Panchali, Akira Kurosawa summarisedthe eect of the lm as overwhelming, and lauded its abil-ity to stir up deep passions.[72]

The reaction was not uniformly positive. On seeingthe lm, Franois Truaut is reported to have said, Idon't want to see a movie of peasants eating with theirhands.[39] Bosley Crowther, the most inuential criticof The New York Times,[73] wrote in 1958, Any pic-ture as loose in structure or as listless in tempo as thisone is would barely pass as a 'rough cut' with the edi-tors in Hollywood, even though he praised its graduallyemerging poignancy and poetic quality.[20] The HarvardCrimson argued in 1959 that its fragmentary nature con-tributes to the lms great weakness: its general diuse-ness, its inability to command sustained attention. ForPather Panchali, remarkable as it may be, is somethingof a chore to sit through.[74] Early in 1980s, Ray wascriticised by Nargis Dutt, parliamentarian and former ac-tress, for exporting poverty.[75] Darius Cooper writesthat while many critics celebrated the Apu trilogy as aeulogy of third-world culture, others criticized it for whatthey took to be its romanticization of such a culture.[76]

In the 1990s, The Merchant Ivory Productions, with as-sistance from the Academy Film Archive and Sony Pic-tures Classics, undertook a project to restore the prints.The restored prints, along with several other Ray lms,were released in select US theatres.[70] As of December2013, the lm has a 97% fresh rating on Rotten Tomatoes

based on an aggregate of 34 reviews.[77] Pather Panchaliis available in DVD in Region 2 (DVD region code) PALand Region 1 NTSC formats. Articial Eye Entertain-ment is the distributor of Region 2 while Columbia Tri-Star is the distributor of Region 1 format.[2][lower-alpha 1]

7 ThemesIn his 1958 New York Times review, Crowther writes thatPather Panchali delicately illustrates how poverty doesnot always nullify love and how even very poor peo-ple can enjoy the little pleasures of their world.[20] MarieSeton describes how the lm intersperses the depictionof poverty and the delights and pleasures of youth. Sherepresents the bond between Durga and Indir, and theirfate, as signifying a philosophical core: that both theyoung and the old die. Seton writes of the lms lyri-cal qualities, noting especially the imagery immediatelybefore the onset of monsoon.[78] Robinson writes abouta peculiar quality of lyrical happiness in the lm, andstates that Pather Panchali is about unsophisticated peo-ple shot through with great sophistication, and without atrace of condescension or inated sentiment.[79]

Darius Cooper discusses the use of dierent rasa inthe lm,[80] observing Apus repeated epiphany ofwonder,[81][lower-alpha 7] brought about not only by whatthe boy sees around him, but also when he uses hisimagination to create another world.[82] For Cooper, theimmersive experience of the lm corresponds to thisepiphany of wonder. Stephen Teo uses the scene in whichApu and Durga discover railway tracks as an example ofthe gradual build-up of epiphany and the resulting immer-sive experience.[83]

Sharmishtha Gooptu discusses the idea that the idyllic vil-lage life portrayed in Pather Panchali represents authen-tic Bengali village life, which disappeared during the up-heavals of Partition in 1947. She suggests that the lmseeks to connect an idealised, pre-partition past with theactual present of partitioned Bengal,[84] and that it usesprototypes of rural Bengal to construct an image of theideal village.[85] In contrast to this idealism, Mitali Patiand Suranjan Ganguly point out how Ray used eye-levelshots, natural lighting, long takes and other techniquesto achieve realism.[86] Mainak Biswas has written thatPather Panchali comes very close to the concept of Ital-ian neorealism, as it has several passages with no dramaticdevelopment, even though the usual realities of life, suchas the changing of seasons or the passing of a day, areconcretely lmed.[87]

8 AccoladesSee also: List of awards conferred on Satyajit Ray

6 9 LEGACY

Pather Panchali has won many national and internationalawards.[88] At Indias 3rd National Film Awards in 1955,it was named Best Feature Film and Best Bengali FeatureFilm.[89] The next year, it competed for the Palme d'Orat Cannes,[90] where it won Best Human Document[88]and an OCIC Award Special Mention.[91] More awardsfrom lm festivals across the world followed: the Vati-can Award (Rome),[92] the Golden Carbao (Manila),[88]and the Diploma of Merit (Edinburgh) in 1956;[92]the Selznick Golden Laurel for Best Film (Berlin), theGolden Gate for Best Director and Best Picture (SanFrancisco) in 1957;[92] Best Film (Vancouver), and theCritics Award for Best Film (Stratford) in 1958.[92][93] Italso won several awards for best foreign-language lm:at the National Board of Review Awards 1958;[94] atthe Afro Arts Theater, New York, 1959;[92] the KinemaJumpo Award in Japan, 1966;[92] and the Bodil Award inDenmark, 1969.[95] In 1958 it had been nominated forBest Film at the 11th British Academy Film Awards.[96]

Sight & Sound, the British Film Institute's (BFI) maga-zine, has included Pather Panchali several times in itsCritics Polls of the greatest-ever lms. In 1962, it ranked11th;[97] in 1992, 6th;[98] and in 2002, 22nd.[99] Themagazine ranked the lm 42nd in its 2012 list of Top50 Greatest Films of All Time.[100] In 1998, in a sim-ilar critics poll from Asian lm magazine Cinemaya,Pather Panchali was ranked the second-greatest lm ofall time.[101] The Village Voice ranked the lm at number12 (tied with The Godfather) in its Top 250 Best Filmsof the Century list in 1999, based on a poll of critics.[102]

Pather Panchali was included in various other all-timelists, including Time Out ' s Centenary Top One HundredFilms in 1995,[103] the San Francisco Chronicle Hot 100Films From the Past in 1997,[104] the Rolling Stone 100Maverick Movies of the Last 100 Years in 1999,[105]"The New York Times Guide to the Best 1,000 MoviesEver Made in 2002,[106] the BFI Top Fifty Must SeeChildrens Films in 2005,[107] and BFIs Top 10 IndianFilms of all time.[108] It was included in NDTV's list ofIndias 20 greatest lms,[109] and in 2013 in CNN-IBN'slist of 100 greatest Indian lms of all time.[110] The Aputrilogy as a whole was included in lm critic Roger Ebert'slist of 100 Great Movies in 2001[111] and in Time ' s All-Time 100 best movies list in 2005.[112]

9 Legacy

See also: Apu trilogy

Pather Panchali was followed by two lms that continuedthe tale of Apus lifeAparajito (The Unvanquished) in1956 and Apur Sansar (The World of Apu) in 1959. To-gether, the three lms constitute the Apu trilogy. Apara-jito portrays the adolescent Apu, his education in a ru-ral school and a Calcutta college. Its central theme is

Pather Panchali is considered one of Satyajit Rays best works.

the poignant relationship between a doting mother andher ambitious young son. Apur Sansar depicts Apusadult life, his reaction to his wifes premature death, andhis nal bonding with his son whom he abandoned asan infant. The sequels also won many national and in-ternational awards. Ray did not initially plan to makea trilogy: he decided to make the third lm only af-ter being asked about the possibility of a trilogy at the1957 Venice Film Festival,[113] where Aparajito won theGolden Lion.[114] Apur Panchali (2014) is a Bengali lmdirected by Kaushik Ganguly, which depicts the real-lifestory of Subir Bannerjee, the actor who portrayed Apu inPather Panchali.[115]

Pather Panchali was the rst lm made in independentIndia to receive major critical attention internationally,placing India on the world cinema map.[69][116] It wasone of the rst examples of Parallel Cinema, a new tra-dition of Indian lm-making in which authenticity andsocial realism were key themes,[117] breaking the rule ofthe Indian lm establishment.[118][119] Although PatherPanchali was described as a turning point in Indian cin-ema,[120] some commentators preferred the view thatit rened a realist textual principle that was alreadythere.[45] In 1963 Time noted that thanks to Pather Pan-chali, Satyajit Ray was one of the hardy little band ofinspired pioneers of a new cinematic movement that wasenjoying a good number of imitators worldwide.[121] Thelm has since been considered as a global landmark andamong the essential moviegoing experiences.[122] On 2May 2013, commemorating Rays birthday, the Indianversion of the search engine Google displayed a doodle

7featuring the train sequence.[123][124]

After Pather Panchali, Ray went on to make 36more lms, including feature lms, documentaries andshorts. He worked on scripting, casting, scoring,cinematography, art direction, editing and designing hisown credit titles and publicity material. He developed adistinctive style of lm-making[125] based on visual lyri-cism and strong humanism,[126][127] as in his debut lmPather Panchali. Thus Ray established himself as anauteur of cinema.[125]

10 Explanatory notes[1] Aurora Film Corporation was the distributor, according

to credits shown in the lm. MoMA and the distributorEdward Harrison were instrumental in the lms MoMAscreening and later US release.[1](Bee, Hellczer & Mc-Fadden 2013, p. 204) A DVD review in dvdbeaver.comlisted Articial Eye Entertainment as the distributor ofRegion 2 and Columbia Tri-Star as the distributor ofRegion 1 format DVDs.[2] 55 secRelease dates

26 August 1955 (India)

Running time112126 minutes[lower-alpha 2]

[2] Dierent sources identify dierent running times for thelm. A Museum of Modern Art anthology states 112minutes.(Bee, Hellczer & McFadden 2013, p. 204) AnLA Weekly notice states 115 minutes.[3] Stuart Jeries ofThe Guardian states 125 minutes in a 2010 report.[4] RoviHal Erickson of The New York Times states 126 minutes ina review summary in NYT Critics Pick.[5] In 2005 DougPratt states 125 minutes but mentions that most referenceslist the running time at about 10 minutes less than that.(Pratt 2005, p. 908) The British Board of Film Classica-tion lists separate running times for lm (110 minutes 55seconds) and video (119 minutes 31 seconds) versions.eusiPather Panchali (1957)". British Board of Film Clas-sication. Archived from the original on 27 April 2014.Retrieved 21 April 2014.

[3] Satyajit Ray wrote in My Years with Apu: A Memoir(1994) that the budget was 70,000, (Ray 1996, p. 36)and the loan from the government of West Bengal was70,000. (Ray 1996, p. 60) During an interview in 1970,in reply to the question How much did the production ofPather Panchali cost in all, if you count in the value of therupee today?", Ray said, In those days it cost a little over150,000, whereas an average lm now costs twice thatmuch. (Isaksson 2007, p. 40)

[4] The exchange rate in 1955 was 4.79 per 1 US dollar(US$). (Kalra 2012, p. 408)

[5] Ray writes that the amount of loan was Rs 70,000. (Ray2005, p. 77)

[6] The comment by Basil Wright appears in James Chap-mans 2003 book Cinemas of the World: Film and Societyfrom 1895 to the Present. The year of the comment is notmentioned. (Chapman 2003, p. 323)

[7] Darius Cooper uses the term epiphany of wonder to de-note the rasa of camatkara. He quotes Abhinavabharatiby Abhinavagupta to explain the camatkara rasa: "... ca-matkara is an uninterrupted (acchina) state of immersion(avesha) in an enjoyment characterized by the presenceof a sensation of inner fullness (trpti). It might be said in-deed that camatkara is the action proper to a tasting (cam)or enjoying subject, i.e., to a person immersed in the in-ner movement (trpti) of a magical (adbhuta) enjoyment.(Cooper 2000, pp. 2425) Cooper says that through Aputhe universe is revealed. To Apu is given the dominantquality of camatkara, and it is through this sense of won-der that Apu is made to discover and enjoy not only theworld that constantly surrounds him but also that otherworld created by his pratibha or imagination. (Cooper2000, p. 25)

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12 Bibliography Bee, Harriet Schoenhotz; Hellczer, Cassandra; Mc-

Fadden, Sarah, eds. (2013). MoMA Highlights: 350Works from The Museum of Modern Art, New York.The Museum of Modern Art. ISBN 978-0-87070-846-6.

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Biswas, Moinak (2007). In the mirror of an alter-native globalism: the neorealist encounter in India.In Ruberto, Laura E.; Wilson, Kristi M. Italian Neo-realism and Global Cinema. Wayne State UniversityPress. ISBN 978-0-8143-3324-2.

Chapman, James (2003). Cinemas of the World:Film and Society from 1895 to the Present. Reak-tion Books. ISBN 1-86189-162-8.

Cooper, Darius (2000). The Cinema of Satyajit Ray:Between Tradition and Modernity. Cambridge Uni-versity Press. ISBN 0-521-62980-2.

Corrigan, Timothy; White, Patricia (2012). TheFilm Experience: An Introduction. Bedford/St. Mar-tins. ISBN 978-0-312-68170-8.

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Das Gupta, Chidananda (Autumn 1980). NewDirections in Indian Cinema. Film Quarterly(University of California Press) 34 (1): 32.doi:10.1525/fq.1980.34.1.04a00070. ISSN 0015-1386. OCLC 1569205.

Ettedgui, Peter (1999). Cinematography: Screen-craft. Focal Press. ISBN 0-240-80382-5.

Gokulsing, K. Moti; Dissanayake, Wimal (2004).Indian Popular Cinema: A Narrative of CulturalChange. Trentham Books. ISBN 1-85856-329-1.

Gokulsing, K. Moti; Dissanayake, Wimal (2013).Routledge Handbook of Indian Cinemas. Routledge.ISBN 978-1-136-77284-9.

Gooptu, Sharmistha (2010). Bengali Cinema: 'AnOther Nation'. Routledge. ISBN 978-0-203-84334-5.

Gugelberger, Georg M. (1996). The Real Thing:Testimonial Discourse and Latin America. DukeUniversity Press. ISBN 978-0-8223-1844-6.

Gulzar; Nihalni, Govind; Chatterjee, Saibal (2003).Biographies. Encyclopaedia of Hindi Cinema.Popular Prakashan. ISBN 81-7991-066-0.

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Pratt, Douglas (2005). Doug Pratts DVD: Movies,Television, Music, Art, Adult, and More!. UNET 2Corporation. ISBN 978-1-932916-01-0.

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Ray, Satyajit (1996). My Years with Apu. PenguinBooks India. ISBN 978-0-14-024780-0.

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Robinson, Andrew (1989). Satyajit Ray: The InnerEye. University of California Press. ISBN 978-0-520-06946-6.

Ruberto, Laura E.; Wilson, Kristi M. (2007). ItalianNeorealism and Global Cinema. Wayne State Uni-versity Press. ISBN 0-8143-3324-9.

Santas, Constantine (2002). Responding to lm: AText Guide for Students of Cinema Art. Rowman &Littleeld. ISBN 0-8304-1580-7.

Seton, Marie (2003). Portrait of a Director: Satya-jit Ray. Penguin Books India. ISBN 978-0-14-302972-4.

Teo, Stephen (2013). The Asian Cinema Experience:Styles, Spaces, Theory. Routledge. ISBN 978-0-415-57146-3.

Wood, R (1972). The Apu trilogy. November BooksLtd. ISBN 0-85631-003-4.

13 External links Pather Panchali at the Internet Movie Database Pather Panchali at the British Film Institute's Film

and TV Database

Pather Panchali at AllMovie Pather Panchali at Rotten Tomatoes Pather Panchali at Ray Film and Study Collection

University of California Santa Cruz

12 14 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

14 Text and image sources, contributors, and licenses14.1 Text

Pather Panchali Source: http://en.wikipedia.org/wiki/Pather%20Panchali?oldid=656743441 Contributors: SimonP, Ronz, CatherineMu-nro, Lumos3, Orangemike, Gzornenplatz, R. end, Girolamo Savonarola, Huaiwei, Timothy57, D6, Discospinster, Alren, Kwamikagami,Circeus, NetBot, Axl, Grenavitar, Kusma, Ghirlandajo, Mel Etitis, Shreevatsa, AshishG, Shmitra, BD2412, Dwaipayanc, Dvyost, Noirish,Rjwilmsi, Koavf, Abhowmick, K2wiki, EamonnPKeane, YurikBot, AKeen, Tony1, SameerKhan, CapitalLetterBeginning, Gppande, Davi-dals, Jeremy Butler, NeilN, Sardanaphalus, SmackBot, Classiclms, Jagged 85, Viva-Verdi, NoIdeaNick, Anoopkn, WoodElf, Ohconfucius,Mr Stephen, SeL, Thedemonhog, Jedgeco, Basawala, Crookshankz227, Doctormatt, Lugnuts, Thijs!bot, Wikid77, Aung Phyoe, Nick Num-ber, Scottandrewhutchins, Dr. Blofeld, Wise1967, Andrzejbanas, Akanksha arora, Ekabhishek, Skomorokh, Brandt Luke Zorn, Kuaichik,Rimibchatterjee, Hekerui, Tuncrypt, Dharmadhyaksha, Dudewheresmywallet, Cop 663, RoyBatty42, Nemo bis, Plasticup, Shshshsh,GrahamHardy, Redtigerxyz, Tertulius, VolkovBot, Bovineboy2008, Kyle the bot, Ss07, Rlendog, Yintan, Goustien, Aspects, Light-mouse, Polbot, Stfg, Efe, Sdavidpaul, ImageRemovalBot, Thinking-ape, , Otolemur crassicaudatus, Piledhigheranddeeper,Cirt, SamuelTheGhost, Mspraveen, DragonBot, Alexbot, Gobeshock Gobochondro Gyanotirtho, SchreiberBike, Dana boomer, Ubitt, In-dopug, LuciferJ, GDibyendu, Luwilt, Addbot, DOI bot, KnowledgeHegemonyPart2, Debloper, Download, Tassedethe, WeePoochy, Zor-robot, Luckas-bot, Themfromspace, AnomieBOT, Citation bot, Veritasmaximal, Kingusher1, ArthurBot, LilHelpa, Xqbot, Capricorn42,Belamorreia, J04n, Gumul, MerlLinkBot, Proneto, FrescoBot, D'ohBot, Arfaz, Lightlowemon, Walkingtalkingmammal, Dinamik-bot,RjwilmsiBot, EmausBot, Dylanexpert, Vensatry, Bollyje, H3llBot, AndrewOne, Yplee, AbsoluteGleek92, Vivvt, RajaNeela1993, Secretof success, Helpful Pixie Bot, Titodutta, Kailash29792, Krimuk90, Gabriel Yuji, Snow Rise, YFdyh-bot, IndianBio, Brahma081, UgogNizdast, , SNUGGUMS, Suman Sen 303, Monkbot, Pratik Basu tkwbi, Ssven2, Pushpakan, Canycan and Anonymous: 60

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