It's pretty clear what's going on, but by never actually showing it happen, Ray makes the excellent scene in which Harihar learns of his daughter's death that much more devastating (seriously, I think that may have been one of the saddest scenes I've ever seen in a film). Ray does an excellent job in this film of having things happen and having the audience know that they happen without actually showing them. It always seems to me that the some of best directors are the ones who can do this (another example is Ingmar Bergman in The Seventh Seal), and when done right it can really make a film great. Characters like Indir had me laughing out loud quite a few times. It's just life, as it really happens.Īiding the "life as it really happens" thing was a damn good mixture of comedy and drama.
APU PATHER PANCHALI FULL
Apu's childhood is neither full of the intense youthful happiness that far too many directors depict childhood with, nor is it overly full of despair and tragedy. To me, the film felt similar to my favourite film, The 400 Blows, in that way, how it depicts childhood without being overly sentimental. It's such a subtle, human film, effortlessly depicting the life of a young boy. Ray's biggest influence at that point - Italian Neorealism - very clearly shows through. It blew me away far, far beyond what I was expecting. I was lucky enough to see Pather Panchali at the Film Forum a few weeks ago (came all the way up from southern PA for it, in fact).
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