An ode to Pather Panchali

Jaara pore elo aage gelo ...
Hori din toh gelo, shondhe holo, paar koro na amaare.

Those who came before are gone
Am left behind a penniless beggar
Day draws to its close, night's mantle descends
Row me to the other side

These lines hummed by Indir Thakrun (the sister-in-law) leaves in me lingering memories, every time I see the movie Pather Panchali. Satyajit Ray painted a poignant picture of rural Bengal in the 30's through the eyes of a family, epitomizing the most consummate characterization ever portrayed on celluloid. Despite poverty, death, altercations, concealed suppressed wishes and dreams, vulnerability and profound grief the movie brings out the joys in simple things of exploring the jungles, of watching a distant train, of stealing mangoes, of a getting wet in the first rains, of sibling love and affection, of self respect and dignity, of festivals, forests and rivers, and a gamut of emotions.

I got drawn to Satyajit Ray's films (being an avid reader of his literary work later on) when Doordarshan showed a series of Ray movies when he passed away in '92. I was in std 9 and kept awake late to watch all the movies telecasted. What I best liked about his movies was the simplicity of the screenplay and yet the complex and intricate connotation in the characters lying underneath leaving a vivid impression long after.

Pather Panchali (The song of the road) features Apu (the protagonist) through his birth and childhood and his later life through the sequels/trilogy of Aporajito (The unvanquished) in his adolescence and Apu'r Sonsar (The world of Apu) the family man. Pather Panchali is about Durga the daughter of Sorbojoya and Horihor, a brahmin, Indir and the evolving character of Apu and his vivid observations.

Indir personifies the ego and self respect of a geriatric widowed lady who suffered her entire life and is now nearing her end. The dignity with which she walks away in vitriol from Sarbojoya's house because of constant beleaguering and tart remarks is stirring. She packs her paraphernalia (a small pack of clothes and a mat) and leaves Horihor's house the first time, only to come back on hearing Apu's birth. The second time she leaves forever. Durga and Apu on their way back from watching the Train find her dead. Durga watches in disbelief. She portrays the agony of a widowed outcaste and yet the inherent enthusiasm, the child like joy and the glimmering eye every time Durga steals fruits from the neighbour's garden and gifts her. She requests for a blanket because it is getting cold and is ecstatic when she gets one from a distant relative, flaunting it to all. Her smile speaks a thousand words bringing hope in despair. A classic portrayal by Chunibala Devi.

Durga is the central character. She epitomizes abundance of energy, innocence, mischief and zeal, while at the same time profuse love for her brother Apu. She has a soft corner for her Aunt Indir and steals mangoes for her. She has a look of disbelief and grief in her eyes on seeing the tragic death of Indir. Her adolescence and innocence is portrayed while she watches the marriage rituals her friend, their secret picnic in the forests, her stealing of mangoes for her aunt, their secret mission of watching the train they have never seen before, their following the sweet vendor with the dog behind and the wonderful scene of her secretly getting wet in the first rains. Soon after she contracts malaria and falls severely ill. The symbolic burn out of the diya is atypical of numerous movies but the effect can be felt only through a Ray movie; the feeling of being part of the dimly lit room throughout the night, with the storm outside creating an eerie air, sitting along with Sarbojoya treating Durga through the night, but waiting for it all to end. Apu watches with incredulity when he sees her beloved didi pass away. The next day he combs his hair on his own with deep anguish in his eyes at the loss of his sister. Uma dasgupta brought alive Durga.

Sorbojoya carries her daily chores with occasional gripe. She has lots of unfulfilled wishes. Lot of things she wants to do in life...ami onek kichu korte chai. She loves her children immensely and goes on sparse meals herself to feed them. Initially she hides Durga’s demise when Horihor is back but not for long. She cries hysterically in desolation when telling Horihor about the death of their daughter.

Pather Panchali was made on a shoestring budget (later funded by the government) with actors who had little or no acting expertise, with no formal script written (made with scribblings of Satyajit Ray), an ill Chunibala Devi and several other adversities. Finally made, the film was for the world to see and admire through generations.

PS: I keep Apu’s character for Aporajito.