Ray’s trilogy follows Apu as he matures into adulthood and moves to the big city, in Aparajito (1956) and The World of Apu (1959). Among the film’s intensely memorable moments is a scene in which Apu (Subir Banerjee) and his sister run through a paddy field to catch a glimpse of a passing train. Like Bimal Roy’s Do Bigha Zamin (1953), Pather Panchali announced the arrival of a humanistic, Calcutta-centred Indian art cinema, distinct from the commercial product of Bollywood. The prints of the Apu trilogy, of which Pather Panchali (Song of the Little Road - 1955) is the first film and Aparajito (The Unvanquished - 1956) and Apur Sansar (The World of Apu - 1959) being the others, was an important set that the world wanted to preserve. The three make up the highly acclaimed Apu Trilogy. Encouraged by Jean Renoir, whom he assisted during the filming of The River (1951), Ray set to work on an adaptation of a 1929 novel by Bibhutibhushan Bandopadhyay about a young boy growing up in an impoverished rural community. Satyajit Ray followed Pather Panchali with two sequels (Aparajito, 1956 and Apur Sansar, 1959). A human document of timeless simplicity and exquisite beauty.”Įphraim Katz, The Macmillan International Film Encyclopedia, 1998īengali film director Satyajit Ray was inspired by the example of Italian neo-realist films such as Bicycle Thieves (1948) to make his own low-budget, open-air drama painting a naturalistic portrait of ordinary lives. “Pather Panchali introduced Indian cinema to the West as cataclysmically as Kurosawa’s Rashomon had done for Japanese films.
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