The great, sad, gentle sweep of "The Apu Trilogy" remains in the mind of the moviegoer as a promise of what film can be. Standing above fashion, it creates a world so convincing that it becomes, for a time, another life we might have lived. The three films, which were made in India by Satyajit Ray between 1950 and 1959, swept the top prizes at Cannes, Venice and London, and created a new cinema for India whose prolific film industry had traditionally stayed within the narrow confines of swashbuckling musical romances. Never before had one man had such a decisive impact on the films of his culture.
Satyajit Ray, a name that needs no introduction. An Indian filmmaker, screenwriter, documentary filmmaker, author, lyricist, magazine editor, essayist, calligrapher, illustrator, and music composer. He made many wonderful creations in the world of cinema and created a new wave in Indian cinema. He directed the films that passed a message and he will be remembered forever. On
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100 Years of Satyajit Ray: a tribute to The Apu Trilogy
May 2, 2021, saw the start of celebrations of the 100th birthday of the great Bengali filmmaker,
Satyajit Ray. Ray’s films were probably amongst the earliest Indian films I’d seen, long before Bollywood would grab my attention. I love many of Ray’s films:
Devi from 1960 (starring the sublime Sharmila Tagore) is a particular favourite, and is a commentary on religious devotion and fundamentalism, and, particular, on a system that both places women on pedestals as goddesses even as it removes their agency and represses them.
Charulata (apparently the film Ray himself cited as his own favourite of all his films) is an exercise in subtle storytelling and gave us the irrepressible Amal, played by Soumitra Chatterjee, who literally stole my heart in so many films. But no Ray film touches my heart so completely as do the three films in the