Apur Sansar

Plot

Apu, now an unemployed university graduate living in a Kolkata boarding house, dreams of becoming a writer while struggling to find meaningful employment. When his friend Pulu invites him to attend a village wedding in the countryside, Apu reluctantly agrees, only to find himself unexpectedly thrust into marriage when the groom is discovered to be mentally unstable. Apu marries the bride Aparna, and their relationship blossoms into a deep, tender love as they build a life together in a small apartment. Tragedy strikes when Aparna dies during childbirth, leaving Apu devastated and abandoning their newborn son Kajal. Years later, overcome by guilt and longing, Apu seeks out his son and the two begin the difficult journey of reconnecting, finding hope and renewal in their relationship as Apu finally accepts his role as a father.

Historical Background

Apur Sansar was released in 1959, twelve years after India's independence, during a period of significant cultural and artistic renaissance in the country. The film emerged from the Indian Parallel Cinema movement, which sought to create an alternative to the commercial Bollywood films that dominated the industry. This movement was heavily influenced by Italian neorealism and French poetic realism, focusing on social issues and realistic storytelling. The late 1950s also saw India establishing itself as a newly independent nation grappling with questions of identity, tradition versus modernity, and the challenges of development. Ray's trilogy, culminating in Apur Sansar, captured this transitional moment in Indian society, depicting the journey from rural village life to urban modernity. The film's international success came at a time when world cinema was becoming increasingly globalized, with film festivals in Venice, Cannes, and elsewhere providing platforms for non-Western cinema to reach international audiences.

Making Of

The production of Apur Sansar was marked by significant financial hardship. Satyajit Ray had already invested his personal savings into the first two films of the trilogy and struggled to secure funding for the conclusion. During filming, Ray ran out of money completely and had to halt production for several months. He eventually received a loan from the West Bengal government, but it came with strict conditions. The casting process was equally challenging - Ray searched extensively for the right actor to play the adult Apu before discovering Soumitra Chatterjee, a theater actor who perfectly embodied the character's intellectual yet vulnerable nature. For the role of Aparna, Ray initially considered several established actresses but ultimately chose the completely inexperienced Sharmila Tagore after being struck by her natural beauty and innocence in a photograph. The chemistry between the leads was so authentic that many viewers believed they were actually married in real life. Ray worked closely with cinematographer Subrata Mitra to develop the 'bounce lighting' technique, which allowed for more natural-looking indoor scenes without the harsh lighting typical of Indian cinema at the time.

Visual Style

Subrata Mitra's cinematography in Apur Sansar revolutionized Indian film photography through his innovative 'bounce lighting' technique, which involved reflecting light off painted surfaces to create soft, natural-looking illumination for indoor scenes. This approach allowed Ray to shoot in real locations rather than studio sets, enhancing the film's realism. Mitra's use of natural light, particularly in the outdoor scenes, created a luminous quality that captured the essence of rural Bengal. The famous train sequence, shot with available light passing through the windows, exemplified Mitra's ability to create poetic imagery from everyday situations. The camera work throughout the film is characterized by its observational quality, often maintaining a respectful distance from characters while capturing intimate moments. Mitra's compositions frequently used doorways and windows to frame subjects, creating visual metaphors for the boundaries between different worlds. The cinematography evolves with the story's emotional arc, from the bright optimism of Apu and Aparna's courtship to the shadowed grief following her death, ultimately resolving in the hopeful light of the final scene.

Innovations

Apur Sansar pioneered several technical innovations that would influence Indian and world cinema. Subrata Mitra's development of bounce lighting allowed for more naturalistic indoor cinematography, breaking from the harsh, artificial lighting typical of Indian films. Ray's use of sync sound recording was relatively advanced for Indian cinema at the time, contributing to the film's realism. The production team developed lightweight camera equipment that allowed for greater mobility in location shooting, particularly important for the rural sequences. The film's editing, done by Ray himself, employed a rhythmic pace that matched the emotional flow of the narrative, using longer takes to allow performances to breathe. The sound recording techniques used in the train sequence were particularly innovative, capturing both dialogue and ambient sounds authentically. Ray's use of actual locations rather than studio sets was revolutionary for Indian cinema and required creative solutions to technical challenges. The film's post-production process, including its careful sound mixing and color timing (for the few color sequences), set new standards for technical excellence in Indian independent cinema.

Music

Ravi Shankar's score for Apur Sansar represents a landmark collaboration between two of India's greatest artistic minds. Shankar composed the music in just two weeks, working closely with Ray to create a soundtrack that perfectly complemented the film's emotional journey. The score prominently features the sitar, Shankar's signature instrument, but also incorporates traditional Bengali folk elements and Western classical influences. Rather than providing constant background music, Shankar's compositions are used sparingly but powerfully, highlighting key emotional moments. The theme music for Apu and Aparna's relationship is particularly memorable, using a simple sitar melody that evolves throughout their courtship, marriage, and beyond. The score's minimalist approach reflects Ray's overall aesthetic philosophy, with music serving to enhance rather than dominate the narrative. Shankar's use of silence is as important as his use of sound, particularly in scenes depicting Apu's grief. The soundtrack was later released internationally and helped introduce Indian classical music to Western audiences, predating Shankar's own global fame in the 1960s.

Memorable Scenes

• The train journey where Apu and Aparna fall in love, shot with natural light passing through the windows as the countryside rushes by
• The wedding scene where Apu, initially reluctant, sees Aparna for the first time and is immediately captivated
• The intimate moments between Apu and Aparna in their small apartment, showing their growing love through simple domestic activities
• Apu shaving his beard after Aparna's death, a powerful visual representation of his grief and transformation
• The scene where Apu abandons his newborn son, heartbreakingly depicting his inability to face his loss
• The emotional reunion between Apu and Kajal years later, with the child initially rejecting his father
• The final scene showing Apu and Kajal walking away together into the sunset, symbolizing hope and renewal
• The montage of Apu's writing career struggles, intercut with his personal journey

What Critics Said

Upon its release, Apur Sansar received universal critical acclaim both in India and internationally. Western critics praised Ray's humanistic approach and the film's emotional depth, with The New York Times calling it 'a work of cinematic poetry' and Cahiers du Cinéma declaring it 'one of the most moving films ever made'. Indian critics were equally enthusiastic, with The Statesman writing that Ray had 'created a masterpiece that will stand as a testament to Indian cinema for generations to come'. The film's emotional authenticity, particularly in its portrayal of grief and redemption, was widely celebrated. Over the decades, the film's reputation has only grown, with modern critics consistently ranking it among the greatest films ever made. Roger Ebert included it in his 'Great Movies' collection, calling it 'a film that achieves a state of grace'. The British Film Institute ranked the complete Apu Trilogy among the top 100 greatest films of all time, while Sight & Sound's 2012 poll of critics placed it among the top 50 films in cinema history.

What Audiences Thought

Initial audience reception in India was mixed, as the film's realistic style and slow pacing contrasted sharply with the popular musical extravagances of Bollywood. However, it found an appreciative audience among educated urban viewers and film enthusiasts. Internationally, the film resonated strongly with art house audiences who embraced its universal themes and emotional authenticity. Over time, as the trilogy's reputation grew, Apur Sansar developed a devoted following worldwide. The film's emotional power, particularly its depiction of Apu's journey from grief to redemption through fatherhood, continues to move audiences deeply. Modern audiences often discover the film through film studies, retrospectives, or streaming platforms, with many reporting that its themes of love, loss, and healing remain remarkably relevant today. The film's ending, showing Apu and his son walking together into the future, is frequently cited as one of cinema's most hopeful and emotionally satisfying conclusions.

You Might Also Like