Tag Archives: Pather Panchali

Manas Mukul Pal's debut feature Sahaj Pather Gappo released in September 2017 is quite different from the popular or even the parallel trends in Bengali cinema. It is refreshingly different in spite of its weaknesses. Silhouette editor Amitava Nag writes a critique (but not a review) drawing parallels with a Tamil film Kaaka Muttai which...

An Unfilmed Visual Script: Satyajit Ray’s Ravi Shankar is a very different and special book. It embeds within itself, a 32 page drawing book containing more than a 100 sketches by Satyajit Ray of sitar maestro Pandit Ravi Shankar playing the sitar on a stage. The drawings capture the mood of the musical flow through form (shape) and suggested movement....

This was no traditional screenplay. Satyajit Ray 'drew' the script of his first film Pather Panchali in a sketch book, using the sketches as a visual guide when he started shooting eventually. The Pather Panchali Sketchbook recently published by Harper Collins Publishers India in association with the Satyajit Ray Society was launched...

The Society for the Preservation of Satyajit Ray Archives commemorated 60 years of Pather Panchali with a seminar. A report on the star-studded event,

On reading Pather Panchali one cannot help feeling that Bibhuti Bhushan’s construction of Apu has given Ray an understanding of child psychology. Most importantly, Ray imbibed from Pather Panchali, the leit motif of his body of films. This recurring motif is Apu. We encounter Apu not only in Apu trilogy, but also in Pratidwandhi, Seemabaddha and his...

As the years passed, I began to feel that the main character in several of the following movies of Satyajit Ray could be seen as a figure of Apu proceeding on his journey of discovery in the world and establishing new relationships with others. He became also a sort of model for many of us to imitate until one could see him in Manomahan Mitra (The Lovely...

The quest to create strong, powerful and most importantly - relevant visual syntax for the written word is alive in every serious director working in the medium today.

In the works of Ray himself we will find that he made black-white after making films in colour as well, to him, it’s the subject which demands the medium and the treatment.