High-rated movies with very few views. Suggestions are welcome.
The World of Apu
Apu is a jobless ex-student dreaming vaguely of a future as a writer. An old college friend talks him into a visit up-country to a village wedding....
"Who are you?"
"I'm your friend."
I've been living in Austin for the past 7 years. 6 years ago, I met Andy. Andy and I started seeing each other and become more and more serious. We moved in together. Andy supported me as I started my transition. I supported Andy as they went to school. We helped each other grow and constantly taught each other new things. Things weren't always good but we always loved each other and tried to support each other as much as possible.
Andy has a young son. When we first met, Isaac was only a year old. He's 7 now, almost 8. Isaac is a great kid. He loves video games and board games. He…
If there's one word that would best describe Satyajit Ray's Apu Trilogy that would have to be universality. Which is all the more impressive when considering that the movies are so deeply rooted in Indian (and Bengali) culture and traditions. Everyone can identify with the characters in the movies, with the decisions they make, with the difficult moments they go through, with the emotions they feel, as they capture the human nature in a genuine and primal form. A true master when it comes to exploring the human condition, Satyajit Ray creates moments that feel very natural but moments that have layers upon layers of subtly different nuances. It doesn't matter if a scene shows a mundane activity or if…
Included In Lists:
Sight and Sound Top 250 - #245
Review In A Nutshell:
The World of Apu is the third film from Satyajit Ray's Apu trilogy. After the slight disappointment with the second film, as compared to the brilliant first film, my expectations for this one wasn't really high and predicting that I would come out of it lukewarm. The World of Apu proved me wrong as it delivers something much more entertaining, personal and balanced than what was shown in Aparajito, but sadly couldn't reach the power that the first film was able to establish.
Explaining the plot of The Apu trilogy is unnecessary as this isn't a sort of film that contains a certain goal or objective,…
Chatterjee and Tagore have an electric chemistry from their first moments together, a tentative wedding night scene that takes place in an elaborately decorated bedroom. She stands still, expectant, on one side of the bed, while Apu paces back and forth on the other, asking across a sea of expensive fabrics and beads, “Can you live with a poor husband?”
Full review here.
Durante toda la película traje en la mente la frase "life's a bitch and then you die", pero a final de cuentas, la cosa termina bonito. Life's a bitch, and then... it's not. And then it is a bitch again. Y así sucesivamente. Qué mejor retrato de la realidad.
Hermoso cierre de la trilogía.
"Blending elements of lyricism and bitter realism, Apu Sansar finally grasps for the existential. But one thing remains constant through Ray’s mise-en-scéne: he uses the tools learned as a graphic designer to create direct and clear narrative intentions while also forming gorgeous images."
My Bergman reference was tossed from the final draft, and I'm not sure this entirely works, but I think few would disagree the marriage montage may be the best moment of the entire trilogy. The whole "wander the desert" perhaps needed the hand of a Ghatak to really create the spiritual weight (Ray, like the contemporaries he often gets paired with, is just a bit too much of an image-maker sometimes). Nonetheless, the ending moment is the perfect amount of pathos and uncertainty, while finding what the essence of this bildungsroman. More from my Aklasu column.
"He doesn't run away. He wants to live"
In the final instalment of the Apu Trilogy, director Satjayit Ray attempts to bring everything full circle.
The scene directly after the opening credits shows a curtain billowing desperately against the force of a storm, just like the one in Apu's childhood home in the first film, Pather Panchali.
Apu is a man now but he still has plenty of growing up to do.
The previously winning protagonist spends the majority of the film reciting poetry on a whim and speaking of his future greatness bound to be bestowed just by virtue of living.
Apur Sansar isn't exactly a disappointing endnote to the series, but it does feel like an ordinary and…
O mais fraco da trilogia, mas ainda assim um belíssimo filme. Se em Aparajito parte do drama é intensificado pelas lembranças do primeiro filme, Apur Sansar me parece mais deslocado, buscando seu próprio universo dramático. Talvez por isso a perda, algo constante em toda a trilogia, não tenha o mesmo peso como nos demais filmes.
Ainda assim é recheado de momentos sublimes, como as cenas no apartamento entre o casal e a conciliação entre pai e filho nos minutos finais.
For ever and ever I will never not be wrecked by this movie.
What a beautiful ending of the story.
You could fill buckets with all the different kinds of tears this film will have you pouring by the end!
Apu (now played by Soumitra Chatterjee) is fully grown and caught between his youthful energy and adult responsibilities, but this chapter takes the oddest turns in the series, with a sitcom-level contrivance (that nevertheless produces some magical moments with the wonderful 13-year-old actress Sharmila Tagore, who would go on to star in Ray's Devi the following year) and then an abrupt shift that intentionally goes nowhere, changing Apu's story from a universal-ish experience to a frustratingly specific one. The very end is falsely triumphant and weirdly myopic in its implications, with another abrupt and irreconcilable change in tone suggesting that Apu's ultimate journey had not been thought out very carefully.
Adult Apu is struggling with the difficulties of responsibility across various aspects of his life. As with the first two instalments in the trilogy, Satyajit Ray carefully develops Apu's character in a way that allows the audience to learn more and more about him through a very minimal (yet affective) plot. Apur Sansar perhaps lacks the emotional intensity of the first two films in the trilogy, but it makes up for that in that it is the most visually beautiful of the three. The actor playing adult Apu is my least favourite out of the three(?), but it's OK because Apu Jr is almost as cute as Apu in Pather Panchali.
The romance in the middle of this movie is so incredibly moving and endearing. Ray, in this trilogy, has depicted two of the most beautiful, resilient, charming, complex, achingly heart-wrenching women in the history of film with Apu's mother in Pather Panchali and Aparajito and Aparna in World of Apu. That scene in Aparna's bedroom while Apu paces and she just sits still is incredible.
Less epic in scope than the previous films, but still a treat with a typically elegant visual approach by Ray. A truly giddy moment came when Apu goes on his long walk in the woods to find himself. The narrative pauses and the only drama occurs on Apu's haggard, grieving face. Plus, it's a great excuse for Ray to get out of the city and film a poetic interlude showcasing the natural world.
I've enjoyed the Ray films for a lot of the same reasons I enjoy delving into Iranian or Japanese cinema - the stories are fictional but the physical environment is quite real and they provide a documentary of a certain time and place in an exotic land…
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