Friday, September 30, 2005

Aparajito and Ray's craft

Aparajito (The unvanquished, 1957) is perhaps the most accomplished of all Ray movies. The screen play, shot selections, techniques, characters and above all the specters of life and death are interwoven to create this timeless piece of art. It’s amazing to find Ray's precision of frame, space, speed, shot selection and the composition of individual scenes and how eventually they sequence themselves to perfection. In many ways this is a student's bible for film craft while establishing an august presence in the world of cinema.

“One must face the reality of life. The point in life is to live it.”
- Apu in Apur Sansar

The movie is the second part of Apu trilogy after Pather Panchali. In it Harihar arrives with his family in Benares after the death of his daughter and when the dilapidated house is ruined by rain. He ekes out a living at the banks of river Ganga as a priest where birth and death have an intermingled existence. Harihar's wife Sarbajaya continues to struggle in domesticity and to complete her misery, Harihar dies. She is forced to work as a part time maid. Fortunately she meets with a distant relative who invites her to his village where he trains Apu to become a priest. Apu joins the local school and turns out to be an outstanding student who would leave his mother for higher studies at Calcutta. His mother becomes increasingly isolated and falls sick. Apu returns home to learn that his mother is no more. Finally he packs his belongings to take the fight back at life.Ray’s adaptation of Bibhuti Bhushan Bandhopadhyay's novel was very specific in recreating its intrinsic qualities with a firm grasp on the Indian vision of life, death and the state of continuous flux where the human actors are seen in the middle of traveling. Rather than dwelling on the entirety, let me talk about three scenes that Ray composed to drive the point home.

Scene 1: Apu prances about at the ghat (river bank) among the teeming populace who came in to take a holy dip in the moving water and first hand brush with karmic cycles of life, death and penances in between. The camera slowly moves away from the family and languorously widens the scope of the frame to people indulged in various activities such as funeral rites and dips and then on to exercising wrestlers, static boats etc in medium shots. Camera then pans along ghat across and beyond the actions progressing in the foreground. You learn the concepts of the passage of time symbolized by the river, the montage of the discreteness of birth and death and their quantum effect in the grand scheme of life. All in a masterful composition created in the medium of cinema, besides the essentials of Hindu thought.

Scene 2: Harihar is dying. He asks for gangajal (holy water from the river Ganga). Apu is sent to the Ghat. He scampers through the alleys of Benares and before he runs back home, pauses a few moments to watch the wrestler exercising nearby. Cut to a shot where a dome hanging onto the edge of river with a large flock of pigeons gather and you sense the impending event. Sarbajaya lifts Harihar's head for Apu to pour water from the pail into his mouth. Harihar inhales the last breath and drops back on the pillow. Cuts back to the pigeons fly away in a sudden swirl and stir while the background score evoke an exact same effect. You learn that the death is but an infinitesimally momentary disturbance in the eternal flow of time. Also you sense the moral and political stance of his camera that stays engaged as a keen observer.

“Mother, do not call me from behind
Don’t let your tear fibrils tie my legs.

Tread back after the half shut door
These teary eyes don’t see any path.
These cursed times never end.”
- Balachandran Chullikad, Yathramozhi (Farewell)1

Scene 3: Apu leaves home for Calcutta in wonderment to discover the world beyond the rail tracks along the boundaries of village. He must tear himself from the old world and go through the painful process of transition which meant his mother once again is left behind. Even though she sports a brave face while preparing for Apu’s departure she is shaken by the impending desolation and solitude. Her health deteriorates even as a determined Apu labors through his night shift job at the printing press and intermediate course at the university. Apu stays back in Calcutta during a short recess and a haggardly Sarbajaya hovers by the door at the quadrangle of house, hoping her son would arrive.

The last train is seen whistling past from a distance. In her delirium she hears Apu’s voice. The camera stays still at a medium shot and then moves in for a close up of her expressionless face. Now she has a vision of her own death when the night at the front yard is set alight by a swarm of fireflies.

Ray gave us a classic and he kept the pedestal very high.

Note: 1. Noted Malayalam Poet.

Wednesday, September 28, 2005


There is this outline that envelops our being when someone views us. This outline is a function of the time space coordinates we meet in.

What if these are not the only dimensions that exist?

Will that not blow this outline away?

And recognise that there might be a continuum, rather than a discrete reality?

This exploration is what physicists and cosomologists explore.

Can it have any relevance to our day to day reality?

Is there a reference point within which is the observer? Who is that observer? and what does that observer see?

At what intersection does the observer collapse?

These are questions of identity, of self, and this exploration is probably the most exciting one there can be.

I welcome you to join us on this voyage of discovery. Others may have their own voyages but there will be paths we all cross.