Apu Trilogy: Death Shapes the Future

Since films have come into existence, they have been regarded as one of the most important art forms. After being influenced by the Italian Neo-realism film movement, some noted filmmakers from India started making films in the late 50s- which are popularly known as Parallel Cinema. Satyajit Ray’s The Apu trilogy was one of the pioneering trilogies of that film movement. Through his films, Ray has portrayed the conventional essence of Bengali culture. As Mr. Ray’s films are seen as identical to historical records, indisputably, Apu Trilogy examines the socio-economic harmony, followed by the emergence of newly Bourgeoise society in India. Other than that, the uses of settings, different characters, dramatic structures and dialogues in the trilogy illustrate the position society gets into- where the rich get the most of every good thing and poor become poor. It is a Ray’s portrayal of a devastated society which has transformed gradually with the touch of the ‘bourgeoisie-based capitalist mentality’ and modernity. Apu. Mr. Ray has brought different spheres (including birth, childhood, and adulthood) of Apu’s life into celluloid through these three films. Every character of the trilogy is interconnected in a way, where every single change or incident of anyone put impacts on everyone. Adding to the fact that the trilogy can be termed as a Bildungsroman, as it elucidates the story of a young boy’s life- facing confrontation with many pivotal responsibilities since his childhood(let’s not talk about this today).

Highlighting the life of Apu, Satyajit Ray with his mastery tells the story of insufficiency of food, money and the consequences of being underprivileged in society. Incidents like Durga being accused of stealing (from a family orchard, which was owned by them once), Indira Thakuran facing difficulties to find a roof to stay, Apu’s father not earning enough money despite being an educated person and in the end moving to a different city, leaving behind all the ancestors just only to have food- draws the picture of a ruined society where subordinated people cannot fulfill their basic necessities. After the rule of 200 years by the British, what they left- was nothing but a society where Indians started acting like British and did what they learned from their colonizers. Time plays an interesting role in any Bildungsroman, so does with Apu Trilogy. Being an epic, the trilogy highlights an indication of India being sub- ordinated to the British to becoming one of the world’s biggest democracies. The narrative style that Ray had chosen was progressive. Difficulties will come and may appear at any time- but there is no way back.

The fact Mr. Harihar not asking for his wages despite being under supreme debt, not asking complementariness(like sweets) in return of his service- illustrates their immense principles. Another particular scene that demonstrates their strong moral ethics, despite getting so much hatred, Apu’s mother lends her help to the neighbor in their family programs.

Satyajit Ray, in his book, explains the journey he had to portray the story of Apu through the camera, which was adapted from Bibhutibhushan’s story. He explained how hard it was for him, to tell the story of a poor family- although he has never faced a scarcity of food in his life. Despite spending his life in the city, he had to beautify the scenery of the village through his camera. On top of that, Bibhutibhusan’s explanation of the scenario was so explicit that it was hard for Satyajit to give proper tribute to his writing through his film. He further added, while the film was released in foreign countries, the feedback was not wholly welcome. The reason behind that, People from the west were not prepared to accept the circumstances, which were the result of colonial rule for 200 years. The scene where Indira Thakuran(aunt of Apu) eats food with her hands, left many audiences awestruck. They could not bear the scene, hence, many of them left theatres during the screening of the film. This incident, subtly, signifies how the rich people looked upon the substandard, where they could not tolerate their eating procedure. Surprisingly, when Ray was asked about this, he never expressed whether he sees it as a failure or success.

The first of the trilogy started with the scene where a woman complaining to another woman about Durga(Apu is not born yet). Durga is a little girl, and at that age, she does not even know what stealing is. Following that, we get to know Apu’s father, an educated person who is looking for jobs. Though there were few amounts of educated people in that village, still Apu’s father was facing a crisis in finding a job. This cacophony in the society demonstrates the disharmony it can have, where education has very fewer values- only rich get the actual benefit. On top of that, the presence of another member(Indira Thakuran) in their house, is more like a liability to their poor family. Though they can not bear the extra expenses of another person, they can not tell her directly to leave their house. So, when Sarbojoya finds out the Durga steals fruits for her aunt (Indira Thakuran)- she realizes that this is the chance to tell her sister- in-law to leave the place. With all these, Apu was born- and despite all the problems, Apu’s father wants to invite people for a meal. However, following some incidents, Durga died and the tranquility of the family breaks into pieces. In Aparajito, Satyajit Ray portrays the maturation process of Apu through the touch of Varanasi city at first. Apu, aged 10, is having a good life in a new city. His family starts recovering from the catastrophe and starts to witness a good phase of change in their lifestyle. Nonetheless, that did not last long as Apu’s father died suddenly. Talking about Aparajito, master filmmaker Mrinal Sen says “Honestly, from none of Ray’s other films did I get so much of a punch as I got from Aparajito on my first viewing, and continue to get even now (Robertson 110)”. Aparajito, undoubtedly, not as lyrical as Pather Panchali, but characterization has the deepest connection among all the other films. Now, talking about The World of Apu, it is the most moving and influencing film of the trilogy. Robin Wood, a famous writer in his book The Apu Trilogy writes “surely one of the most moving films ever made (35)”. From my personal point of view, The last part of the trilogy is the most furnished film based on story-telling, making, and emotions. In this part, Apu makes a decision to get married to Aparna, after facing an excessive dilemma. The result of that decision, Apu receives an accomplice and again, starts witnessing a positive change in his life. Apart brings returned the calmness in his life, that was long lost.

Through three films, Satyajit Ray depicted three distinct relationships of Apu and his life. The first installment of the trilogy Pather Panchali delineates the relationship between Apu and Durga. Apu follows everywhere Durga goes, he is like the ideal disciple of Durga. The moment when Durga brings Apu to witness the train was the heartiest moment of the film. Ray transfers the clarity of the inter-relationships of Harihar through these few scenes. Pather Panchalielucidates unsophisticated human beings by evoking the message of family sophistication, and without a hint of disdain. Satyajit Ray, with the powerful control over subtle narrative story-telling, brings forth two different emotions in a single frame. Consider the scene, where Indira Thakuran died, the scene started with Durga and Apu enjoying their moment in the fullest, ended up Indira Thakuran falling on the ground. For a moment, it seems Sarbojoya(Apu’s mother) is the reason for Indira Thakuran’s death, but it is not. It is the society, where feeding one more people seems like facing nether regions. The scarcity of food, shortage of money and basic necessities- led them taking such hard decisions to not give shelter to an older woman. On top of everything, When Harihar goes to the city for earning better, he could not be able to contact and send money to his family properly. Then when the most crucial moment arrived of Durga’s death, they had no money, no belongings. In the second part of the trilogy, the mother-son relationship gets highlighted. Apu’s mother’s sacrifice for the betterment of Apu’s life is unconditional and uncountable. So, when Apu decides to city, she denied at first and then realizes she does not hold the authority of Apu’s life solely anymore. Eventually, the distance gets bigger both externally and inherently. Robin wood explains in Aparajito, the focus is on the slow but inevitable disintegration of a seemingly unalterable relationship, with constant stresses and strains acting within, and the eventual discovery of the son’s new moorings in a metropolitan setting (23)”. After a considerable time, she died after suffering a lot, but still, she did not want to force Apu to come here. Lastly, in the last installment, we see Apu as an adult person, who does not want to work on daily-jobs, rather wants to focus on literature and writings. He has no one but only books. Doing one or two tuitions, lending jobs, being a bachelor- this is all his life. The person who does not even want to marry wants to write a love story. He believes, a good writer can tell a story of love even without not falling in love for once. Ironically, Apu gets married to Aparna and his life starts blooming. However, that also did not last long because Aparna embraced death while giving birth to their son (Pulu). This film particularly focuses attention on the husband-wife relationship which later transformed into father-son alliances. According to Satyajit Ray, “The fact of the death of the wife in childbirth is obviously a traumatic experience for him. He’s absolutely shattered by the death because it happens so quickly (120)”

It is clear that Satyajit Ray illustrates three different relationships of Apu’s life, and surprisingly, all these three ended up by the death of the other persons. In all these prospects, Apu did not have any choices, he or his family member had to go after earning money, which eventually brings these conclusions. Astonishingly, Apu could not attend any of this death, except the fact that he was sleeping and was way too young during Durga’s death. Despite all these reasons, Satyajit Ray ended each film with a little glimpse of hope. Mostly, hope is- having a better life in the city. Having said that, throughout the trilogy, City plays a consequential role in each film. For instance, if we look into all the three important deaths- where were the actual breadwinner of the family, be it Apu or his father? They were in the city, at those moments, to earn better and to have a better life. So here, city life actually brings the intrusion in the family bondings. City life represents a luxurious life, where only Rich people leads the life. Except for the rich, all the other people lead a life for the Rich. This is where Satyajit Ray gives a hint about how city life eventually and gradually becomes a stature of a better life, and how that stature eventually breaks the traditional bonding and specialty of a normal family.

I have always been an admirer and follower of Satyajit Ray’s work. While working on this paper, I discerned his mastery and understanding of filmmaking and arts. Through his portrayal of characters and settings, he sheds light on the verifiable state of affairs of different societies. Apu is not merely a character, he is the statuette of a post-colonial society. If Ray paints the sufferings of loss, the painting includes the colors which represent the human potentiality to grow with experience. The Apu Trilogy is seen as historical documents, but to be honest, it is more than that. The Apu Trilogy does not tell the stories of poor people but talks about people who happen to be subordinated. Each installment shows the real scenario of different societies, where a shortage of food, scarcity of money, the inadequacy of job- are a regular companion. Still, a symptom of hope is shown at each end- which carries the later installment of the film.

But, we do not know- what the future holds of Apu and his son Pulu. They went to the city, do City life bestow themselves with better opportunities? We never know, we can only assume. We can never know what the future holds for us as it is uncertain and harsh. These findings have brought me closer to reality and life. Undoubtedly, Satyajit Ray, through his mastery, depicts the post-colonial Indian society and its problematic transitions with the touch of the bourgeoisie based capitalist mentality.