...it is one of those greatest works of art..so lyrical yet so composed. there is one phrase that Ray has used extensively in his writings; something that his professor use to say when he was studying painting in Shantiniketan: "look at Fujiyama, Fire within and Calm without. There is the symbol of true oriental artist..." i think it best describes Ray's work where he suggests in his cinema enormous reserves of power and feelings which never spill into emotional displays.
the strength and variety of the cinematic craftsmanship in this film can be explored endlessly, but what strikes me the most, is the way his work has confirmed, sustained and nurtured the existence of an art form, western in origin, transplanted and taking root in Indian soil. in a way pather panchali is so 'rooted'. it is so earthy and 'regional' at core and may be thats why its 'international', may be thats why, despite being the product of its time and place it is universal in its appeal. the moods and moments that he creates are simply 'matchless'. so simple, and yet so profound. the Indir Thakuran sequences of the film remain for me the highest, noblest and rare expression of art in Indian films so far (except films by Ghatak and Mrinal Sen) The film induces a kind of contemplation and a sense of wonder, about the truth, individual and privet. almost without you being aware of it it opens windows to the truth that lies within and beyond the boundaries of cinema itself.
the strength and variety of the cinematic craftsmanship in this film can be explored endlessly, but what strikes me the most, is the way his work has confirmed, sustained and nurtured the existence of an art form, western in origin, transplanted and taking root in Indian soil. in a way pather panchali is so 'rooted'. it is so earthy and 'regional' at core and may be thats why its 'international', may be thats why, despite being the product of its time and place it is universal in its appeal. the moods and moments that he creates are simply 'matchless'. so simple, and yet so profound. the Indir Thakuran sequences of the film remain for me the highest, noblest and rare expression of art in Indian films so far (except films by Ghatak and Mrinal Sen) The film induces a kind of contemplation and a sense of wonder, about the truth, individual and privet. almost without you being aware of it it opens windows to the truth that lies within and beyond the boundaries of cinema itself.