Movie #33: Released in 1955, directed by Satyajit Ray, 125 minutes. New to me!

LetterBoxd score: 5 stars

For what felt like the first half of this, I was moderately engaged, but not particularly moved. I thought “well, maybe neorealist India was just very novel to film folks in the 1950s, and this developed a kind of cult following (with slightly eww exoticism undertones).” It was, you know, fine, especially if you go in expecting it to be a slice of life where not a ton happens. Which is broadly correct.

But then you have to admit, that kid Apu is filmed in a really gorgeous way. Then there are some scenes where the words disappear and the music takes over; you sit up a bit. But inch by inch, you’re also beginning to see everyone as a real person. Auntie endorses “harmless” stealing that maybe isn’t so harmless, but does it really rise above the level of annoyance? Harihar is the kind of person who is perpetually optimistic and laughs off trouble, when perhaps he better not. Sarbajaya is complex; stifled dreams, frustrations, but loves her children. Apu, a mostly happy little boy taking it all in. But my favorite of all was Durga, who just seemed full of life and spunk.

So when these characters begin to face real drama, it hit me hard; it was very real. By the time we got to the harrowing nighttime scene where Sarbajaya holds vigil over her sick daughter, trying to prevent her from catching a chill in the ramshackle house she has begged Harihar to fix up, in the middle of a storm; I was absolutely in it. When Durga died – I wiped a literal tear off my cheek.

The fallout was just as affecting. Apu getting ready for school – alone. You don’t realize what a pair those two are until you see him on his own. I’m choking up to think of it! Then when optimistic Harihar finally returns from his months long odyssey: oof. I want to see the sequels now.

Why would someone think it’s one of the ten greatest movies ever made?

It’s an incredibly affecting document of a life.

Next: The Searchers