For most revered mid-century filmmakers, noting that a particular film featured their first original screenplay and was their first in color would seem to guarantee it additional attention. Curiously, that’s not really the case for Satyajit Ray‘s Kanchenjungha (1962). A careful tapestry of small interactions set against a backdrop of physical grandeur and social change, it seems to get lost in the critical shuffle, functioning as a kind of way station between the narrative sweep of the first two entries in the Apu trilogy and the more refined, self-aware craftsmanship of The Big City and beyond.
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