There are dozens upon dozens of indelible moments in Satyajit Ray’s Apu Trilogy that could be held up as emblematic of the glorious whole, its empathy and gentle wisdom. The three films – Pather Panchali (1955, and filmed over the course of the previous four years), Aparajito (1956), and The World of Apu (1959) – are awash in masterful touches, perfectly framed and naturalistically performed scenes, psychological depth, and haunting beauty.
The Apu Trilogy
The Big City, Indian master Satyajit Ray’s deeply feminist and empathetic 1963 depiction of a changing Calcutta, is nearly perfect in every way.
With nuanced performances, especially from the luminous Madhabi Mukherjee as Arati Mazumder and Anil Chatterjee as her wry, conflicted husband Subrata (Bhambal), and an effortless sense of place, custom, and the economic pressures that challenge tradition, the film is an utterly absorbing experience, by turns uplifting and heart-rending.