Helmed by returning director Satyajit Ray, the second installment of The Apu Trilogy that nevertheless stands on its own without a problem, Aparajito follows the Roy family after the events of the previous film, Pather Panchali. The family is now living in the city of Varanasi, which is in contrast with the rural setting of the first film. If roads were frequently emphasized in Pather Panchali, this time stairs are often seen, like the stairs of the ghat situated on the bank of the Ganges, the stairs in Apu's college in Calcutta or the staircase that leads to Apu's room above his work place. They not only indicate the change of setting to a more modern urban one but their…

Traditionalism versus modernism is at the heart of this second part of the Apu trilogy, which continued the international success of Pather Panchali for director Satyajit Ray and accompanies Apu as he matures and longs to depart his childhood village to discover himself. The filmmaker finds creative kinetic energy in the development of its chain of events, and this noticeably accentuates the impression of two worlds colliding for the central protagonist, portrayed wonderfully by Pinaki Sen Gupta and Smaran Ghosal at different stages of the narrative. 

The dynamic expressiveness within the story is substantial, and there are multiple scenes which resonate profoundly, such as the scenes involving detachment from the family home and the complicated relationship with his mother. Karuna…

Letting go. That’s the process of growing up, and no film better proves that than Satyajit Ray’s second instalment to The Apu Trilogy. Less rooted in stasis, Aparajito makes a departure from the rural stillness of the first film, its neorealist inflections diminishing slightly as the loud and bustling cityscape consumes the screen. Complimented by the soulful sounds of Ravi Shankar’s sitar, Ray delves headfirst into the inner-workings of familial love, framing it as both a curse and a gift. This is such an essential viewing experience, particularly for any single mother who’s overcome with equal amounts pride and regret in seeing her only son take the train off to university, all whilst knowing he’s travelling towards a future without…

Second chapter of Satyajit Ray's trilogy of a bengali boy in the early 20th century. Apu and his family leave the rural village where they lived to move to the city of Varanasi; they change the lush foliage and vegetation for the narrow streets full of children playing, the beautiful architecture with its shikharas that rise to the sky and fortifications that fuse Indian and Islamic architecture, and the sacred waters of the Ganges that bathe the ghats near where Apu's father works as a pujari officiating rites and reciting sutras. The Roy family is still humble, but their situation is no longer as precarious as before, nothing seems to be missing, either materially or spiritually. A flock of birds…

This is a film of big cities and small towns, and - more specifically - one about cultural divides. We explore the vicissitudes of life, here complicated further through ideas of duality, with Apu and his mother working as foils.

Through Apu we see such heartwarming messages: the idea that education opens up doors for all; that one door opened leads to further opportunity. We see hope, youth and the wider world through the naive eyes of our central character. Yet, we also have those left behind. When one door opens another closes and Apu’s ascent is put side by side with a more tragic arc.

Apu’s tale is aspirational. But, in societies defined by inequality, the rise of one…

Satyajit Ray's follow-up chapter to his groundbreaking debut is another masterful showcase of his fledgling talents as a storyteller and finds the Indian filmmaker in better control of his craft as he handles the story with more comfort & confidence to deliver an emotionally dense & thematically rich drama with a universal appeal.

Set against the city backdrop instead of its predecessor's rural scenery, Aparajito continues the epic drama of the lives & fortunes of Apu & his family, addressing themes of love, loss & longing through its mother-son relationship. The first act aptly sets the tone for the rest of the story and pacing is better this time around.

Where the first film took its time to journey us through the rural setting of…

Review In A Nutshell:

Satyajit Ray's follow up to Pather Panchali, Aparajito a.k.a "The Unvanquished", continues the story of Apu and his family, dealing with issues of loss, loneliness, and growth.

Aparajito certainly deals with interesting and universal themes but I felt Ray's direction was a bit too obvious and forced here, particularly during the film's first act. The story progressed itself too fast, unlike the previous film where it took its time to flesh out its characters and shape the audience's ideas about the difficulties of poverty and isolation. The mother in the first act showed very little trust to the people around her and the film sets it up so well but provides very little resolution or explanation…

In my opinion, the greatest moment in Satyajit Ray's Aparajito comes when Apu goes to the train station, buys a ticket but never boards the train. He walks back home to his mother whose eyes are still stuck on the little road. The very moment ensures that Apu's love for his mother is not lost in the western world of cigarettes and electric bulbs. Hence what comes thereafter hits you like a cold blow where loss feels like your very own.

Aparajito is a little film about the most profound and inevitable thing in our life; trying to cope up with death and grow a little each time it occurs. Apu never hugs his mother in the entirety of the…