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as Sarbojaya Ray
as Apu as an adolescent
as Apu as a boy
as Old Uncle
as Nanda Babu
as Landlord's Wife
as Press Proprietor
Critic Reviews for Aparajito
Ray's relaxed, open style had a tremendous influence on the film world of 1956, but time has absorbed some of its originality.
It doesn't have quite the tension or quite the variety of mood but it has a special brooding quality and a more explicit conflict between East and West.
It's a masterpiece for which terms like 'simplicity' and 'profundity' seem inadequate.
It is done with such rare feeling and skill at pictorial imagery, and with such sympathetic understanding of Indian character on the part of Mr. Ray, that it develops a sort of hypnotism for the serene and tolerant viewer.
Standing above fashion, it creates a world so convincing that it becomes, for a time, another life we might have lived.
Audience Reviews for Aparajito
I'm interested to get to The World of Apu so I can see if he finds any new family members to die for relatively lame reasons. Chest colds, and apparently loneliness have knocked out 3 of them, with the old lady presumably dying from being old in the first one, the best death so far in Apu's family. I'll see you there.
One of the very few sequels able to stand completely in it's own right, and one that at the very least matches up to it's predecessor. The ending brought straight tears to my eyes which is incredibly rare these days. If the third film equals the first two, this will be my new favorite film trilogy. It's that endearing and affecting.
It's a rather Dickensian tale, but a muted Dickensian tale. The structural echoes of PATHER PANCHALI were in some ways pleasing, but made the ending very predictable. A lot to appreciate, but I wouldn't call it a "masterpiece."
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