The movies are a "coming of age" narrative in the vein of a bildungsroman, describing the childhood, education and early maturity of a young Bengali in the early part of the 20th century. The first movie is about Apu's early experiences in rural Bengal, as the son of a poor but high caste family. His father Harihar, a Brahmin, has difficulty in supporting his family. After the death of Apu's sister, Durga, the family move to the holy city of Benares, but their finances are still precarious. After his father dies there, Apu and his mother Sarbajaya come back to a village in Bengal. Despite incessant poverty, Apu manages to get formal schooling and turns out to be a brilliant student. The growing Apu comes into conflict with his mother. Later, when his mother dies too, he has to learn to live alone. Attempting to become a writer, he accidentally finds himself pressured to marry a girl who has rejected her mentally ill bridegroom. Their blossoming marriage ends in her death in childbirth, after which the despairing Apu abandons his child, but eventually returns to accept his responsibilities.
Reception
This trilogy is considered by critics around the globe to rank among the greatest achievements of Indian film, and is established as one of the most historically important cinematic debuts. Pather Panchali won 12 international prizes, followed by a Golden Lion in Venice for Aparajito and numerous other awards for Apur Sansar. When Ray made Pather Panchali he worked with a cast and crew most of whom had never been previously involved in the film medium. Ray himself at the time of directing Pather Panchali had primarily worked in the advertising industry, although he had served as assistant director on Jean Renoir's 1951 film The River. From this foundation, Ray went on to create other highly acclaimed films, like Charulata, Mahanagar, and Aranyer Dinratri, and his international success energized other Bengal filmmakers like Mrinal Sen and Ritwik Ghatak.
This extract from the South African author J.M. Coetzee, talks of the music in the Apu trilogy, which is based on Indian classical music. From Coetzee's Youth:
At the Everyman Cinema there is a season of Satyajit Ray. He watches the Apu trilogy on successive nights in a state of rapt absorption. In Apu's bitter, trapped mother, his engaging, feckless father he recognizes, with a pang of guilt, his own parents. But it is the music above all that grips him, dizzyingly complex interplays between drums and stringed instruments, long arias on the flute whose scale or mode - he does not know enough about music theory to be sure which - catches at his heart, sending him into a mood of sensual melancholy that last long after the film has ended.
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