Karuna Banerji shoulders this transition almost alone her performance of desperation and hope has astonishing clarity for such depth. Without this how else could she tolerate being abandoned to fend for herself? Of course, in a wider sense, this is just what happens to Sarbojaya and the children when Harihar leaves as the funds slowly drain away they slide further into poverty, despair and misfortune. Luckily Indir has presence, a cranky and cunning spirit, to make up for her physical failings. In some respects he is similar to Indir, a part of the family but not quite in the inner circle. She cements them together, against the blows of existence, while all Harihar does is earn too-little money and waste it on tobacco. Though Harihar is the unquestioned head of the family, his absence ensures that Sarbojaya wields the power. It's interesting to note that while the film resides in a society where boys are prized over girls, women dominate Ray's vision. Unless press-ganged by her mother, Durga's favourite pastime is to scrump fruit from their neighbour's garden it's a recipe for trouble. It's a wild streak that he's picked up from Durga, who lacks the influence of school as a behaviour modifier. The youngest, Sarbojaya's son Apu, is always careering around and exploring, when not in school. But the relationship between Sarbojaya and Indir also portrays another type of relationship as there exists a friction between them, Durga being the common thread. She bonds wonderfully with Durga, and tries not to get in the way. Satyajit Ray has also shown a beautiful relationship between old Indir Thakrun and young and restless Durga. With two rambunctious kids, it's an endless chore. As Harihar slaves for a pittance, occasionally moonlighting to carry out religious ceremonies, his wife Sarbojaya struggles by. Yet to put food in the mouths of his children, Harihar must set aside this fantasy he works as bookkeeper for a local landlord. The head of the clan, Harihar Ray, dreams of becoming a feted writer and poet. Set in the early years of this century, in a Bengali village far off the main cultural artery, we learn of the shockingly destitute Ray family.
Outwardly a reassuringly peaceful reflection of one Brahman family, Pather Panchali calmly demonstrates the fragility of this serene illusion.
He carefully examines the interaction of life and death, the aged and the young, and makes subtle references to the tensions between rural and city life and how it is being changed by new technologyin this case electricity and the railway. The underlying strength of the film is Rays unsentimental but intensely artistic exploration of many universal themes. Pather Panchali follows the trials and tribulations of this poor family: the first conscious experiences of Apu, his early school years and close bond with his sister Durga, and their adventures in the nearby forest and fields.
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