"Song of the Road পাঁচালী", with a fresh and simple style, has become one of the films that constructs the banner of realism and aesthetic consciousness in the history of Indian cinema. Its naturalistic aesthetic consciousness is completely different from the naturalistic literary schools in the sense of Western literature. It is closely related to the concept of "the unity of nature and man" in the oriental film aesthetic culture, and it realizes the self-knowledge of the individual and the communication and communication between man and nature. The "savour of compassion" in the film originated from Rey's portrayal and experience of Indian traditional aesthetic consciousness. As the opening work of the "New Wave of Indian Cinema", "Song of the Road পাঁচালী" is very different from the traditional Indian song and dance film's stereotyped narrative procedures and patterned character types. Instead, it portrays the film with a "compassionate" mood and technique. Each character in the story with an "existentialist attitude" expresses his true life of loneliness, anxiety, despair and sadness. In "Song of the Road পাঁচালী", Rey truly described "people", describing their character, emotions, hope, despair and pain. However, the "sorrow" in Rey's film is not simply pain and misfortune. As a framework, they construct the tranquility of the soul under suffering. That is to say, the film not only expresses the "sorrowful" sentiment, but also emphasizes the sentiment. The humanistic feelings hidden underneath, with an "existential attitude", writes out the character and soul of each individual individual. "Song of the Road পাঁচালী" not only represents the past, but also heralds the future
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Pather Panchali evaluation action
2022-01-12 08:01
Extended Reading
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Eduardo 2022-03-28 09:01:08
9.5, a Rey-style melodrama that focuses on the neo-realism background of the bottom layer and the national poetry under Indian naturalism. Rey is worthy of being an assistant director for Renoir. Pond, lotus leaf, dragonfly, reed field, India The countryside is full of primitive earth and natural beauty under his lens, but behind the simple poetry is the closed, conservative, poor and hierarchical Indian countryside. Compared with the old tower, Ray's film may be more appropriately called a poetic realism film. , In addition to photography, the sound design of the movie is also very good. A large number of Indian national musical instruments, especially the use of some Indian drums, add a lot of color to the background of the national film. As a debut work, it is really a very high ceiling.
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Newell 2022-03-18 09:01:05
One of the best debuts in film history! The perfect fusion of realism and poetry, the childishness in the suffering and the heaviness and exquisiteness after the lightness show that the creator's heart and talent (most of the crew participated in the filming for the first time), the difficult production process of this film has also become legend. The aura of each actor's gestures seamlessly fits the role. The relaxation in the first half is de-dramatized, and the tension in the last 1/3 is continuously strengthened, and tragedies come one after another. The sitar’s soundtrack is both comfortable and anxious, always in harmony with the mood, and the details in the deep focus lens are subtle. Nature is everywhere, both wonderful, smart and funny (cute kittens, watching trains in the reeds, duckweed and dragonflies in the ponds, swirling in the rain-the ultimate life & the advent of death), but also the sinister side ( The night when the storm hit the house was more frightening than any horror film). Rey’s scheduling is diverse: siblings, dogs and uncle Candy’s reflections in the water, speeding trains covering the screen, panning shots of farmers picking vegetables and cutting melons at the landlord’s house, and silent soundtracks when the news of the death is heard/ Natural sound effects...clay pots, necklaces and snakes in the house. (9.5/10)
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Sarbojaya Ray: This is my home now too. But just look at it. It's like living in the jungle. Jackals prowling around as soon as night falls. No neighbors to sit and talk to. When you're not here, I'm terribly uneasy. But you wouldn't understand. You eat and sleep and go about your work, unconcerned whether you're paid or not. I had lots of dreams too. All the things I wanted to do...
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Indir Thakrun: [singing] Those who came before have passed on. And I'm left behind. A penniless beggar. Not a cowrie to my name. Look, my purse is empty... Lord, the day is done and evening falls. Ferry me across to the other shore...