Aparajito (2022) Movie Script

1
'All India Radio.'
[playing on radio continue]
Please increase the sound, Vinku.
Okay?
- Yes.
'Now we start with 'Mukho-Mukhi.'.'
In All India Radio, Kolkata's
'Mukho-Mukhi' program,
- Keep quiet.
sitting with us,
is someone, whose first movie
took Bengali and Indian movie scene
to a permanent place
in the international movie scene.
With an apt name, 'Aparajito'.
Welcome, Aparajito Ray.
Greetings.
APARAJITO (THE INVINCIBLE)
Screenplay, Background music,
illustration, dressing,
while working on so many things,
why suddenly
you were excited to
make a film like this?
I was an avid movie watcher.
But I never thought
about making a film.
But the main attraction of seeing
a film was constantly increasing.
I still remember. In Kalaniketan,
I was working on the sketch
of Palash and Silk-cotton tree.
And at that time, Citizen
Kane had released in Kolkata Halls.
And it was just in
the theatre for seven days.
I couldn't see it.
Okay, sir?
- Try with lesser strokes.
Later I started with a fun exercise.
For example,
if I learned that a famous novel
is being turned into a film,
I used to draft
a skeleton screenplay from
that book before seeing the movie.
And while seeing the movie,
I used to match
what the director
thought and what I did.
You used to see movies,
but how did you
think of film society?
Well...
- Is dad inside the radio?
Basically,
we had the trend of watching
Hollywood movies.
- Quiet, quiet.
Sit quietly.
From various nations
like Russia, Japan...
And, of course,
the numerous countries of Europe,
amazing work was happening
there in the local languages.
And we were deprived
of seeing those works.
And few such like-minded friends
became increasingly
curious to see these works.
You can also call them Cinephiles.
Around that time I got hold of
a book called Film by Roger Manvell.
And it mentioned why
not make a film society?
And we all banded together to make
film society of Calcutta.
How long will it take?
We could have gone to Russia
and watched a movie and be back.
Just wait, Sir. The projector looks
like something from the Cold War.
If you had shown
this excitement and curiosity for
your studies instead of a bioscope.
My father is to be credited
for my interest toward films.
I don't need it.
- What?
Yes.
From my childhood, movies
were restricted in my household.
Going to a cinema was
like going to a bordello.
Thus, I was extremely curious.
We were only allowed
to see mythological films.
No adult films.
Even other mythological films
were not completely for kids.
The way Gods and
Goddesses were dressed...
Exactly.
And the divine dancers,
no less than cabaret singers.
This stigma related
with cinema is still there.
Trying to arrange a place to see
films has led us to this condition.
Either his house,
or his uncle's verandah...
And upon hearing the word film,
they try to kick us out.
A gentleman said.
Cinema? What are you saying, Sir?
Good people stay here
with their wives and families.
You're not really.
And then he looked at me and said...
listen, he looked at me and said.
Even you look like
you come from good family.
And that was the
day I was de-classed.
And these houses are surrounded
with so much ambient noise.
Reciting poems,
practicing songs, radio, news.
A great thing happened that day.
Along with the sound of
a church bell in a silent film,
nearby Kali temple's bells
sound was completely In Sync.
I am expecting Mr. Barin today,
who might give us a permanent
solution to our problem.
Not just a place,
we need so much more.
Shubho, why don't you tell
the story of prints of
the film Battleship Potemkin?
So I wrote a letter to
the British Film Institute.
To send a print of
the film battleship.
They were instantly ready
and the film came as well.
But we didn't know police
would accompany the film as well.
Police?
- Police?
Why was the police there?
Why else, they must have received
news from the postal department?
And that launched an interrogation.
What did you get from Russia?
What movie? Whose movie?
What is the subject of the film?
I don't blame the police.
Who knows if they heard of Einstein,
Eisenstein is completely
out of syllabus.
And hearing that the film
was based on naval mutiny,
they were completely shocked.
Yes. It took a lot to convince them
that this won't be shown publicly.
Before leaving,
they warned me multiple times, see,
we have strict orders.
Are you a communist?
Let's be careful, dear.
I hope seeing the movie
on October Revolution
doesn't lead us to prison.
Be careful.
Communist Party would
be banned any day.
Yes, done.
What?
- When?
What?
- Not a ban, the projector is ready.
Okay.
- Let's start, then?
I'll say let's wait a little,
Mr Barin should be very shortly.
He might be stuck
due to some protest.
There.
- The Devil is here.
See. Go.
Am I too late?
- No, please come.
We welcome you to this
mini auditorium of ours.
Every seat is a balcony seat.
- You're not late at all.
It was just news reel till now.
Okay. I hope
I don't need to introduce him anew.
Barin Bhowmick,
the encyclopaedia of global movies.
Nothing as such.
Watching Bioscope
is an addiction of mine,
obsessive compulsive disorder.
He's a Reputed member
of our Film society from today.
He is Chandragupta Kichlu all the
way from heaven on earth, Kashmir.
But he is a naturalized Bengali now,
an artist.
He has also worked as an
art director in the film industry,
but nothing noticeable, I assume.
He's the famous
Radhakanta Gupta, aka RK.
Aka Mr. Bantul, Bibliophile,
gastronome and the Kolkata antiquity.
That's enough. Everyone knows him.
He's a famous person.
And he's the man
behind the inception
of the Film Society of Calcutta,
Aparajito Ray, Apu.
Aparajito?
Son of Srikumar Rai, right?
Yes, his son.
He's the grandson of
Birendra Kishore Raychaudhuri.
And we are sure that he will carry
the legacy of his clan forward.
What do you think, Shivananda?
- Absolutely agreed.
I remember your name
because it is very unusual.
I have never heard
of this name before.
And I would also heard
of that famous height of yours.
Then listen to this Mr. Barin,
a friend of ours, a family man,
Mr. Kamaleshwar Majumdar,
has named him Orient Longman.
Even he's very interested
to make his film.
Really?
- And we also work together
in an advertising agency.
Good afternoon, sir.
- Afternoon. Apu?
Hey, Apu? How long?
Almost done.
- Okay.
We have client meeting at 4:00 PM.
Yes.
- You will have it.
Thank you, brother Munshi.
Thank you.
Always yesterday deadline.
Didn't you leave a little
bit more room for logo?
Client will create a problem.
I can.
But that will be an issue
for the main illustration.
Then we have body copy,
baseline, brand name.
There will be less space for these.
Wow, great!
Your calligraphy
is improving day by day.
Really?
It's all poetic knowledge,
Mr. Munshi.
Really?
What record is that?
I brought it for you.
I went to Free school
street last Sunday.
I suddenly found this while looking
around the vintage record shop.
Do listen to it.
- Oh, my!
This is Wagner's Daipin.
German Opera.
But I hope you know Wagner
was a devout anti-semitic.
Anti-semitic.
But brother Munshi,
do music and politics always...
Of course, there's a connection.
But you should listen to everything.
Mr Rai?
- What?
DD sir is calling for you.
Go.
Aparajito?
- Yes.
There's a very interesting job.
From Vignette,
I am releasing Bibhuti Mukherjee's
'Pather Padabali's' children edition.
- Okay.
I named it
'Taalpatar Banshi' (The Palm Flute)
Can you quickly make
the illustrations?
We don't have time.
I want to release the
book on first of 'Baisakh'.
And about the cover,
If you could think something
along the lines of the siblings
running through the Kans Forest.
Siblings? I...
What? Haven't you
read 'Pather Padabali'?
May I come in, sir?
- I couldn't, brother Dileep.
What?
The son of Sri Kumar Rai, grandson
of Birendra Kishore Raichaudhary,
and you haven't heard such an
amazing piece of Bengali literature?
Strange!
Brother Dileep, as you know,
cinema and music
are my choice of entertainment.
And among books I read
those detective novels.
That too, mainly in English.
It's not that I don't
read Bengali novels.
But I have recently
developed a new tendency.
Thank you.
- Welcome.
If I can't find film
worthy materials from a book,
then I lose interest.
Really?
Then you must read this book.
This can be made
into a very good film.
Film?
Yeah, your film.
Although, you don't like anything
other than the Hollywood types.
Do a thing, quickly read this novel.
This is a galley proof.
Pass the fire, please.
- Is it out?
See, the cover,
I won't let anyone else design this.
People do just the
book by its cover.
Brother Dileep, I want to say,
after reading this book,
I have to make the cover in a hurry.
Along with home, if I read
this in office, alongside work,
That's not a problem.
In an advertisement agency,
such moonlighting is not a crime.
And Brown knows the work.
The one who knows their work,
Brown doesn't meddle with them.
For example, your brother Munshi,
do you think Brown doesn't
know of his day-drinking?
If you had any native brown person,
it would have been chaos by now.
Fine, that solves it.
I'll start reading this then.
Get started.
Brother, move aside.
- Okay.
Apu, it's quite late. Go to bed.
Brother, here's your tea.
"TAAL PAATAR BANSHI"
(THE PALM LEAF FLUTE)
AFTER FEW YEARS
Books and books everywhere.
Are you reading this book again?
How many times will you read it?
You know, DD was right.
This book can be
made into a great film.
Will you make Bengali movie?
Why?
- Don't you remember?
You remember you went to a Bengali
movie with Uncle Lebu and declared,
no more Bengali movies?
Oh yes, we didn't get
tickets for the Tarzan movie
and went to see some
random Bengali movie.
And in the middle of the movie,
Uncle Lebu kept quipping.
Bogus. Bogus.
But that's quite long ago, Vinku.
Though you can't say Bengali movies
have changed a lot in the meanwhile.
Is that why you're listening
to Indian drupadi music
rather than Western classical?
If I'm to make this film,
I've to be familiar with the music.
Classical, folk, everything.
And DD asked me to be more Bengali.
But my weakness for this
high-class western music,
is hard to overcome.
What do you think?
- Right.
From Sonata in D-minor.
Fransesco Maria Veracini.
Give me your hand.
Live long, dear, live long.
You're...
deprived of this nectar.
Brother Munshi,
I'll take your leave.
Sure, you may go.
But do get some old
Western classical records for me.
I'll make you a list.
From where?
Why? From abroad.
Do you assume I don't know anything?
Oh, you are talking
about trip to London?
That's still in infancy.
No Mr. Ray, you can start planning.
I know it all, dear.
Five months of training,
and one month Europe tour.
Although whether you will train
them or be trained is to be seen.
That's a question.
Mr. Brown hasn't confirmed it yet.
But yes, if I get the chance,
I'll enjoy a lot of European
movies in those few months.
This I have decided.
Cinema fever has you in its grips.
- Sorry for the interruption.
Please come.
- No, I'm leaving.
It's evening for me too.
Do you need a lift?
- That would be good.
Okay, come.
- I'll leave, brother Munshi.
Sure.
Brown will give the official notice
in two or three days.
Let's see.
So you'll be soon selling to the
first city of the British Empire.
From the second?
Hey, Mr. Dutta?
- Hello.
Hello, how are you?
- Good. Greetings.
Greetings.
Didn't I tell you,
you'll go a long way?
I thought you meant
it metaphorically.
Hey...
Yes, sir. He's here, sir.
Mr. Ray, you may go in now.
Thank you.
Did you ask for me, Mr. Brown?
Yes, yes, I certainly did.
Come in, Aparajito, be seated.
Thank you, sir.
So, when is the treat, Mr. Ray?
Treat, sir?
Yes, of course.
This calls for nothing less than
dinner and drinks on your behest.
The head office has
given the final nod.
Congratulations.
Thank you, sir. Thank you very much.
Did you get your passport done?
- Yes, I did.
Excellent, now submit
your passport to Mr. Kutty,
for your Visa and
other paraphernalia.
Let's raise a toast
to your London visit.
At the club, this Friday, shall we?
Sure, sir.
Yes, of course...
Good evening, sir.
- I've asked in the office
to look for accommodation
near the Grand Central.
Probably easier,
if you commute that way.
Thank you, Sir.
Sir, this is your...
- Thank you.
Fresh lime soda, salted.
You can't be a teetotaller
in advertising,
that's nothing short of sacrimony.
Sir, ice?
Yes, please.
Just one.
Did you submit your VISA and papers?
I'll submit them next week.
Thank you.
- Welcome, sir.
It's your trip, Aparajas.
Oh, to be in London!
Cheers.
- Cheers.
What's all this?
What are these papers?
You need visa to go abroad.
Who knows, man?
You just got married.
And then you're going abroad
for five or six months?
And she would sit here,
sad and dejected.
I don't like this.
Mother, don't you
want me to go to London?
When did I say that?
Can't you ask your boss
that you want to take her along?
Is it so easy?
Do you know how costly
it is to go abroad?
And then staying there for
five or six months? And the food?
Would you have a place to live?
Vimala can stay there too.
Didn't you say you'll
have a higher salary there?
Just ask your higher officers
that only Vimala's travelling costs
would need to be incurred by them.
Okay, I'll ask DD once.
But when I'll be making the film,
I'll make you the
production manager.
Prahlad?
This is from stone ages,
my first coat.
Hand me down.
That means,
my uber-companion Tweed Jacket,
and that cardigan sweater.
All the others are tight.
I'm thinking from Arlington,
I'll make a blazer.
- Hold on.
I've asked uncle Basu
to manage something.
Would you also need an overcoat?
Even if not now,
I'll need in two or three months.
During winters.
- We can see then.
You don't need to buy it right away.
What was mom telling you then?
To take me to London?
Oh, you heard it?
Mom's scared, I believe.
Her son is handsome,
if any foreigner traps him abroad...
Really?
Is mother scared
or her daughter-in-law?
Oh, please!
- Oh, please!
Thanks a lot for giving
me this backhanded compliment.
You do deserve a gift for that.
- What?
I'm thinking the matter
of taking you with me,
I'll put it up to DD.
There's a possibility he might talk
with Mr. Brown and make it reality.
What?
I'm obliged.
Brown Sir sent it for you.
- Oh, thank you.
There he is.
Mr. Aparajito,
I was looking for you.
The proposal you gave for
taking Vimala on a second honeymoon,
head-office has approved that.
Really?
- Yes.
Great.
- Confirmed.
Company will bear all the costs
of transportation, accommodation
and everything.
Thank you, brother Dileep.
How do I...
Don't belittle me by thanking me.
So I'll inform it
to Vimala and mother.
Right away.
It took us a total
of 16 days to reach London.
Good morning.
Good morning.
- Taxi?
Thank you.
'I joined work
as soon as I reached there.'
Hello.
- Morning. Good morning.
Hello. Good morning.
- Good morning.
'Our training was held in Primordial
London Office Conference Room.'
Yeah, absolutely.
'First day, after going
through the introductions,'
'we started studying.'
- Please be seated.
But brother Munshi's
words came true.
There wasn't a lot
of new new stuff to learn.
'Kinda like learning the alphabet
after learning sentence structure.'
'The things I was doing
for the last few years,'
'they were just revising that.'
This is in-part.
'Naturally, I was losing patience.'
'What's that? It's a body part.'
'So I used my time in other things.'
'This, what catches
the attention of...'
I first saw a Television in London.
I also learned how to write
the script for TV commercials.
Hello.
Oh, there was another
important thing I learned.
Story-board.
Let's play and say it.
Hello biscuits.
'Later, that helped
me a lot to make films.'
'In fact, during 'Pather Padabali','
'I used to make story-boards
rather than short description.'
'And I would just
write the dialogues.'
'Sometimes, I would directly'
'underline the words
in the book with red ink.'
'Would be artist.'
Me and Vimala used
to travel a lot in London.
And we enjoyed a lot of films.
We had seen 99 firms
in those six months.
Look at that, Orion theatre.
What's running?
- Sunset Boulevard.
Oh, Billy Wilder?
- Yes.
But there's a day I'll never forget.
The day our landlord and his wife
took us to the film
'The bicycle rider'.
Okay.
- I know.
Oh, really?
This way, sir.
This row.
- Here?
Yeah, first row...
- Thank you.
We'll get the row...
- Yeah, I think...
I'll take it.
- One second. Yeah.
Come.
Yeah.
- There will be some time.
I guess.
Come, the film is about to begin.
Excited, right?
- A little.
I hope so.
While seeing the movie, I felt,
I was watching the right
film at the right time.
After the movie,
we went to Hyde Park for a walk.
There I told my companions
the things I want to do for my film,
Rossi did exactly that
for his movie.
And he succeeded.
The matter was so realistic.
This style is called neo-realism.
Thus, six months passed.
We climbed the ship
to come back to India.
I had decided
I would draft the script of
'Pather Padabali' on the film.
What are you busy doing?
Oh, wow!
You would draw the entire
movie like comic script.
This is called story-board.
To make TV advertisements,
this helps a lot.
So your London training
is coming to use?
Yes, but the way
I learned to sketch
with minimal strokes from
the teachers at Kala Niketan,
that's proving to be
quite handy too.
And then you were
Mr. Khirat's favourite student.
I am reminded of someone else.
- Who?
Our Tollygunge government
school's drawing sir.
Mr. Bishu,
he's the one who taught me to draw.
Once he saw something I draw
and got really happy and said,
you are indomitable
both in your name and your work.
Do you plan to spend the whole day
in this locked room
with your sketches?
See,
the original text is so detailed,
I don't think
a script is very necessary.
But still,
I've underlined a few places,
and then I have my notes.
First, I am drafting
the story with this,
and then I will write the dialogues.
- Fine, that'll be done.
Come, let's go out,
see the sunset, it's so peaceful.
Go ahead, I'll be there.
"In this sky,"
"the stars stayed hidden..."
"The things I had to say,"
"are now done!"
"In this sky,"
"the stars stayed hidden..."
"Maybe listening, you never did."
"And goodbye, you easily bid."
Why did you stop the song?
See, how dramatic the sky is.
Yeah, but the dramatic
scenes in my film,
one of them is Manik and Uma
going to see the train.
The earlier night,
they were discussing
to see the train,
but I am thinking,
if it came out of nowhere,
it feels forced.
It might not, how far is
the rail-line from their house?
Around...
Got it, Vinku.
Thank you. Thank you very much.
- For what?
Great, great!
Very impressive, I loved it.
But the most important
thing for making a film is...
What? Camera?
That can be arranged. We have Sunil.
Sunil is in catering service
in our film production.
He knows a lot of producers.
Wasn't there a producer,
Mr. Basu, or something?
What was his name...
Anyway, can't you get a hold of him?
I'd have to check,
but you know what?
It's not so easy
to manage that producer.
You'll ruin your shoes
running after him.
First, we need to make
a schedule using the script.
And then, make a budget.
Then Producer...
That's a lot of hassle.
So brother Apu, your unit...
Have you decided who
would be in your main team?
Yes, I have.
You'll handle the production.
- Okay.
Chandra,
he's the most experienced of us.
Chandra, see,
matching with the village backdrop,
we have to make the set in studio.
The difference between real
location and set shouldn't be clear.
Mr. Director, you have to
give me the time what I need.
And then see,
match the photos of real and fake
and see if you can get it.
I talked with few of
the industry's assistant directors.
They have a few conventional ideas
and they don't want
to step out-of-the-box.
Debashish, will you assist me?
- Who, me?
Yes?
- Me as assistant director?
What are you saying, brother Apu?
Can I do it?
You have seen so
much of world cinema.
You know film sense,
film form very well.
Don't you want to
apply that practically?
Don't worry.
I hired an experienced
industrial assistant
to handle the technical side.
He can manage the schedule
and shot division,
Thankfully, I served
you chicken sandwich for lunch
while I was in Cramer.
Else, neither would I have met you,
nor would my luck be so good.
So the most important thing,
who would be the cameraman?
The people regularly working
in studios as camera men,
in this natural light,
without professional actors,
with no makeup,
and these experiments,
I don't think they'll agree.
I'm telling you,
they've very fixed ideas.
And they are very much
resistant towards something new.
And then you are new.
They won't value you.
Yes, it's very difficult to unlearn
what you have been doing for years.
I talked with Nitai Ghosh.
Nitai?
Oh, that...
The director of 'Udbaasto' film,
he makes good films.
Yeah, the same.
Yes, I talked with him.
He's going away for a shooting.
And I was wondering
if we could take someone new.
- Who?
I saw someone as observer
in Jack Renoir's Ganges.
The name... you were there, you know.
- That...
Subir? The young guy? New one?
Young, very young,
much younger than he looks,
but very strong sense of aesthetics.
Due to office pressure, I couldn't
even see Mr. Renoir's shooting.
Later this guy told me everything
about the shooting in vivid details.
He's very sharp.
Apu, What are you saying?
This is your first film.
And you want a new guy for camera?
Don't you think new
cameraman would be too risky.
I thought I'll take him
as camera assistant first.
I haven't even talked
with Sudheer yet.
Let's see. Let's see.
Hello?
- Hello, Subir?
This is brother Apu.
Yes, brother Apu?
I heard you're making a film.
So you heard the news?
Yes, absolutely.
I even know a little bit
about the people in your team.
But you could have
thought about me as well.
As an assistant
cameraman or something.
I can't take you on
as assistant cameraman
as I have already
hired someone else.
He's quite competent.
Can I at least get the permission
to see the shooting?
As a camera apprentice.
No, I don't need
apprentice or anything.
Just directly come for the shooting
as a cameraman.
Are you joking?
- Absolutely not.
You are this film's lead cameraman.
Of course, only if you agree.
What? I have never
even touched a film camera.
You take still pictures, don't you?
And you take great pictures.
And compared
to the professional camera-man here,
your composition, sense
of light aesthetics are amazing.
The basics are the same, optics.
See, brother Apu,
I'm a still photographer.
The technical side...
I mean, there's a huge difference
between still camera
and a movie camera.
I'll give you an experienced
assistant to help you
with all the technicalities.
And the only difference
between a still camera
and a movie camera is that
in the movie came, the film moves.
This is a huge camera.
Can we take it outside?
Yes, you can.
All we would need
are two extra attendant.
Subir,
won't a wall camera be better?
No, what are you saying?
This is good.
Who gives permissions to outsiders
to enter the shooting premises?
So I've been seeing these people
in the studio premises
for the last few days.
What is their intention?
They're making a revolutionary film.
And that neither has hero,
heroine nor love or romance.
Mad men!
Hey Sanjay? Isn't that Sunil?
Who?
- The one in grey Panjabi and Dhoti.
He has worked in the production
for few days with Bhupi.
Yes, right.
And who is that tall banyan tree?
So damn tall.
Is he a new hero?
- Oh, no.
He's their leader, the director.
Director? I haven't seen him before.
Whose assistant?
- None's.
He hasn't assisted anyone.
A Foreigner came to make a movie.
He went around with him for a while.
He's Shrikumar Ray's son.
Shrikumar Ray?
From the silent era?
- No man.
The one who wrote
that weird poem book.
So he could write poems
why make bioscope?
No experience and all...
- To hell with your experience.
That fat man behind the camera.
He's never held a camera in
his life. Just think of the daring.
Not daring, stupidity.
Hey, Sunanda's coming here.
Move, move.
- Greetings.
Greetings, madam,
- Greetings, sister.
Brother Apu,
Sunanda sister, big heroine.
Madam's here.
Open the lock.
Action!
- This tree is blocking the light.
That side.
Greetings.
Good morning, madam.
See, Ms. Sunanda came, we wished
good morning, then greeted her.
And they didn't even pay attention.
Oh please,
they value themselves too high.
Stupid!
- Let's go.
It's all fine.
Ajit Sen said he
has a Solo wall camera.
He won't even take much,
you can test it.
As you can understand,
we don't have much.
Sunil,
you've to make the final budget now.
Yes, brother.
That's fine, but first
take writer's wife's permission.
See if she has any demands?
Yeah, I'm supposed to
go to Rama Devi tomorrow,
I talked with her on call.
Let's see.
- Okay.
See, I don't have the money
to pay you at the moment.
If the producer gives me the money,
I can do so.
If till then...
See dear many people
have talked with me.
There was someone just yesterday.
If I say yes,
they will send the money.
What was the name?
- Premanshu Sanyal.
The other producer, Mr. Ganguly.
Mr Ganguly?
- Yes.
Alpana Movie?
- Yes.
What? I told him the story
and he is doing it on his own?
Dangerous, strange!
He said, he'll get Dev Kamal Basu
for the film.
See, we have went quite
ahead with the story.
We have worked a lot
on this as well.
We have been working
on this movie for a long time.
We are totally ready.
- Don't worry, dear.
You are Mr. Srikumar's son.
My husband used to revere him a lot.
I have seen the cover of
'Taalpatar Banshi' you drew.
Quite amazing!
The money's not everything, dear.
I want this novel to be turned
into a good film.
And I believe you can do that.
Ask our lawyer,
Mr. Shashidhar, to make an agreement.
I'll give the rights to him.
You can pay me
as per your convenience.
Thank you
from the bottom of my heart.
That's all fine,
but, do you have a producer?
Yes, we're talking. It will be done.
There's nothing to worry.
We even take restoration
projects sometimes. Please come.
See, we have been doing distribution
since the era of silent movies.
We've recently done
four, five movies.
We have a rich history.
And all these film equipments
you see,
quite old.
And this camera?
Even I don't know how old this is?
We don't just do films for profit.
We do come from various
subjects like society,
patriotic, revolutionary,
and then the biographies
of various people.
Mr. Bibhuti's Pather Padabali
is a very great novel,
I have to agree, but,
the way you want to make the film,
well, it is our business.
We can't take this all the time.
But I can tell you this,
if you can somehow gather
the money to make the movie,
distribution will be
my responsibility
Thanks a lot, Mr. Amiya.
It's all fine,
but can't the movie
have some romance, some fun?
Wouldn't it have
been better if it had that?
I hope you understand?
- Yes, it does.
Take this scene, for example.
Srinivas, the sweet-seller,
is asking Uma, if she wants sweets?
But Uma said no because she knows
they don't have that money.
And then, chasing Srinivas,
while running around the pond
they are finding their happiness.
Where are the tea and sweets?
Please go ahead.
- Next, Manik and Uma
are running through the Kans forest.
To see a train
for the first time in their lives.
Uma tumbled down,
but Manik kept running.
The train's coming closer
running through the Kans forest
and white clouds,
billowing steam all around...
- And the steaming tea is here.
Did you go to Darjeeling
for getting the tea? Seriously?
Sweets please?
- No.
This is the local Bheem
Nag's Sandesh, try this.
No, I'm not so fond of sweets.
What? Do you already
have sugar at this age?
No, no, please have sweets.
Me? I'm diabetic.
Such a vile disease.
I better go to the toilet once.
Don't worry,
daughter-in-law told me,
famous writer's famous story.
But, at least have some two,
three songs.
This is bioscope, right?
Okay, I'll be back.
What? All the money's gone?
Okay, do a thing.
Take stuff worth 1,00,000 rupees.
Okay?
This is a tragedy.
No.
No hero, heroine,
so?
Without romance,
what'll audience see?
And why would they come to the hall?
Do a thing.
Write something fresh and come over.
Social drama or love story,
something like 'Jeebon Jigyasa'.
The film has to be emotional.
But modern.
New!
Keep this.
Yes.
She's a new heroine.
Give her a good role.
But a major part.
Apu? What's this?
My insurance policy.
This would get me some 7000 rupees.
What? And these?
Are you going to sell these too?
It would hurt me
a little bit to sell these.
I'll buy them back in
installment with my salary.
And what would these
books and records fetch you?
No what I am trying
to do is shoot a small part,
show that and then
gather some money.
That won't do Apu, wait.
Here.
If you mortgage these,
you can at least start the movie.
This is your wedding jewellery.
What about mom?
- I'll manage her.
And why do we even need to tell her?
Once you get a producer,
we'll get these out.
No Vinku, these...
- Apu.
Just listen to me.
I'm taking this chair.
There's Debashish.
So brother Apu, is Kamaldighi
place done? - Hey, brother Ravi?
One more round.
- No, no, completely.
Yes, sure.
- Brother Apu, that place Kamaldighi,
should be named a swamp not a place.
A muddy swamp named Kamaldighi.
Everywhere you see you have
knee level water, see my condition.
And how would you
have a Lotus without mud?
That's Mr. Bibhuti's village.
The book refers
to that at Shantapur.
No, we can't shoot there.
Tripod and mud is not a good combo.
Brother Apu, I invited
a friend of mine a month ago.
The village was named Saral.
A nice and serene village,
ideal country-side.
This matches your story-board,
you can check that out.
Sure, but how far is it?
Not too far, might be
four, five miles from Kolkata.
Then, it's quite close.
And I've a friend there,
Manoj, quite an efficient man.
They have ancestral land there,
it won't be a problem,
let's check it out.
Good.
- Come, let's check it out.
I can't do it in weekdays,
let's check out your ideal
country-side next Sunday.
It is full of Kans trees,
just like this.
All right, great.
Yes, this one.
There we are.
- Wow!
Amazing, such an awesome place!
- Yeah, sure.
Perfect!
The Kans forest cover
such a lot of area.
What is this?
- You haven't seen this?
One mm movie camera.
My friend,
Cloth Renoir gifted me this.
Oh, Renoir sir's nephew?
- Yes.
He's here to shoot
Hari Sahab's documentary.
Here?
- Yeah, in Kolkata.
So he rented me for one day.
Even the rail-line's pretty close.
- Just here.
Wow, perfect!
Such a beautiful
place so close to home?
Yeah, brother.
- Amazing Debu, very good.
Just 40 minutes from Tollygunge.
And Mr. Sunil would be happy
with low costs.
You know when I was a kid,
Rabindranath signed
my autograph book,
and wrote a few lines of poetry.
I couldn't realize the meaning now,
but now I am reminded
of these lines here.
I know the poem
you're talking about.
"For a long while,
a distance of miles,
I spend a lot,
spending nations around..."
"The mountain range I saw,
I saw oceans blue..."
"The thing I couldn't see, home,
a few steps along,"
"a drop of dew resting
atop a grain of wheat."
Vinku?
- Yes?
The ad I gave for the guy,
that's published.
Hey?
- O mister?
"Check the Qutub Minar of Delhi,"
"the miracles of the city Bombay..."
- Hey Apu?
Come here, once.
- What?
Just come.
Come.
The Manik you're looking all over,
he's playing here.
What do you think?
There, that guy. See.
- That one?
No, I can't, show me once.
Hey? Hey boy?
Who, me?
Not you, the one next to you,
in check-shirt?
Hey, he's calling for you.
You. Yes, you.
What's your name?
- Prabir,
Prabir Banerjee.
Prabir?
Would you come upstairs once?
That's the stairs.
"Check the miracles of city Bombay."
- Come, come...
"For your money..."
Hey, Debashish?
- Yes?
Can you speak dialogues?
I surely can.
- Yeah.
Such huge parts
had to be said in a breath.
Okay, can I hear one, two lines?
No, I don't remember
anything as such.
That was so long back.
Theatres, plays,
I have also done few bioscopes.
Historical, Social,
would you listen to a poem?
Fine, sure.
"O my aunts dear,
come to house mine."
"Not a bed, or Diwan either."
So dear, how much would you pay me?
How much do you want?
I'll take 20 rupees daily.
Okay, fine, that'll be done.
She needs a little opium daily.
Actually, at the end of the day,
without that, and a little milk.
Okay, that'll be done, don't worry.
Okay, okay.
Okay, fine.
What are you writing?
We had few letters wishing new year,
just replied to those.
How did it go?
- You won't believe it, Vinku.
She's just right, perfect in fact.
She fits the role to a T, as if
she's one Mr. Bibhuti wrote about.
That's great news, Apu.
I thought it would be very
difficult to get someone like that.
But I must say,
you are very lucky, Apu.
The luck is surely a factor.
But we have looked everywhere.
And then we found this precious gem.
Got it?
- Yes.
And this precious gem
can act naturally?
It does seem so,
she seemed like a true professional.
Who said they won't work
with professional actors?
I was talking about big stars.
Their acting style
is full of mannerisms.
First the sing-song delivery,
and they can't work
without full makeup.
They won't listen either.
I can't afford them.
I will hire some character actors,
who are very talented.
And the rest have
to be amateurs, like,
Rossi did in 'the bicycle rider'.
And did you find someone like that?
The character of 'Sarvamangala'
is very important.
My friend, Sambid Bandopadhyaya,
his wife will do that.
An active member of communist party.
I have seen her act in Picos
theatre, very powerful actress.
Has she done cinema before?
Leftists,
they are a bit snobby, Vinku.
They consider Bengali
commercial film to be low-grade.
They don't consider cinema
as a valid art format.
I will take that girl.
Open the door, I'll just change.
Sing that song, dear,
"Chaander Hasir Baandh Bhenge."
No need,
I don't need songs for my film.
She can dance too, dance.
"Aye Tori Sahchari",
what you did at home.
Listen, I don't need dance either,
I have seen what I had to.
See, she doesn't match
what I am looking for.
She's a bit too
city-like for this movie.
If needed,
I'll tell you later. Okay?
And immense thanks for
taking the pains to find my house.
Will you have tea?
- Apu?
One minute, let me...
- What will you do?
Will you come inside with me?
Vinku?
- You too, just a minute.
Come.
This side.
Come.
Look at her.
Does she look like your Uma?
Absolutely.
Keep some loose change with you.
Today, is the first
day of the shoot.
It would have been great if you
also came. - Even I wanted to go.
But I have to take Mother
to the doctor today positively.
Take blessings by bowing
down to Father's picture
and go meet Mother once.
- Okay.
You all be seated.
I'll be back soon.
- Sure.
So, everyone ready?
- Absolutely.
Ready for war.
- Great.
It would be great. All the best.
- Thank you.
It's been so long
you haven't cooked anything for us.
Say something, Subir.
Yes, especially that
'luchi' and mutton curry
Yes.
- You all win the war and come back.
Then you can have it tonight only.
Prahlad, they will be
having dinner with us tonight.
Okay. Let's go.
- Yes, let's go.
Brother Apu, here.
All the best.
Thank you.
- Thank you.
Be careful.
We anyhow found
the Kans Grass forest
and the railway track beside it.
But, when I went there to shoot,
I saw...
the fields were empty.
There wasn't a single
Kans Grass there.
We got completely shattered.
Someone cut it all off?
No, apparently the cows grazed it.
Of course,
we shot a small sequence there.
And for the rest of it,
we had to shoot it the next year.
Cut, cut, cut.
What did I tell you, Prabir?
When you'll come here,
come while looking around.
Why would you keep looking around?
You are searching for your Sister.
Aren't you?
Understood?
- Yes.
Let's start again quickly.
Going for another take.
Okay. Let's go.
One more time.
-Yes, let's go.
Prabir ready?
Roll sound.
-Rolling sir.
Roll camera.
Rolling. 'Pather Padavali'.
Scene 42/2. Take 14.
And action.
No, no. Cut, cut, cut.
How would it happen?
He is marching like the military.
No. It won't happen this way.
We have to plan it differently.
Okay, Prabir?
- Check the sound.
You go and take some rest.
Is anyone there?
Please give some water.
Hey, give him some water.
You all please come this side.
-Yes.
Only you come.
- Yes.
Give me the spinning top.
How many people do we have?
Five people.
- Five people?
What?
Okay? Come, let's check again.
We'll go again.
Camera?
- Rolling.
And action!
Manik?
- Manik.
Prabir?
Prabir?
- Prabir?
Got it. Excellent.
Very good. Very good.
Everyone has done very good.
- Very good. Very good.
You can do it, dear.
Slowly, slowly.. Go there, go there.
I'll change the reading.
Brother Apu, please check
if the position of Uma is alright.
Subir, make Devi sit in such a way,
that the distance is maintained.
So that she could cover
his mouth with her hands.
Check once if you can cover
your Brother's mouth
with your hand properly.
- Prabhir!
You have to make sure that
the sugarcane is pointed...
Where is the sugarcane?
Who will take care of the continuity?
- Where is the sugarcane?
Do I have to check everything?
Get me the sugarcane.
Take this.
- Okay.
Show me how will
you have the sugarcane?
Hold it like a flute.
- Yeah, yeah.
Not like that. Give it to me.
Hold it like this.
Hold it like a flute. Okay?
Like this. Okay? Hold it.
Devi, do you remember the dialogues?
- Yes.
Deliver them once.
- You start it.
Say it.
- Where did we come, dear?
Just eat it.
- What are those?
Say it properly.
Point at them
and ask what are those?
What are those, dear.
- Say it loudly. What are those?
What are those? Repeat after me.
What are those, dear?
- Very good.
Then?
If Mother gets to know about it...
Okay Devi. This is the time
when you would hear the noise. Okay?
You'll cover his mouth in between
when he would be speaking.
You'll try to hear it and figure out
where is the noise coming from.
Okay?
You'll stand up.
And once Sister stands up,
what will you do, Prabir?
I'll also stand up.
- Very good.
You'll also stand up. Okay?
Then paying your complete attention,
you'll try to figure
out the noise of the train.
That where is it coming from?
Keep looking around.
- Keep looking around.
Very good. Let's go for a rehearsal.
Let's go for a rehearsal.
- Yes, let's go.
Let's go for a rehearsal.
- Sure.
It has to be okay
in one single take. Okay?
We have some time.
Do the rehearsal nicely.
Yes.
- Yes.
Should I give it?
Should I give you a blanket?
- Brother Apu?
This...
Will this entire film
be wasted on one shot?
So much action,
dialogues,
and the train...
Can you do it in one take?
If it doesn't work,
if it becomes NG, then another tape.
Another hour.
No Subir, you are right...
What can we do?
How long for the train?
Still 45 minutes.
45 minutes?
Hey Debashish,
please bring the script once.
Hey.
- Shut up.
Quick, quick!
Please hold.
- Give it to me.
And focus from here...
- Hey Subir?
Yes.
I don't know,
what will happen after two days?
What if we break it up
into two shots?
Yes?
- Suppose,
first shot is cut when they stand.
Okay.
And for the second shot,
we raise the camera to a height.
Yes.
They enter on a blank frame,
from below the camera.
And then we show
the shot of the train,
they can see here
and there on the frame
then frame out, won't it be easier?
And it will mitigate the risk too.
Good idea.
Then let's start?
- Yes. Brother Jadav, let's go.
Come, let's go.
- Yes, we are ready.
Come. Order.
Yeah...
Roll sound.
- Rolling.
Roll camera.
- Rolling.
Pather Padabali,
scene 43/1, take one.
And action.
Where are we?
Just eat.
What's that?
If mother learns of it, she'll...
Cut it.
Such amazing scene.
And it's impact,
this train scene
will be an iconic scene.
See, honestly, we didn't have any
experience of shooting before this.
We didn't have a concrete
idea of the technicalities
and the nitty-grity of cinema.
For example, the scene where
Manik sees the train
and runs towards it.
If you notice it carefully,
you'll see,
the train, billowing steam is coming
from the right side of the frame.
And the camera's behind Manik.
Back to the camera.
- Is this sir?
Softly...
- So I couldn't see Manik's reaction,
but I wanted to
catch his expression.
So I took the camera
to the opposite end.
And then, the train, comes from left
on the foreground, instead of right.
This was a huge error
in the grammar of film.
See, in the film definition, there's
a concept of 180 imaginary line.
Suppose, we are sitting here,
and the camera's here,
you are on right of camera,
and I'm on left.
If I take the camera
to the opposite end,
our sitting position changes.
You go to the left, and I on right.
And if you use those shots
consecutively in editing,
it creates a jerk,
audience will get a shock.
This is an error.
But later, some film critics,
specially abroad, started saying,
the impact created
due to breaking this rule,
is amazing, incredible!
But this wasn't intentional,
rather due to our lack of knowledge.
We did it by mistake.
It was a hassle to educate Apu.
He learned to draw in Kala Niketan.
Why? To rot away in a bioscope?
Is Apu the type of man to rot away?
He's very talented and innovative.
Else, such a movie,
has anyone ever taken
their own picture?
You tell me, how much does Apu earn?
Around 75 rupees.
- Then?
Is this a meagre
amount in this time?
That's why I am shouting.
Leaving behind such a great job....
Surma, you are not getting it.
When Apu entered the work force,
he started at 35 rupees.
And that has increased
to 75 rupees in these few days.
Can you imagine that?
You see, he'll gain international
fame with this cinema.
The shooting went
on for few days, then?
What then? Looking for money?
But a generous man,
whose name I won't take,
agreed to produce.
- Wow!
Why not take the name?
See, that producer used to roll
money from one movie to another.
As luck would have it,
one of that producer's
film was a massive flop.
Then?
What else? Producer went missing.
Shooting stopped, no money.
The shooting was stopped
for a whole year.
Nave.
- Nave? You mean, naive?
Naive.
That's naive, this is nave. N-A-V-E.
- That's...
That's K-N-A-V-E.
Why would it be K-N-A-V-E?
This is N-A-V-E, nave.
That's not a word, Vinku.
Who said so? I read it in convent.
N-A-V-E means... - No. Just
because you studied in convent,
doesn't mean you would
know better English.
Why are you talking like this?
That's not what I mean.
There's something called N-A-V-E,
it's something to do with
the church, I studied in convent.
Wait, let me check the dictionary.
Just criticism..
Where's the Oxford one?
- I don't know.
N-A-V-E, nave.
Here,
nave is the long
central part of a church
where most of the seatings are.
I told you.
- Okay, you know everything, okay.
Why are you reacting like this, Apu?
What happened?
You are so high strung lately.
As you like board games, I thought
Scrabble might relax you a bit.
It's just a game, Apu.
I can realize that....
- No, you don't realize anything.
Vinku, nothing.
The shooting has been
stopped for so long.
Aunt Sheila has put her money here.
And so did Kiran.
I have no idea how
I'll pay them back.
And the worse thing is
I have no idea whether I'll
even be able to resume shooting.
We even had to
mortgage your jewellery.
Did I ever say a word about jewellery?
You'll get it out
once you have money.
I haven't been able to shoot
even a day in the last year.
And with Nonibala Devi's age,
God forbid,
if something happens now,
all the efforts
will come to a naught.
Nothing will come to a naught.
There was a white owl outside this
window that day. That's a good omen.
Vinku, I'm not amused,
it's a cruel joke.
It's not a joke.
Don't get so depressed
and don't lose hope.
Aunt Sheila said,
they know Bimaan Roy quite well.
Maybe we can talk to
him and come to a solution.
Who? Bimaan Roy? Chief minister?
- Yes.
Have you lost it?
- Why?
He is worried about
our entire state.
And you expect him
to drop everything
and tell us how to
resume 'Pather Padabali'?
And I have heard he's
a very strict person.
He doesn't value art, most
probably he doesn't understand it.
Don't talk rubbish, Apu.
It is true that he is a
little cut and dry type of person,
but that doesn't mean
he doesn't understand anything.
He's a very learned man.
I'm sure he will appreciate it.
And even he is a Bengali like us.
So he might just....
- You have weird ideas, Vinku.
Aunt Sheila's daughter,
Archita, is my school junior.
She'll take you there,
just see how it goes. Please.
Sarvamanagla informed
Harimadhav of Uma's death.
I want to make this
scene quite impactful.
Yes, go ahead.
Carry on, I am listening.
And then Sarvamangala
told their neighbours,
they're leaving the village.
Because there's no scope
of livelihood here.
And if they stay here,
they won't be able to recover
from the shock of Uma's death.
The neighbours did express sorrow,
but they didn't agree with them.
The village elders
came to Harimadhav's house,
to try to stop Hari from
leaving his ancestral house.
But he, Harimadhav, I mean,
had decided
that he'll go to Kashi by then.
The packing's done,
the kitchen's wrapped up.
He couldn't even offer
the guests tea and smoke.
Harimadhav...
- Oh, my...
I asked you for tea,
but forgot to order it.
Please.
- I'll take care of it, Sir.
We can have the tea later,
Uncle Viman.
Rather, you listen
to the end of the story.
It's just a little bit more.
Send four cups of tea in a pot,
sugar and milk separately.
Sorry, go ahead.
Harimadhav had decided that he'll
go to Banaras to earn a living.
Why Banaras?
What's wrong with Kolkata?
No, that's famous
for the priestly works.
Okay, okay, go on.
Harimadhav had decided that he'll
go to Banaras to earn a living.
He didn't even have the money
to repair his house.
He decided to sell whatever
he had to pay back the debt.
And the last scene, where we'll show
Harimadhav and his family
are leaving Shantipur
village in a bullock-cart.
Sarvamangala's eyes were teary,
Their house is in
a dilapidated state.
A snake enters the house.
And then?
Then End.
What? Why would Harimadhav
leave the village?
There are so many community
development projects in the villages.
No, that can't be.
Change the ending.
Harimadhav,
with the other villagers,
took a loan from the government
to run a tractor.
Yes, he can't go to Kashi.
Then,
the movie will end on a happy note,
there will be hope.
Audience will leave
the hall on a happy note.
Yes, change it.
- Yes, very good idea.
No, Will such a drastic
change be possible?
And this is based on the very
famous novel by Bibhuti Mukherjee.
Almost all of us know the ending.
In this case, without the writer's
consent, how can we suddenly...
Request Mr Bibhuti to change
the ending, take my name.
Else I won't be able to take
the money out from community funds.
No, that's a bit difficult.
Why difficult?
He left.
So tell him when he returns.
When is he coming back?
He's not in this world anymore.
Oh, sorry! See...
I forgot about the death
of such a renowned writer.
Very sorry.
Keep the tea there, we'll take this.
Then what can we do here?
What can we do in this case?
I.. I...
There's no way
other than the community funds.
What can I do here?
Can I suggest something, sir?
- Yes.
The name of the story is Pather...
- Pather Padabali.
Ballad of the road.
- Yes, yes.
So I was thinking,
from road department, I mean PWD,
if we release a fund?
Excellent!
Do a thing,
give them the fund reserved
for making highway in Siliguri.
I'll arrange something
for the land in the next quarter.
Menon will pay you something,
use that to start.
What did you say was your name,
Aparajito?
The name is quite unique...
Go with him,
he will explain the formalities.
Okay? First, you'll get an advance,
and then after your account for it,
the next part, so you will
get the money in installments.
Go with him, take them.
Thank you so much.
- That's fine.
Thank you, uncle Vimaan.
Apu's a very talented boy.
You see, he'll never disappoint you.
I know that.
Hey, please have the tea.
Sit. Please give them the tea.
- Yes, sir.
Aparajito?
Who is it?
What is happening here?
Where is this light coming from?
This has fallen down.
- Okay silence.
What are you even shooting,
Debashish?
Tank will be over.
- He's conscious.
What's happening here?
- Okay, fine, sit.
Pather Padabali, scene 43/1.
Take One, action.
Hey, this wasn't part of the script.
Why are you shooting
without informing me?
This wasn't there.
"Spend a lot,
roaming nations across.."
"Mountains I went to see,
went to see oceans blue."
"Just couldn't see my home..."
Stop the shooting. Can you hear me?
Who?
Apu?
Apu, it's me, Vinku.
Who? Vinku?
Come.
Where? Where are you going, Vinku?
Vinku!
See there.
Is this the owl you were talking...
Vinku?
Fire.
Hey, Apu?
- Apu.
What are you mumbling?
Huh?
What happened?
No, nothing.
Just a nightmare.
No more.
It seems your advance
cheque is here.
What? Let me see.
Correct.
Let me give my clients
this good news.
Hey.
- What?
There's another news.
What?
A new family member
is coming to our house.
Most probably,
he got your work done.
What?
Finally, the lady luck
was happy on me.
How?
I realize that if I only
shoot on Sundays and holidays,
it'd be years before
this shooting is over.
So, either I have to leave the job,
or I had to apply for a long leave.
I had a new boss by then,
Mr.Newman.
Whether he'll be generous
towards me, like Mr. Brown,
I had no idea.
I don't know how to thank you,
Mr. Newman.
I shall always be
obliged to you for this.
You're welcome, Mr. Ray.
And I wish you all
the best in your venture.
You've got a great story to tell.
And I hope you remember to come back
to us when your shooting is done.
Certainly, sir.
Thank you once again.
- You're welcome.
Hey Apu?
What happened?
Done.
- Congratulations.
He's even a step ahead of Mr. Brown.
I really couldn't imagine,
that he'd give me such a long,
extended leave.
And that too, leave with pay.
This is a gift in disguise.
Yeah, so kind of him...
- Nothing kind as such.
They don't want to
lose an asset like you.
By the way, I don't want
to lose my cover designer.
Keep that in mind, later
you'll be the film director and..
A lot could have
happened in this year.
With Manik's age,
his voice could have broken.
And with Nonibala Devi's age
and physical condition,
anyday, she could have...
- Please keep your head down.
Please keep your head down.
Between your knees, okay?
- Yes.
Here, look at me.
Bend now, bend.
Bend completely, completely.
This is not a problem, right?
No.
- Fine.
Subir?
- Yes?
Let's go, let's go to the ground.
- One minute.
Come.
- Wait.
Going for take.
- Okay, yes.
Yes, blanket.
Hey!
First position, please.
Brother, is it fine?
- Yes, fine.
Yeah, yeah, fine.
That's enough.
- This is first one.
Order please.
Roll sound.
- Rolling.
Roll camera.
- Rolling.
Pather Padabali, scene 70, take one.
- And action.
Cut it.
- Okay.
Okay. Good, quite good.
Aunt? Hey Aunt?
Hey Aunt? Aunt?
Aunt?
I was saying,
- "O sister, you..."
what about payment?
- "Give me salvation."
Hey, Debashish?
- "O sister..."
Keep a note of this song...
"Give me salvation..."
- I can incorporate it later.
"O mine...."
- Keep this horizontally.
The head should be there.
Listen, I was wondering,
let's talk with Subir,
and keep the camera
at an elevated level.
Then...
- Don't I need to get on the pyre?
Why did you come?
No, no, I was saying,
I'm using the dummy for this shot.
You don't need to.
Please sit.
- No, no
You don't need all that dummy.
Put me on the pyre.
Who can experience
such a thing alive?
I'm not losing this chance.
Can you do it?
Of course.
- You need to keep your eyes closed.
And stop your breath as well.
Can you do it?
Just check if I can.
I'll anyway be on
the pire in a few days.
This might be a rehearsal.
Okay, fine, let's go. Debashish?
- Yes.
But that one year had
helped me in a different way.
How so?
Growing up in a city,
the rural lifestyle,
and the customs were
something I had no idea about.
But in this one year,
for making Chandra Seth,
I had to go to the Saral
village a lot of times.
Thus,
the real character of rural Bangla,
and their mannerisms, lifestyle,
and a million other things,
I was enriched by that.
And their excitement was palpable.
Brother Apu,
so we are starting 21/B, right?
So Debashish, I had an idea.
Yes?
I need a bald head.
Bald head?
- Yes, bald head.
See, I wanted,
in the starting of the rainy scene,
the first drop would fall
on the bald head of a man,
who was catching fish by the pond.
How would that be?
Good idea.
Should I call Sunil?
- Yeah, yeah.
Sunil?
- Hey Sunil?
Come here, please.
- Yeah, brother Apu.
I want a bald man.
Bald?
- Bald man, bald.
Okay, let me see.
Brother, please come here once.
Do you have any bald-headed
man in your village?
Of course,
is there any dearth of bald men?
Wow, can you call someone like that?
Of course, he's right here.
Hey Kartik?
Here, will he do?
Yeah.
I saw a bald man, of your village,
and he was perfect.
Do you know the name?
Name?
I don't know the name.
Then, how would I look for him?
Right. How would you know?
Listen, give me a paper and pen.
Do it on the blank page. Here.
No. no.
See.
This is Haru, the washer-man.
Yes, yes. Haru, the washer-man
- That does it, call him.
Do you know him?
- Yes.
Please call him then.
- Call him.
Go and call Haru, the washer-man.
- Such a perfect drawing.
Wow, just amazing.
Bald,
What bald head? Tak Duma Dum Dum.
Brother Apu, come, let's go.
- Let's go.
Okay?
- One second.
It should be on the centre.
Here, right? Here.
Come, let's go?
Roll camera?
- Rolling.
Pather Padabali, scene 54/1, take 4.
- Action.
Cut, cut, cut.
Debashish, just one drop
and exactly at that point.
Okay.
- In the centre.
Once more, I'm doing it once more.
Is it ready?
- Give it to me.
Yes.
Please keep the head down, okay?
I'm out of frame, right?
Yes, raise your hand a little.
- Okay?
Yea, fine.
- Fine, right?
Come.
- Roll camera.
Rolling. Pather Padabali,
scene 54/1, take five.
Going.
The first drop of rain,
starting from that dramatic scene,
to the huge rain scene,
which you created,
I am very interested to know
the story of its building.
I heard,
this was the first time in world,
and most probably just once,
the actual rain
was used in an actual rain scene.
See, I can't talk
of the whole world,
but I can assure you,
in our nation, before this movie,
outdoor shooting
was not so prevalent.
And rain was a main
subject of our film.
And that has to happen outdoor.
So, no choice but to wait for rain.
Yes, like the Jacobin cuckoo,
we waited for rains for two days.
There's no sign of rains.
And the wait had tired my unit too.
But the day the rains came,
due to an important office work,
I couldn't do the shooting.
Subir, Chandra and the
others did the shooting that day.
Debashish?
- Yes?
Come here once.
Subir?
- Yes?
Subir?
Yes?
- Come here.
See, Apu wanted a frame like this.
I mean...
- Yeah, got it.
But will the centre compass
look good in whiteshot?
Wouldn't it be better
if it were a little off center?
But this is exactly
what he scribbled.
Else when the girl's hair swings,
it will go out of frame.
When she'll be staring at the sky,
we should take a closer.
Hey, you are sitting
here and there...
Come, come,
it will rain, brother Janak, quick!
Yeah, yeah, go there, call him.
You can't trust rains.
Hold this.
- Take this.
Quickly, put it back.
What happened?
Hey, hey, hold that.
- Hold it on outside.
Come, come. Take it there, there.
Yeah, yeah... take it to the front.
Hey, brother, where are you going?
Come, come.
Be quick.
Listen, run there, and come here.
Okay, okay.
Camera rolling? Right, to the right.
Turn around, turn around? Yes.
Yeah, fine, that's fine.
Feeling cold?
- What?
Feeling cold? Shawl, shawl...
Give her the umbrella.
Yeah, do it like this, yes.
- Yes, yes.
Softly, softly, don't fall.
Softly, yes.
Yeah, cover him.
Hold your brother, hold him.
Hold your brother.
And then...
Subir?
- Yeah.
Got it?
- Yeah, I'm almost there, almost...
"Rain, rain, go away..
Come again, another day..."
"Rain, rain, go away...
Come again, another day.."
"Rain, rain, go away...
Come again, another day.."
"Rain, rain, go away...
Come again, another day.."
This is a very interesting story.
So, we know,
that shooting is another
name of austerity.
But,
there are a lot of interesting
incidents there.
And we, the outsiders,
never know of that.
If you're reminded
of any such incident?
There are many such incidents.
For example,
Srinivas, the sweet-seller,
Seeing the water reflection scene,
a gentleman thought,
it was printed in
reverse by mistake.
Behind Srinivas and Uma and Manik,
and the dog following them.
It was a huge trouble
to take this shot.
There's the reflection, yes.
Is there a telephone nearby?
Telephone? In this remote village?
Have you lost it? And why?
Babushona is not well since morning.
Why did you come today?
You could have come any other day.
I don't want to miss this shooting.
But where would you
find the telephone now?
You might find it in the
post office, but that's quite far.
Mother is at home.
She'll surely handle it.
Now let me concentrate on this shot.
It has both kids and animal.
A dangerous situation,
just wait right here.
Hey, are you done?
- Replay it.
Debashish? The dog's waiting.
Debashish, can you hear me?
Here, say it.
Debashish, can you hear me?
- Yes, brother Apu.
The dog's waiting.
And he loves you.
Get him up.
And get them on position.
Okay, fine.
- Bring them back.
Hey, Subir...
- Yeah.
Brother Apu, one second, I just
thought of an interesting thing.
Let me do the composition.
Tilt down, tilt down.
Move, move.
Yes.
- Yeah, I see the reflection.
See, brother Apu.
Take the camera to that side.
It'll go there.
Yeah, the reflection's better there.
Are you only trying
to get the reflection?
Yes.
- Good frame, here.
Yes, check that.
Then let's do this,
we'll plan the master differently.
Okay?
- Yes.
Hey, come, let's go.
- Careful, careful.
Brother Apu, just coming.
Yes, careful.
Okay, okay?
Let's go.
- Yeah. Then let's go.
There are three locks,
open the first one.
- Okay, roll sound.
One second, let's go.
Roll camera.
Rolling.
Pather Padabali, scene 22, take one.
And action.
Follow him, follow.
Come, come.
Cut, cut, cut.
The dog's not moving, ask him to go.
Apu?
- Yes? Wait.
Hold this, what?
Give the girl something in her hand,
that'll attract the dog.
Food? Yes, right.
Hey, listen.
Give her some sweets
from the sweet pot.
Damn!
Sweets will cause him
to lose his fur.
Something plain,
biscuits or something.
Something...
- Man, he'll lose fur.
Hey, give it.
Do you have some biscuits?
Yes.
- Give it to Devi.
Ask her to show that,
so the dog will follow.
Okay.
- Will the reflection work?
Yes, yes.
- Then, fine.
Mr. Kartik...
Come, come, let's go.
Should we go?
- Should we go?
Roll camera.
- Rolling.
Pather Padabali, scene 22, take 10.
Action.
And cut it, excellent.
Excellent, excellent shot.
Great!
- Oh, man!
Thank God, Sarameya.
One shot made me sweat bullets.
Thank you.
Hey listen, give him some biscuits.
He deserves it.
And then there was another problem.
The duty of waking
Manimala Devi at dawn,
and escorting her to shooting spot,
was given to a Punjabi driver.
He didn't have the alarm clock.
So he made up a solution himself.
What's happening here?
Hey brother?
Why did you stop the car
at Tram line? Are you an idiot?
Sorry, a mistake.
- A idiot.
Forgive me.
- What can I even say?
He stopped the car at tram line
and is snoring away, move it.
Quick.
- Yeah, I'm leaving.
Later, Sajjan Singh came
to an understanding with them.
He used to keep the car
next to tram line.
And while passing, they would
ring the bell and wake him up.
Oh, my door is open.
Don't do roaming around in noon.
Keep in mind and cook some rice for
yourself, and something for Mini.
Don't forget it.
Wait.
Outdoor shooting
is somehow finished.
After this the biggest
challenge for us was...
to construct the Manik's
house on the set as it is.
So, this is the plan. Okay?
This is Harimadhav's entire house.
And this door is this one in here.
And what is the name
of that old woman?
Nonibala.
- Nonibala.
Even Nonibala will sit right here.
The rest you can figure out.
- You have done a good job.
We'll get so much space.
Yes, it'll be easier for me to place
trolleys, lights, etc. as well.
The pillars would
be made of wood. Right?
Yes. Definitely.
And I'll make a 'Kalongi'
in the house.
'Kalongi?'
Hey!
- It looks something like this.
Where we keep Lord Ganpati.
'Kulungi'?
- 'Kulungi' isn't it?
Kulungi.
I couldn't even figure it out.
That the Manik's house
was constructed on the set.
See, I don't think much people
outside the production
unit could figure that out.
But all the credit
goes to our art director,
Chandragupta Kichlu.
Not only the detailed
set construction...
in some cases, if it weren't
for a few improvisations,
this masterpiece would
not have been possible.
For example, in Saral,
the door in the real location,
the lower part of the door
is broken and withered.
As the weathering techniques
we have here is not too good.
And it wouldn't have
been realistic as well.
Chandra studied set construction
and he innovated...
by bringing such an effect,
which made it impossible to
figure out if that is real or fake.
We are left with a doubt.
Even after having a house
in the real location,
why did you have to construct
it later on the set to shoot?
We don't have the lightings
required to shoot night scenes
in outdoor locations.
On this context, I would
like to tell our cameraman Subir
He has made some
miraculous innovations
regarding the lighting
systems in that movie.
That is literary revolutionary.
Not only in our country.
I have rarely seen
the natural lights of that
sort even in foreign movies.
He didn't let the light
fall directly on the actor.
He used to bounce it on them.
Just how it happens in real.
This camera work of Subir.
Changed the World cinema in itself.
A little back, a little back.
Yes, yes. That is the last.
Give me the mark.
- Okay, fine.
Do you need this light?
Should I turn on this light?
- We'll rehearse once.
About this fan, Brother.
- That light...
Put it up.
- Come on, push the trolley.
We'll do it with dialogues.
The brick, fast.
Keep moving. Come on...
Have you ever boarded a train?
- Hey, brother Apu?
Yes, you give it.
Brother Apu,
we would need a light in that room.
It's looking pretty dark.
Keep it there.
This is the last position.
- That's it.
We just need a light
in that room right there.
Okay.
It seems dark in there.
- You all take some rest.
Hey Jhontu? Hey Jhontu?
Why have you kept this light here?
Keep it behind the door.
Make the light bounce.
There is no space here, sir.
Oh, no! Is there really no space?
Wait, wait, wait.
- Yeah, here.
Do one thing.
The truck that we have.
Get a headlight from the truck.
Bring the battery too.
And keep it inside that pot.
Go, go, quick!
- I'll just get it.
Hey brother, get the light.
Okay, sir?
Wow, good!
Pather Padabali,
scene 37, take four.
And action.
Trolley.
You heard the train outside.
Tell your sister.
Sister?
- Yes?
Have you seen a train?
Yes.
- Pure rubbish.
Do you know where the train line is?
- There.
Saral danga ground,
then wheat fields, then rail line.
Will you go once?
- Sure.
Mr Bhanu.
Show me what you wrote, dear?
Wow, quite good.
Now write 'Oibhoot'.
Oh, God!
A demoness came then,
"Hau Mau Khau"
Who's the human I smell?
Who lies awake in my temple?
Neelkamal sleeps
and Lalkamal lays awake.
And then, during noon,
the demoness came again.
"Hau, Mau, Khau..."
Who is the human I smell?
Who lies awake in my temple?
Give me the news...
- Uma?
Let's go.
Go, go.
Mr. Aparajito?
I'm very curious about one scene,
an unforgettable scene.
Harimadhav is returning
home after Uma's death.
Without knowing anything,
Sarvamangala is informing him.
The frame...
I am thinking it like this.
This is the frame.
Sarvamangala is standing here,
and Harimadhav is sitting here.
See, Subir.
Do you want topish?
- A little topish, 50?
Maybe 35.
Is Tarpa here?
Subir just went to get them,
they'll be here.
Listen, there was a storm.
So the straw on top,
I am reducing it a little.
Yes, just a little,
don't make it a cyclone.
And the props to be kept inside
Harimadhav's bag, are they ready?
Yes, everything is checked.
That's like Chandragupta Kichlu.
Debashish, get the artist
ready with their lines.
Magazine?
- Up, up.
Get up, get on the roof.
Yes.
- Put him there.
Here, here.
- Okay.
If you put it up,
I'll put Harimadhav there.
Do you want Harimadhav there? Then..
- Yeah, where is Tarpa?
Hey, brother.
Hey Tarpa, this is bigger than me.
Bring it here.
- Let me see.
I already told Apu,
I'm not good with crying.
You need a professional
actor for that.
Why are you worrying?
He'll surely get it done.
Would you please check the props?
When you'll take it out of your bag,
when you take out the saree,
she'll cry holding that.
Okay?
- Bring Mr Harimadhav's props.
Man, couldn't it have
been green for a while longer,
Here, from the Charak fair,
genuine Jackfruit wood.
And you wanted a plate for Lakshmi.
Here, I got it framed in glass.
And this, for my dear Uma.
A saree.
What happened?
What happened?
Not happening.
Cut it, cut it.
Let's do it again, quickly.
No, I know, it's not working.
As I told you, I can't cry.
Give me 5 minutes please.
Another camera.
What to do?
- Let me see, reset the props.
Let me see.
- Sure.
Come.
Varuna, any problem?
Problem, for sure.
I'm wasting so many camera reels.
Actually,
as I told you, I just can't cry.
You don't need to worry,
you are doing good.
It's just about tears, right?
You just need to stare
at the sun for that.
Even Mr. Bhanu was saying,
you just need to press
a gland to cry tears.
Tears are fine,
but the shock,
that needs to come from within.
And I just can't feel that.
What are Stanislavski's
opinions on that?
Nothing.
Method acting fail.
How about we try a Bangla method?
Okay.
- Let's go.
And a saree for Uma.
See, look at that.
Cut.
Great, amazing.
Mr. Bhanu, amazing.
Really, was it good?
Thank you, so relieved.
Good, good!
It was very necessary to
evoke emotions in this scene.
I was a bit apprehensive
while watching this scene.
But when the scene was complete,
with music, it felt
if we left out Sarvamangala's
heart-piercing cry
completely from the scene,
and just use wired Shehnai,
it will be better for the emotions
I'm trying to achieve.
And it will make the scene
more telling and poignant,
without being
unnecessarily sentimental.
Amazing. Amazing!
Wow, great!
The impact you are looking for.
This Raga 'Patdeep' that you played,
is much more impactful.
And the ones you played before,
Purya Dhanshri, Todi,
these are good but very common.
Okay, Mr. Surya,
let's do the rain sequence now.
Yes, but I am not using
'Malhaar' in rain seqeunce.
Rather, I am...
using 'Desh' Raga here.
Wow, this is quite celebratory.
Can we hear it whole?
It goes great with the theme too.
Mr. Aparajito,
it is virtually impossible
to finish it in such little time.
And with your busy schedule, you
can't even give us more than a day.
That's true.
But with the tight
deadlines you have,
and you also want
the music to match the scene.
Okay, okay, do a thing.
Just play the musical
pieces a bit longer.
I will cut and use it
as per the scene needs.
We had to finish the music in
tremendous hurry, in just 11 hours.
But it was still
lacking in few places.
For example, the sweet-seller scene.
Luckily, Subir can play Sitar.
But this pressure,
of fighting against time,
didn't spare us.
And Morgan Wheeler
came during this time,
who's one of the directors
of New York's Museum of Modern arts.
He had somehow heard of our movie.
The movie was not
fit to be shown then.
So we had to make
do with shooting stills.
No, no,
this is such a silly painting.
Here, these are the photographs.
Have a look.
I must say,
They don't look
like shooting stills,
they are absolutely life-like.
I wish I could show you the phone.
Oh, I will, in New York.
We are going to have a festival
of films at MoMA,
from all over the world.
I want your film
to be premiered there.
Oh, so kind of you, Sir.
Thank you, Mr. Wheeler. Thank you.
And after a few days,
a famous Hollywood director,
John Hudson came to Kolkata
while on his way
to scout a location in Nepal.
Morgan Wheeler had
sent him to enquire,
how far along are we with the film?
Very good. Very nice.
- Thank you.
This lady had a fight
and she left the house.
Yeah, yeah. I understand.
That's all.
So, did it pass master, Mr. Hudson?
Oh, it certainly did.
In fact,
it's quite masterful, Mr. Ray.
Monroe chose the right film
for his festival.
Very impressive indeed.
Thank you, sir. Thank you.
Please come.
Due to Mr. Menon's tight hand
with the government money,
we were quite behind the schedule.
And meanwhile, the date
of MoMA's premiere was here.
We just had two more weeks.
And there was a lot of work pending
for editing and
finalizing the movie.
So we virtually didn't
sleep for 10 days and 10 nights
and somehow finished the movie.
10 days without sleep?
One hour here and there.
Brother Tumpa, I did it finally,
the last reel is left.
Just finish this too.
Here, here.
Brother Apu,
I can't do this anymore.
Should I take a nap
for 15-20 minutes?
And then...
- Yes, I understand brother Durga,
but we have to send the
film tomorrow morning itself.
Do a thing, just spray
some water and get it done.
Go, go, quick.
Go!
If you sleep now,
you'll be in the same condition
as your colleague.
What happened?
Why did you switch on the light?
Babushona is in deep sleep.
It is 3:30 p.m. there.
Eastern Standard Time.
Screening must be starting now.
What's supposed
to happen will happen.
Don't stress, just sleep.
I'm not feeling sleepy, Vinku.
At least, give it a try.
It's quite late,
it should've been here by now.
Apu, are you writing to Morgan?
Yes, it's almost three weeks today.
I don't know
what's the point in writing?
A movie made
on the rural life of Bangla,
why would the Englishmen like it?
I'll check.
Must have failed to engage
the cultural elite of New York.
The show must have
been a damn straight.
The film might have
been a super flop.
And Mr. Wheeler might be hesitant
to tell us that.
Apu, telegram.
What does it say?
What's it?
A triumph of
imaginative photography.
Letter for us.
Amazing news.
- Bravo, Mr. Mitter.
Congratulations.
Well done, well done!
- Hey Subir, bring the sweets.
That 'Lengcha', yes.
- Sure.
So New York is done.
But the movie was released
in Kolkata after a long while.
Before the official release here,
In an elite club for
the VIP's of Kolkata,
a private screening was organized.
I assume you got a great response.
It's almost time.
It will be good,
we are stressing needlessly.
There. Greetings.
Quite good.
- Thank you so much. Thank you.
Coming.
There they are.
It was pretty good.
Was it good?
Good.
- Oh, thank you so much.
It was good.
- Thank you.
Thank you.
- It was good. Good.
It was good. We liked your movie.
Rubbish, is this cinema
or a documentary?
- Exactly.
If these cinemas
are shown outside India,
what would people think of us?
It was good.
But too long and a little slow.
And quite tragic.
I cried a lot.
Yes, I am free, careful.
Yes, please move.
Oh, yes...
- There is no dearth
of sorrow in our life, right?
And that's why people come to
the cinema, to forget their sorrows.
To escape the reality.
This is more like an art film.
While I was in the continent,
I saw a few of these.
A good attempt,
and I do wish you the very best.
Thank you so much. Thank you.
- Farewell.
What a damn!
What a waste of Sunday afternoon.
Hi. We are absolutely floored.
What a film.
We have never seen
a movie like this before.
Not even in English.
- Thank you. Thank you very much.
What a commendable job.
I'm very impressed.
Thank you so much.
- Thank you, Sir.
So glad you liked it.
- Thank you. Thank you.
See, they really liked it.
Farewell, thank you.
It didn't, really capture
the heart of Bengalis.
A very lukewarm reaction.
I think the foreigners
liked it more.
Activate the interest
toward films is so less
that it takes some
time to accept anything.
Or with Bengalis,
it can be pure jealousy as well.
The main thing is that people
who pay to see it should like it.
It's okay, Apu, don't get so upset.
What is this?
What is this?
You tell me, what is this?
Circle picture.
- What's happening here?
See, he came here.
Listen, the scene where
the kids see the train,
shouldn't that be
made into a poster?
Yes, this is single sheet.
- Hey, you naughty.
And the one you're talking
about is for 10 by 20 hoarding.
When is it releasing?
They say it would be August.
Let's see.
All the best.
Hey, Babu?
Just two more stoppages, right?
- Yes.
Yes. These two,
What happened, aunt?
I was just looking
at the poster of the film.
Isn't that the film
based on uncle's novel?
The poster has been made
by the film director himself.
Really, so beautiful, right?
I have never seen such
posters for Bengali film before.
He draws so wonderfully, right?
- Yeah.
After all,
he is Shrikumar Ray's son.
The film might have
been great as well.
But the story is not conventional.
Who knows whether it will work?
Not a problem, anyway, you
could have done the whole station.
Brother Apu, everything was fine.
It would have been better
had the holding been a bit wider.
PATHER PADABALI
Oh wow, a long line.
Come.
There's a good crowd every day.
Yes, I heard it yesterday in my
society, it's quite good, it seems.
You didn't watched it yet?
An amazing film. I have seen it once
before. I brought my wife today.
One for evening, upper stall.
Brother, are tickets available?
- Just wait.
Wait, let me first
ask at the counter.
Two matinee show.
Brother, how is it selling?
Sales... Today it's 60% complete.
It was running housefull yesterday.
Okay, fine, let's go.
Take the change.
- Listen, dear.
Tomorrow's a Sunday.
We'll go see a matinee show.
While returning from office,
I took two tickets.
You'll go, right?
What movie are we going to watch?
- Asha Jawa?
Oh please,
you and your hopes and dreams.
You see, Pather Padabali.
Padabali?
- Yes.
Is this a spiritual book?
No, this is totally different.
It's about a village.
Oh, yes.
Sushila told me, this is that film.
Without hero-heroine, or songs.
Oh, please.
What's the point in spending
money for such a film?
Oh please,
to hell with your dance and romance.
It's the same boring story.
Listen, my boss was
telling me that day,
Mukherjee, see that film.
We have never had such
a cinema in our country before.
Oh, wow!
Your boss said so?
- Yes.
Isn't he like a proper gentleman?
Just imagine,
if we don't see this film,
we won't be able
to face the society.
Fine, let's watch it then.
A pink gin for madam and for me....
- Vodka tonic?
Yes. And one plate of fish fingers.
Okay, sir.
- Thank you.
That should be alright or...
Yes.
- Hey?
Good afternoon, PK.
- Hey, hello.
Hello.
- Hello.
Are you not coming
for golf these days?
No, afraid not, a lot of travelling.
One tour after the other.
- Uma...
Okay, go, get it.
- Oh, really.
Why didn't you call me?
- You were getting...
Mr. Aparajito Ray?
- Yes?
Do you remember me?
We met during the first
screening of your film.
Do you remember?
- Of course, I do.
And I also remember your reaction.
I told my wife and everybody else,
this film is going to go places.
- It has.
All the way to New York?
- Oh, really?
My boss, Mr. Newman.
Not for long.
- Why so?
He wants to be an
independent film director.
And like your country,
he wants to be independent too.
Excellent!
Well, I'll take your leave.
Thank you.
He seemed overwhelmed by you film.
On the contrary,
he seemed quite underwhelmed
after the film.
I told you,
this film is going to be a hit.
Did you?
You said it will be a flop.
Initially,
it wasn't getting any attraction.
It took a week for people
to notice it's in halls.
Listen dear,
Bengalis have this snobbishness.
It received an award or
something in the English nation,
and that drove the
Bengalis to the theater.
No matter what you say,
it's a fantastic film.
Capturing the rural Bangla
in celluloid like this.
Oh, please!
All the Englishmen want to
see is the poverty of our nation.
They will gulp it up.
Do you know why this film
is getting so much attraction?
Seeing the poverty and
underdevelopment of our nation
makes them feel superior.
Poverty is porn now.
- Stop your rubbish.
You have no idea
of what a cinema is.
The praying mantis dancing in pond,
the toads,
the pleasure of dancing in rain,
the excitement of
seeing your first train,
have you ever seen
this pictorization before?
Have you heard of
eternal neo-realism?
It wipes away the difference
between film and reality.
Exactly!
Actually, we did have cinema, but
the cinema didn't have its language.
Pather Padabali made a Bengali,
an Indian look into movie.
That director was a regular here.
- Exactly.
Quite tall, he had a reserved table.
Who knew he would do this before?
Then we would have
cultivated something.
That's occupied.
There's the chance
of your cultivation.
Sir, you are in queue.
Brother Bishu,
how come you are calling me sir?
Really... Sunil...
- Can we take that table?
Yes, sir. That table...
- If I could get an autograph?
Go ahead. You'll have
to give a lot of photographs.
Nothing to be ashamed of.
- Yeah, right.
Welcome to celebrity hood.
Come.
Shiela was right.
You funded the right film.
I told him to change the end.
It's a sad ending.
But he didn't agree with me.
That would have been
an absolute disaster.
No, this is just perfect!
This family from a small village,
moving out into the wide world,
this is just a perfect ending.
Well done, young man.
I have never seen such
a wonderful movie in my life.
I'm proud of you.
- Thank you, sir. Thank you.
Thank you, Mr. Ray.
This has been a wonderful
experience for me.
Ray?
I'll definitely have
a word with the I&B ministry.
As per the Bombay Film college,
they have no idea
of what an artistic cinema is?
I'll see to it that it definitely
goes to Cannes, Roy.
The very first film,
going to a festival like Cannes.
And getting the prestigious
award of best human document.
The taste of success,
will you please share
it with our listeners?
See, I couldn't go to Cannes then
I heard it later,
and this was written about as well.
You must have read it.
Of course I did,
but if you could say.
My movie was shown towards
the end of the festival.
Also, the auditorium
where the screening happened
was relatively smaller.
Where unimportant films
generally get screened.
There were very few people
watching it as well.
And I think in the entire festival,
after watching all the famous films
and partying till late in the night,
people were tired.
And initially even the audience
was little restless.
Rumour has it that a
famous critic just walked out.
Sister, have you
ever watched a train?
Yes.
The uncivilised natives
were eating with their hands.
He could not take it.
Even I have heard about it.
A diary of cinema's Francois
Truffaut commented it as:
"Pad, pad,
pad through the paddy fields."
Although later,
he denied everything about it.
Then ultimately it happened
what was meant to be.
I can understand
you are being a bit hesitated.
To talk about that day.
In that case,
let me recreate that moment again.
In the magazine,
Film Buff, McSeaton...
has described the occassion.
"Unheralded at Cannes,"
"Pather Padavali was
announced for screening."
"On a sultry afternoon..."
"towards the end of the festival."
"A somewhat distraught audience..."
"bored by
too many cocktail parties..."
"and an endless parade
of films gathered to see it."
"The critics who were there,
expected nothing more..."
"than the usual Indian films."
"With dances, songs,"
"sacred cows and melodrama."
"and the first moments seemed
to confirm their worst suspicions."
"For those who remained,"
"the unexpected began to happen."
"Suddenly, the audience realised..."
"that the magic horse of poetry
was invading the screen."
"The breadth of the story
became large."
"And the purity of the images"
"corresponded to the purity
of the subject."
"The people who were fidgeting,
became still."
"The murmurs died out."
"And there was utter silence
in the auditorium."
"Everyone was witnessing..."
"the magic of cinema."
"They were wonderstruck."
"And then, once the film ended,
they all stood up."
"To get a long, standing ovation."
Now I am calling on stage,
Mr. Aparajito Ray.
Come.
Thank you.
Congratulations.
And I am feeling very proud
to let you all know.
That one of our members' film...
has been awarded as
the 'best human document'
in the France's famous
Cannes Film Festival.
This is the first time
any Indian Film Director
has received this prestigious award.
Holding Pather Padavali's hands,
Bangla and Indian Cinema
has reached into the World stage.
Now I would request Aparajito
to share his experiences with us.
Greetings. Receiving this award,
I am elated and proud.
But receiving the acceptance
and acknowledgement from...
the people of my city and country,
gives a different kind of happiness.
Won't they give us?
The way I am being felicitated
in different parts of the city,
I am overwhelmed.
ANANDABAZAR MAGAZINE
HUGE PUBLIC FELICIATION IN SENATE HAL
Your Tea.
Yes.
- What are you thinking?
I am thinking, the people
who were involved with this movie,
all of them are getting felicitated.
But one person missed all of this.
Nonibala Devi.
- Exactly.
One of the best performances
in the World cinema.
I agree.
But you know what do I think?
The first day you
showed that film to her,
I saw a smile of
satisfaction on her face.
Maybe she also understood that
the film was going to become huge.
I also miss her.
Especially, her toothless smile.
Brilliant!
I am remembering one more incident.
"Lord, the day has passed,"
"evening has beckoned,
pass me through everything."
"Lord, the day has passed,"
"evening has beckoned,
pass me through everything."
Brother Apu,
Nonibala Devi's part is done.
Yes, it's her pack up.
Send her home.
What's this?
She is still acting being dead here?
Nonibala Devi?
Nonibala Devi?
Nonibala Devi?
- Yes.
Please get up. The shot is done.
What is done?
Your part is done. Why are
you lying down? Please get up.
Done?
- Yes.
But nobody has said 'cut'.
I have been lying down
holding my breath all this while.
Okay, okay. Cut, cut.
Wow! Ultimately even
Naivedya admired your film?
I feel as if I am
in a deep trance, Apu.
How did it all happen?
I think that the entire universe
conspire to make things happen.
But, do you know what I think?
Behind all of this happening,
we cannot take away the due
credit from your white owl as well.
Whether it is due to
the own merit of the film...
or due to the hoots
of the white owl.
It's admiration would
only be wide-spread.
I don't have a speck
of doubt about that.
I certainly know that
this film would keep...
inspiring many film enthusiasts
and film directors
for the years to come.
AFTER 10 YEARS
Hello?
- 'Hello.'
'Hello, hello. Mr. Aparajito Ray?'
Yes, that's correct.
'There is a call for you
from New York, USA.'
New York?
- 'Yes.'
Okay, put me through.
- 'Hold on.'
'Sir, is that Mr. Aparajito Ray?'
Yes, that's correct.
'Sir, I am a student
at the New York University.'
'I first watched your film.'
'Pather Padavali a couple
of years back on television'
'but that was the dubbed version.'
'But last night, I watched
the whole trilogy, back to back.'
'The way how cinema-men
would have it.'
'Can you hear me, Sir?'
- Yes, clearly.
'Mr. Ray, I got your phone number
from an Indian classmate.'
'Sir,
your films simply blew my mind.'
Thank you very much.
Thank you for taking
the trouble of calling me
all the way from New York.
And letting me know.
It's very encouraging indeed.
But I didn't get your name.
'My name is Martin, Sir.'
'Martin Scottish.'
Thank you, Martin.
Thank you for your kind words.
'My pleasure, Sir.
All the best. Goodbye.'
Bye-bye.