Making A Mango Pickle
Let’s revisit the story
1. What similarities do you find between Apu and Durga?
They have the same taste and
feelings- similar features like large eyes
etc. Both of them are afraid of their
mother.
2. Pick out the sentence which tells that Durga is pretty.
‘On her finely shaped face…her
brother’s’.
3. ‘You stand by the back door and keep a look out’. Why does Apu say so?
Apu fears that his mother will come.
Activity 1
Who is the speaker?
You have read the story Making a Mango Pickle, haven’t you? Given below are some
dialogues taken from the story. Identify the speaker.
Answers
a. Durga
b. Apu
c. Durga
d. Mother
e. Apu
Activity 2
Read the story again. Write down which dialogue fits the expressions given.
- a. ‘You stand by the back door and keep a look out.’-Anxiety
- b. ‘Where did you get them from, Didi?’- Happiness
- c. ‘But Ma will give it to me if I bring down the oil pot from the shelf’- Fear
- d. ‘Where is that monkey gone?’- Anger
- e. ‘They are right upon the shelf. I can't even reach it.’ - sadness
Project Work
The story revolves around a poor, Bengali Brahmin family in the early years of the 20th
century. The father, Harihar is a priest who is unable to make both ends meet. The
mother Sarbojoya, has the chief responsibility of raising her mischievious daughter
Durga and caring Indir, a distant aunt of Harihar. With the arrival of Apu in the family,
dramatic moments happen in their daily life.
Now, watch the film Pather Panchali and express your views in the space given.
Pather Panchali - In my view
1. What is the main theme of the film?
2. Who are the other characters you see in the film, who are not in the text?
3. Which scene in this film attracts you the most? Why?
4. Identify a funny incident in the film.
5. Mention the most tragic event in the film.
Write an appreciation of the film Pather Panchali.
The time is early twentieth century, a remote village in Bengal. The film deals with a Brahmin family, a priest - Harihar, his wife Sarbajaya, daughter Durga, and his aged cousin Indir Thakrun - struggling to make both ends meet.Harihar is frequently away from home on work. The wife is raising her mischievous daughter Durga and caring for elderly cousin Indir, whose independent spirit sometimes irritates her... Apu is born. With the little boy's arrival, happiness, play and exploration uplift the children's daily life.
Durga and Apu share an intimate bond. They follow a candy seller whose wares they cannot afford, enjoy the theatre, discover a train and witness a marriage ceremony. They even face death of their aunt - Indir Thakrun. Durga is accused of a theft. She falls ill after a joyous dance in monsoon rains. On a stormy day, when Harihar is away on work, Durga dies. On Harihar's return, the family leaves their village in search of a new life in Benaras. The film closes with an image of Harihar, wife and son - Apu, slowly moving way in an ox cart.
Pather Panchali is Ray's debut film, and the first film of his 'The Apu trilogy'. The remaining two films of the trilogy, Aparajito and Apur Sansar, follow Apu as the son, the man and finally the father. Pather Panchali has a universal humanist appeal. Though the film deals with the grim struggle for survival by a poor family, it has no trace melodrama. What is projected in stead is the respect for human dignity.
The most loveable character is that of Indir Thakrun, an old, cynical, loving and storytelling aunt of Apu and Durga. It was played by an 80-year-old Chunibala, a retired theatre performer who relished coming back into the limelight after 30 years of obscurity.The sequences of Apu and elder sister Durga, exploring their little world and sharing secrets are most remarkable aspect of the film. These include the scenes of - discovery of train by Durga and Apu in field of white Kash flowers, the candy seller sequence, and Indir Thakrun's death.In the inspired 'candy-seller' sequence, as Durga and Apu secretly relish tamarind paste, their mother is complaining about hardships to their father. Durga hears a faint bell. She knows it is the candy-seller. Both go out and look longingly at the pots with sweets in them. Durga sends Apu to ask for money from their father. Mother intervenes, and Apu returns empty handed. But the sight of the pot-bellied candy-seller carrying two bobbing pots of sweets is too tempting to resist. Both start following him. A stray dog joins the procession as it is reflected in a shimmering pond.
The film develops its characters and the atmosphere slowly and resolutely. The narrative builds up to a powerful climax as we begin to empathise with the characters. Some critics found the film to be too slow. Satyajit Ray wrote about the slow pace - "The cinematic material dictated a style to me, a very slow rhythm determined by nature, the landscape, the country. The script had to retain some of the rambling quality of the novel because that in itself contained a clue to the authenticity: life in a poor Bengali village does ramble."
Towards the end of the film, after death of Durga, we see Apu brushing his teeth, combing his hair... going about performing tasks, which would have involved his sister or mother. Sarbajaya (mother) has a lost look... Harihar returns, unaware of Durga's death. In a jovial mood he calls out his children. Without any reaction, Sarbajaya fetches water and a towel for him. Harihar begins to show the gifts he has brought for them. When he shows a sari that he has bought for Durga, Sarbajaya breaks down. We hear the high notes of a musical instrument "Tarshahnai" symbolising her uncontrollable weeping. Realising Durga's loss, Harihar collapses on his wife. We see a speechless Apu, for the first time taking the centre stage in the story. Till now the story was seen through the point of view of either Sarbajaya or Durga. It is only in these final moments that we see Apu as an independent individual.
In the USA, Pather Panchali played at the 5th Avenue Playhouse for a record 36 weeks, breaking the previous record held by The Cabinet of Dr. Caligari.
Awards:
President's Gold & Silver Medals, New Delhi, 1955
Best Human Document, Cannes 1956
Diploma Of Merit, Edinbugh, 1956
Vatican Award, Rome, 1956
Golden Carbao, Manila, 1956
Best Film and Direction, San Francisco, 1957
Selznik Golden Laurel, Berlin, 1957
Best Film, Vancouver, 1958
Critics' Award - Best Film, Stratford, (Canada), 1958
Best Foreign Film, New York, 1959
Kinema Jumpo Award: Best Foreign Film, Tokyo 1966
Bodil Award: Best Non-European Film of the Year, Denmark, 1966
