Page 112 - The Apu Trilogy_ Satyajit Ray and the Making of an Epic
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Pather Panchali: Critique             99

                Village elder:     (looking at Apu) Go on like that and you’ll end
                                up behind a plough. (Apu’s grin vanishes.)
                Schoolmaster:  (smiling at his visitor) Well, well. What were
                                you saying, Mr Majumdar? ...
                Village elder:   Tell me, have you seen a good jatra lately?

                He goes on to extol extravagantly a travelling theatre troupe he
                is about to book for the village; helps himself to some free hair
                oil from the shop; then leans confidentially towards the school-
                master and mutters (out of the boys’ earshot) that he will not be
                asking him for a subscription this year, given his helpfulness in
                other ways.
                   When Apu returns home with his father from his first day
                at school, Sarbajaya is cooking. Durga is out of sight but she
                calls Apu. Conspiratorially she tells him to fetch her secret stock
                of mustard oil from the top of some shelves inside the house.
                Meanwhile, Indir Thakrun, by showing off her tattered shawl
                to Harihar, induces him to promise her a new one. His offer
                is overheard by a resentful Sarbajaya. When Harihar then asks
                for cinders for his tobacco pipe, she gives them reluctantly and
                launches into a list of all the things he is failing to do for his
                immediate family, without mentioning Indir’s shawl directly.
                ‘Have you taken a look at the state of the house, what the chil-
                dren are eating, what clothes they are wearing?’ she asks.
                   Apu can no doubt hear all this, but he is intent on reaching
                the high shelf. His parents’ preoccupation will help him to do
                this unnoticed. As Sarbajaya carries on, we see Apu approach
                the shelf and then, in an interesting shot from behind the shelf,
                pick up the coconut shell of oil. Exactly the same pair of shots
                will be repeated at the end of the film to powerful effect, as Apu
                clears the shelf before departure and discovers the necklace his
                dead sister once stole from the neighbours – a visual repetition
                that thereby recalls the brother and sister’s earlier intimacy.
                   Crouched in their corner, the children share the tamarind
                paste Durga has made. Apu is tasting its strong sourness for








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