Page 115 - The Apu Trilogy_ Satyajit Ray and the Making of an Epic
P. 115

102                    The Apu Trilogy

                attends a village jatra (theatre) performance and is entranced by
                the actors; at home he dresses up as a prince using Durga’s pre-
                cious tinsel without her permission; they fight and are broken up
                by Sarbajaya; Durga runs off into the fields in search of the fam-
                ily cow, chased by Apu; meanwhile Indir, seriously ill, returns to
                the house but is ruthlessly rejected by Sarbajaya; wandering in
                the fields, Apu and Durga see a railway train; on their way back
                with the cow they find Indir on the point of death; Indir’s body
                is taken away for cremation.
                   To the eyes of the viewer, or at least the western viewer who
                does not follow the language and the mythological story of the
                villainous Serpent King, his daughter and her noble husband,
                the pantomime histrionics of the theatre troupe are delightfully
                incongruous, if a shade too lengthy. But to the enthralled eyes
                of Apu, standing in the front row of the audience, they appear
                as real as the dramas of his own life, enacted in the ‘playhouse’
                of his school, at home and among the neighbours. In Banerji’s
                novel, Apu befriends one of the impoverished boy actors play-
                ing a prince and brings him home, where the two of them sing
                together. In the film, Apu, alone, makes himself a tinsel crown
                and a stage moustache (which he fails to attach to his upper lip).
                Either way, the scene is an intimation to us of Apu’s power of
                imagination, which in years to come will lead to his desire to
                become a novelist, in The World of Apu.
                   With Durga, however, in the scenes that follow, Apu is still
                very much the callow younger brother to her knowledgeable
                elder sister. She is big enough to catch him and slap him for
                his theft of her tinsel, leaving him with eyes full of tears and
                reproach and her stinging rebuke: ‘Ass! All dressed up like a
                prince!’ (She understands, as Apu does not yet, that they are
                paupers who will never be princes.) She can run faster than him
                through the fields. She knows how to chew sugarcane properly.
                Her alert ears and eyes spot the monstrous steam train, puffing
                black smoke, before his do. Yet there are many things that nei-
                ther child yet grasps, for example, where the train is going and








                                                                        9/16/2010   9:08:38 PM
         Robinson_Ch05.indd   102
         Robinson_Ch05.indd   102                                       9/16/2010   9:08:38 PM
   110   111   112   113   114   115   116   117   118   119   120