Page 141 - The Apu Trilogy_ Satyajit Ray and the Making of an Epic

128 The Apu Trilogy

The World of Apu: Apu in his garret

the smallest parts, to the script, camerawork, lighting, art direc-
tion, editing and music by Ravi Shankar. The result is a work
one virtually cannot avoid being moved by: ‘surely one of the
most moving films ever made’, wrote Robin Wood in his study
The Apu Trilogy.
Consider the opening scene, following the credits. (There is a
brief prologue before the credits.) Without a word being spoken,
Apu’s character and situation are established through effortless
use of details in and around his rooftop garret, which seem so
natural that they never draw unnecessary attention to themselves.
The lighting shows that it is morning. The very first image is of
a wet window curtain with a big tear in the cloth, flapping in
the wind as rain pours down outside. Plainly Apu is poor; and
he also cannot be bothered with domestic matters. A piercing
train whistle and shunting sounds, close by, awaken him from
sleep on his basic-looking bedstead. His accommodation clearly
abuts a railway yard. A sheaf of papers, an upturned ink bottle,

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