Abstract
The first step towards realising the implication of the title is the assumption that there exists a world of imagery, symbols, situations, that resonate change in the Apu
Trilogy. Since the Trilogy is a depiction of life itself, the constancy of change is assumed. Concepts like poverty, relationship, death, abandonment, and independence are treated with great sensibility and sensitivity. The ruling thought throughout the dissertation is that beauty is wedded to truth and in that sense cannot be treated superficially. This trilogy maps the inner (and physical) growth of a central character, Apurba Kumar Roy (Apu), from a nondescript village in West Bengal towards self-realisation which is not achieved without encountering extreme financial difficulties, familial death, estrangement, personal grief and a bout of escapism. Throughout this journey, Apu is fuelled by
curiosity, constancy of inspiration and ambition. The whistle of the train which was once heard deep in the background, makes its full blown appearance on a field blooming with
kash flowers when the brother-sister go out in search of an object that embodies their destiny. The journey really ends (or shall I say begins) with the unity of Apu with his son, Kajal, at the fag end of
Apur Sansar. Ray layers poetry and lyricism with nature, people and their interactions and hence forms a powerful dichotomy in
Pather Panchali. His stance in
Aparajito brings about estrangement between a mother and her son (which causes her acute pain, loneliness and eventual death). The cinematic exposition of abandonment and independence in this film is unprecedented and universal.
Apur Sansar, in itself is a summary of the philosophy of life. As such it is an executive summary of the trilogy. It marks the culmination of Apu’s growth into a man who finds love and eventually withstands the heartbreaking and premature death of his wife and overcomes (eventual) morbid depression.
Apur Sansar celebrates the unity of man with his son whom he has been avoiding for the past few years. Wondering-wandering and introspection do not give him an answer, and as such he returns to a flashpoint of emotional catharsis when he unites with Kajal. If
Pather Panchali establishes the curiosity of Apu,
Aparajito maintains it with incredible consistency and
Apur Sansar marks a giant leap toward self-realisation through salvation. The greatness of the Trilogy is not in its subtlety or visual beauty, great performances or immaculate relationship portrayal, but it is the strong undercurrent of optimism in the narrative that shows us a glimmer of hope in any hardship or tragedy. It is a rather soulful rendition of change.