Le monde d'Apu

Titre original : Apur Sansar

NOTE IMDb

8,4/10

17 k

MA NOTE

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Tragedy Drama

Ajouter une intrigue dans votre langueThis final installment in Satyajit Ray's Apu Trilogy follows Apu's life as an orphaned adult aspiring to be a writer.This final installment in Satyajit Ray's Apu Trilogy follows Apu's life as an orphaned adult aspiring to be a writer.This final installment in Satyajit Ray's Apu Trilogy follows Apu's life as an orphaned adult aspiring to be a writer.

Réalisation
- Satyajit Ray
Scénario
- Bibhutibhushan Bandyopadhyay
- Satyajit Ray
Casting principal

Voir les informations de production sur IMDbPro

NOTE IMDb

8,4/10

17 k

MA NOTE

Réalisation
- Satyajit Ray
Scénario
- Bibhutibhushan Bandyopadhyay
- Satyajit Ray
Casting principal

Voir les informations de production sur IMDbPro

Nomination aux 1 BAFTA Award
- 4 victoires et 2 nominations au total

Apurba Roy
(as Soumitra Chattopadhyay, Soumitra Chatterji: in subtitles)

Sharmila Tagore

Aparna

Alok Chakravarty

Kajal
(as Shriman Alok Chakraborty, Aloke Chakravarty: in subtitles)

Swapan Mukherjee

Pulu
(as Swapan Mukhopadhyay, Swapan Mukerji: in subtitles)

Tushar Bandyopadhyay

Gupi Banerjee

Panchanan Bhattacharya

Shanti Bhattacherjee

Office Associate

Jiten Bhons

Abhijit Chatterjee

Aparna's Brother
(as Abhijit Chattopadhyay)

Jogesh Chatterjee

Asha Devi

Belarani Devi

Apu's Neighbor
(as Belarani)

Sefalika Devi

Shashinarayan's wife

Biren Ghosh

Dhiren Ghosh

Landlord

Biresh Majumdar

Dhiresh Majumdar

Shashinarayan

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Histoire

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Le saviez-vous

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Anecdotes
Sharmila Tagore, who plays Aparna, the wife of Apu (played by Soumitra Chatterjee), and who was only 14-years-old when she appeared in the film, later recalled filming the scene in which Apu brings his new bride back to his untidy apartment in the city. The director, Satyajit Ray, gave Tagore no direction, other than that she was to enter the room and look around, and she did not view the apartment set before they shot the scene. So when Chatterjee opened the door and they both walked in, Aparna's reaction to Apu's living quarters was actually Tagore's own spontaneous reaction. Later, she realized that Ray deliberately did not prepare her, in order to obtain exactly that spontaneous response from her.

Gaffes
When Apu arises from bed, there is a spilled inkwell on his left side. However, when he is cleaning up the mess, there is an ink stain on the right side of his shirt.

Citations
Pulu: So are you writing anything? What are you writing?
Apurba Roy: A wonderful novel.
Pulu: And you've kept it mum all this time?
Apurba Roy: You know a good publisher?
Pulu: All in good time.
Apurba Roy: Listen to this: a young boy. A young boy. A village boy. Poor but sensitive. His father's a priest. The father dies. The boy comes to the city. He doesn't want to be a priest. He'll study. He's ambitious. He studies. Through his education and struggles, we watch as he sheds his old superstitions and fixed views. He questions everything and takes nothing on trust. Yet he has imagination and sensitivity. Little things move him and bring him joy. Perhaps he has greatness in him, the ability to create, but...
Pulu: He doesn't make it.
Apurba Roy: That's right. But it doesn't end there. It's not a tragedy. He does nothing great. He remains poor, in want. But he never turns away from life. He doesn't run away. He wants to live. He says living itself brings fulfillment and joy. He wants to live!

Versions alternatives
There is an Italian edition of this film on DVD, re-edited with the contribution of film historian Riccardo Cusin. This version is also available for streaming on some platforms.

Connexions
Featured in Apur Panchali (2013)

Bandes originales
For He's a Jolly Good Fellow
Played by the band

Avis des utilisateurs66

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10/10

A radical departure from the formula films of the 50's.

About midway through Apur Sansar there is an interjection of a film in the style of typical Indian cinema. The contrast in Ray's approach with his classic trilogy is astonishing, considering the mileau in which it emerged. Filmmaking in the 1950's in Hollywood as well as India was studio-driven with light-weight stories having little connection with reality. As another commentator pointed out, this film is closer to the Italian realism films such as "The Bicycle Thief". Every shot is a masterpiece of composition and lighting. It does not intrude on the story, but advances it. Likewise, the music composed by Ray, is natural and integral to the scene. This ranks with the all-time greatest watershed movies.