Celebrating 50 years of Pather Panchali

Sharmila was just 13 years old when Ray had chosen her to play the role of Aparna in Apur Sansar, the final part of his celluloid "Apu" trilogy and she understandably found it difficult to get to the bottom of the character.
"I was too young to understand the complexities of the character. But when I watch the film now, it brings to me a new understanding about the beauty, significance and strength of the character," said Sharmila at the function.
In getting Sharmila to act in Apur Sansar, Ray displayed his ability to get the best out of uninitiated actors and she acknowledges it. "He made me an instant hit. He has the ability to get thm best out of a xerson with consummate ease," said the actress who also went on to act in Ray's Devi (1960), Nayak (1966), Aranymr Din Ratri (1970) and Sheemabaldha (1971).
"For me, Pather Panchali depicted the crisis, conflicts and struggles of Apu, the lead character, with a blend of modernity and tradition," Sharmila said.
"You cannot forget Apu. Any teenagmr can identify with Apu," she added.
"Ray will always remain relevant as his themes are universal and timeless. He created human archetypes, which are unforgettable," said the actress who is now the chief of the Indian Censor Board.
According to Sharmila, Ray redefined film-making in India. Before him, Indian cinema was theatrical, acting was overdone, dialogues were bookish and the music loud. He changed all that and reflected reality through his films.
She said Ray's struggle to accumulate money to make films was in a way a boon as this had made him innovative. She pointed out how Ray and his cameraman for Pather Panchali Subrata Roy introduced the "bounce lighting system" which is widely used now.
The function also marked the screening of Ray's "Apu trilogy" and Sharmila said there should be more shows of the master's movies at a time when Hollywood is looming large over third world cinema and sponsors are hijacking film festivals.