The quiet but deep observation, understanding and love of the human race, which are characteristic of all his films, have impressed me greatly. … I feel that he is a “giant” of the movie industry. Not to have seen the cinema of Ray means existing in the world without seeing the sun or the moon. I can never forget the excitement in my mind after seeing it (Pather Panchali). It is the kind of cinema that flows with the serenity and nobility of a big river. People are born, live out their lives, and then accept their deaths. Without the least effort and without any sudden jerks, Ray paints his picture, but its effect on the audience is to stir up deep passions. How does he achieve this? There is nothing irrelevant or haphazard in his cinematographic technique. In that lies the secret of its excellence.
If that doesn’t get you to revisit this trilogy that ushered in a golden age of Indian cinema, I don’t know what will. In other news, fellow Bengali director Q is preparing to play Ray in a film about the making of his 1955 debut “Pather Panchali,” the first in the “Apu” set. Udayan Namboodiri is writing and directing the film, and hopes to get it released by next Spring. (More via Twitch here.)