Avijatrik movie review: An intimate peep into the magic of Ray

Avijatrik movie review

The world of cinema has left some profound memories (pictures in motion and pictures) that continuously inspire us. The world of Satyajit Ray for example in Indian/Asian cinema serves as a prime drive de force.

The Apu Trilogy (‘Pather Panchali’ – 1955, ‘Aparajito’ – 1956 and ‘The World of Apu’ – 1959) will always remain an inspirational study material for ever.

Subhrajit Mitra’s biggest achievement in Avijatrik is making you feel watching a Ray picture as it develops in the darkroom.

The process gets nostalgic from time to time when Apu (Arjun Chakraborty) on his way to Nischindipur village with his son Kajol (Ayushman Mukherjee) in a train going to Varanasi faces a sad unfortunate reunion with his childhood friend Lila (Arpita Chatterjee).

Apu is taking his son to his ancestor’s village – Nischindipur and when Apu and Kajol reach the holy Ghats of Ganges its nostalgia redefined.

Another astonishing part of Avijatrik is the unique contrast between the nostalgia of Apu childhood felt through Kajol that vibrates within the audience juxtaposing with the grown up Apu's inner turmoil as a writer and the jest to explore through globe-trotter, played by Sabyasachi Chakraborty.

Another highlight of Subhrajit Mitra’s pious tribute to the magic of Ray is the understanding of Ray’s fascination to tell stories through kids.

Ayushman Mukherjee as Apu is very endearing, Arjun Chakraborty as Apu is rightly casted and he fits in the character with tremendous ease.

Other artistes also do remarkably well especially Sabyasachi Chakraborty, followed by Ditipriya Roy, Sreelekha Mitra and Arpita Chatterjee.

Supratim Bhol’s mesmerizing cinematography, Bickram Ghosh soothing music (title track Sitar by Anoushka Shankar) maintain the classic mood throughout.

Final words

Imagine the ‘kid’ from the great Sir Charles Chaplin’s evergreen masterpiece ‘The Kid’ (1921) grows up and re visits those streets with his 7/8 year old son, Avijatrik is that kind of magical nostalgia immersive as well as observational and at the same time inescapably self-reflective. Dear Gaurang Jalan & Madhur Bhandarkar more such ‘Ray’s pls.

An extra for the pious tribute to the magic of Ray.