Cirrus cloud

Cirrus (cloud classification symbol: Ci) is a genus of high cloud made of ice crystals. Cirrus clouds typically appear delicate and wispy with white strands. Cirrus are usually formed when warm, dry air rises, causing water vapor deposition onto rocky or metallic dust particles at high altitudes. Globally, they form anywhere between 4,000 and 20,000 meters (13,000 and 66,000 feet) above sea level, with the higher elevations usually in the tropics and the lower elevations in more polar regions.

Cirrus clouds can form from the tops of thunderstorms and tropical cyclones and sometimes predict the arrival of rain or storms. Although they are a sign that rain and maybe storms are on the way, cirrus themselves drop no more than falling streaks of ice crystals. These crystals dissipate, melt, and evaporate as they fall through warmer and drier air and never reach ground. Cirrus clouds warm the earth, potentially contributing to climate change. A warming earth will likely produce more cirrus clouds, potentially resulting in a self-reinforcing loop.

Optical phenomena, such as sun dogs and halos, can be produced by light interacting with ice crystals in cirrus clouds. There are two other high-level cirrus-like clouds called cirrostratus and cirrocumulus. Cirrostratus looks like a sheet of cloud, whereas cirrocumulus looks like a pattern of small cloud tufts. Unlike cirrus and cirrostratus, cirrocumulus clouds contain droplets of supercooled (below freezing point) water.

Cirrus clouds form in the atmospheres of Mars, Jupiter, Saturn, Uranus, and Neptune; and on Titan, one of Saturn's larger moons. Some of these extraterrestrial cirrus clouds are made of ammonia or methane ice, much like water ice in cirrus on Earth. Some interstellar clouds, made of grains of dust smaller than a thousandth of a millimeter, are also called cirrus.

## Description

Cirrus are wispy clouds made of long strands of ice crystals that are described as feathery, hair-like, or layered in appearance. First defined scientifically by Luke Howard in an 1803 paper, their name is derived from the Latin word cirrus, meaning 'curl' or 'fringe'. They are transparent, meaning that the Sun can be seen through them. Ice crystals in the clouds cause them to usually appear white, but the rising or setting Sun can color them various shades of yellow or red. At dusk, they can appear gray.

Cirrus comes in five visually-distinct species: castellanus, fibratus, floccus, spissatus, and uncinus:

- Cirrus castellanus has cumuliform tops caused by high-altitude convection rising up from the main cloud body;
- Cirrus fibratus looks striated and is the most common cirrus species;
- Cirrus floccus species looks like a series of tufts;
- Cirrus spissatus is a particularly dense form of cirrus that often forms from thunderstorms.
- Cirrus uncinus clouds are hooked and are the form that is usually called mare's tails.

Each species is divided into up to four varieties: intortus, vertebratus, radiatus, and duplicatus:

- Intortus variety has an extremely contorted shape, with Kelvin–Helmholtz waves being a form of cirrus intortus that has been twisted into loops by layers of wind blowing at different speeds, called wind shear;
- Radiatus variety has large, radial bands of cirrus clouds that stretch across the sky;
- Vertebratus variety occurs when cirrus clouds are arranged side-by-side like ribs;
- Duplicatus variety occurs when cirrus clouds are arranged above one another in layers.

Cirrus clouds often produce hair-like filaments called fall streaks, made of heavier ice crystals that fall from the cloud. These are similar to the virga produced in liquid–water clouds. The sizes and shapes of fall streaks are determined by the wind shear.

Cirrus cloud cover varies diurnally. During the day, cirrus cloud cover drops, and during the night, it increases. Based on CALIPSO satellite data, cirrus covers an average of 31% to 32% of the Earth's surface. Cirrus cloud cover varies wildly by location, with some parts of the tropics reaching up to 70% cirrus cloud cover. Polar regions, on the other hand, have significantly less cirrus cloud cover, with some areas having a yearly average of only around 10% coverage. These percentages treat clear days and nights, as well as days and nights with other cloud types, as lack of cirrus cloud cover.

## Formation

Cirrus clouds are usually formed as warm, dry air rises, causing water vapor to undergo deposition onto rocky or metallic dust particles at high altitudes. The average cirrus cloud altitude increases as latitude decreases, but the altitude is always capped by the tropopause. These conditions commonly occur at the leading edge of a warm front. Because absolute humidity is low at such high altitudes, this genus tends to be fairly transparent. Cirrus clouds can also form inside fallstreak holes (also called "cavum").

At latitudes of 65° N or S, close to polar regions, cirrus clouds form, on average, only 7,000 m (23,000 ft) above sea level. In temperate regions, at roughly 45° N or S, their average altitude increases to 9,500 m (31,200 ft) above sea level. In tropical regions, at roughly 5° N or S, cirrus clouds form 13,500 m (44,300 ft) above sea level on average. Across the globe, cirrus clouds can form anywhere from 4,000 to 20,000 m (13,000 to 66,000 ft) above sea level. Cirrus clouds form with a vast range of thicknesses. They can be as little as 100 m (330 ft) from top to bottom to as thick as 8,000 m (26,000 ft). Cirrus cloud thickness is usually somewhere between those two extremes, with an average thickness of 1,500 m (4,900 ft).

The jet stream, a high-level wind band, can stretch cirrus clouds long enough to cross continents. Jet streaks, bands of faster-moving air in the jet stream, can create arcs of cirrus cloud hundreds of kilometers long.

Cirrus cloud formation may be effected by organic aerosols (particles produced by plants) acting as additional nucleation points for ice crystal formation. However, research suggests that cirrus clouds more commonly form on rocky or metallic particles rather than on organic ones.

### Tropical cyclones

Sheets of cirrus clouds commonly fan out from the eye walls of tropical cyclones. (The eye wall is the ring of storm clouds surrounding the eye of a tropical cyclone.) A large shield of cirrus and cirrostratus typically accompanies the high altitude outflowing winds of tropical cyclones, and these can make the underlying bands of rain—and sometimes even the eye—difficult to detect in satellite photographs.

### Thunderstorms

Thunderstorms can form dense cirrus at their tops. As the cumulonimbus cloud in a thunderstorm grows vertically, the liquid water droplets freeze when the air temperature reaches the freezing point. The anvil cloud takes its shape because the temperature inversion at the tropopause prevents the warm, moist air forming the thunderstorm from rising any higher, thus creating the flat top. In the tropics, these thunderstorms occasionally produce copious amounts of cirrus from their anvils. High-altitude winds commonly push this dense mat out into an anvil shape that stretches downwind as much as several kilometers.

Individual cirrus cloud formations can be the remnants of anvil clouds formed by thunderstorms. In the dissipating stage of a cumulonimbus cloud, when the normal column rising up to the anvil has evaporated or dissipated, the mat of cirrus in the anvil is all that is left.

### Contrails

Contrails are an artificial type of cirrus cloud formed when water vapor from the exhaust of a jet engine condenses on particles, which come from either the surrounding air or the exhaust itself, and freezes, leaving behind a visible trail. The exhaust can trigger the formation of cirrus by providing ice nuclei when there is an insufficient naturally-occurring supply in the atmosphere. One of the environmental impacts of aviation is that persistent contrails can form into large mats of cirrus, and increased air traffic has been implicated as one possible cause of the increasing frequency and amount of cirrus in Earth's atmosphere.

## Use in forecasting

Random, isolated cirrus do not have any particular significance. A large number of cirrus clouds can be a sign of an approaching frontal system or upper air disturbance. The appearance of cirrus signals a change in weather—usually more stormy—in the near future. If the cloud is a cirrus castellanus, there might be instability at the high altitude level. When the clouds deepen and spread, especially when they are of the cirrus radiatus variety or cirrus fibratus species, this usually indicates an approaching weather front. If it is a warm front, the cirrus clouds spread out into cirrostratus, which then thicken and lower into altocumulus and altostratus. The next set of clouds are the rain-bearing nimbostratus clouds. When cirrus clouds precede a cold front, squall line or multicellular thunderstorm, it is because they are blown off the anvil, and the next to arrive are the cumulonimbus clouds. Kelvin-Helmholtz waves indicate extreme wind shear at high levels. When a jet streak creates a large arc of cirrus, weather conditions may be right for the development of winter storms.

Within the tropics, 36 hours prior to the center passage of a tropical cyclone, a veil of white cirrus clouds approaches from the direction of the cyclone. In the mid- to late-19th century, forecasters used these cirrus veils to predict the arrival of hurricanes. In the early 1870s the president of Belén College in Havana, Father Benito Viñes, developed the first hurricane forecasting system; he mainly used the motion of these clouds in formulating his predictions. He would observe the clouds hourly from 4:00 am to 10:00 pm. After accumulating enough information, Viñes began accurately predicting the paths of hurricanes; he summarized his observations in his book Apuntes Relativos a los Huracanes de las Antilles, published in English as Practical Hints in Regard to West Indian Hurricanes.

## Effects on climate

Cirrus clouds cover up to 25% of the Earth (up to 70% in the tropics at night) and have a net heating effect. When they are thin and translucent, the clouds efficiently absorb outgoing infrared radiation while only marginally reflecting the incoming sunlight. When cirrus clouds are 100 m (330 ft) thick, they reflect only around 9% of the incoming sunlight, but they prevent almost 50% of the outgoing infrared radiation from escaping, thus raising the temperature of the atmosphere beneath the clouds by an average of 10 °C (18 °F)—a process known as the greenhouse effect. Averaged worldwide, cloud formation results in a temperature loss of 5 °C (9 °F) at the earth's surface, mainly the result of stratocumulus clouds.

Cirrus clouds are likely becoming more common due to climate change. As their greenhouse effect is stronger than their reflection of sunlight, this would act as a self-reinforcing feedback. Metallic particles from human sources act as additional nucleation seeds, potentially increasing cirrus cloud cover and thus contributing further to climate change. Aircraft in the upper troposphere can create contrail cirrus clouds if local weather conditions are right. These contrails contribute to climate change.

Cirrus cloud thinning has been proposed as a possible geoengineering approach to reduce climate damage due to carbon dioxide. Cirrus cloud thinning would involve injecting particles into the upper troposphere to reduce the amount of cirrus clouds. The 2021 IPCC Assessment Report expressed low confidence in the cooling effect of cirrus cloud thinning, due to limited understanding.

## Cloud properties

Scientists have studied the properties of cirrus using several different methods. Lidar (laser-based radar) gives highly accurate information on the cloud's altitude, length, and width. Balloon-carried hygrometers measure the humidity of the cirrus cloud but are not accurate enough to measure the depth of the cloud. Radar units give information on the altitudes and thicknesses of cirrus clouds. Another data source is satellite measurements from the Stratospheric Aerosol and Gas Experiment program. These satellites measure where infrared radiation is absorbed in the atmosphere, and if it is absorbed at cirrus altitudes, then it is assumed that there are cirrus clouds in that location. NASA's Moderate-Resolution Imaging Spectroradiometer gives information on the cirrus cloud cover by measuring reflected infrared radiation of various specific frequencies during the day. During the night, it determines cirrus cover by detecting the Earth's infrared emissions. The cloud reflects this radiation back to the ground, thus enabling satellites to see the "shadow" it casts into space. Visual observations from aircraft or the ground provide additional information about cirrus clouds. Particle Analysis by Laser Mass Spectrometry (PALMS) is used to identify the type of nucleation seeds that spawned the ice crystals in a cirrus cloud.

Cirrus clouds have an average ice crystal concentration of 300,000 ice crystals per 10 cubic meters (270,000 ice crystals per 10 cubic yards). The concentration ranges from as low as 1 ice crystal per 10 cubic meters to as high as 100 million ice crystals per 10 cubic meters (just under 1 ice crystal per 10 cubic yards to 77 million ice crystals per 10 cubic yards), a difference of eight orders of magnitude. The size of each ice crystal is typically 0.25 millimeters, but they range from as short as 0.01 millimeters up to several millimeters. The ice crystals in contrails can be much smaller than those in naturally-occurring cirrus cloud, being around 0.001 millimeters to 0.1 millimeters in length.

In addition to forming in different sizes, the ice crystals in cirrus clouds can crystallize in different shapes: solid columns, hollow columns, plates, rosettes, and conglomerations of the various other types. The shape of the ice crystals is determined by the air temperature, atmospheric pressure, and ice supersaturation (the amount by which the relative humidity exceeds 100%). Cirrus in temperate regions typically have the various ice crystal shapes separated by type. The columns and plates concentrate near the top of the cloud, whereas the rosettes and conglomerations concentrate near the base. In the northern Arctic region, cirrus clouds tend to be composed of only the columns, plates, and conglomerations, and these crystals tend to be at least four times larger than the minimum size. In Antarctica, cirrus are usually composed of only columns which are much longer than normal.

Cirrus clouds are usually colder than −20 °C (−4 °F). At temperatures above −68 °C (−90 °F), most cirrus clouds have relative humidities of roughly 100% (that is they are saturated). Cirrus can supersaturate, with relative humidities over ice that can exceed 200%. Below −68 °C (−90 °F) there are more of both undersaturated and supersaturated cirrus clouds. The more supersaturated clouds are probably young cirrus.

## Optical phenomena

Cirrus clouds can produce several optical effects like halos around the Sun and Moon. Halos are caused by interaction of the light with hexagonal ice crystals present in the clouds which, depending on their shape and orientation, can result in a wide variety of white and colored rings, arcs and spots in the sky, including sun dogs, the 46° halo, the 22° halo, and circumhorizontal arcs. Circumhorizontal arcs are only visible when the Sun rises higher than 58° above the horizon, preventing observers at higher latitudes from ever being able to see them.

More rarely, cirrus clouds are capable of producing glories, more commonly associated with liquid water-based clouds such as stratus. A glory is a set of concentric, faintly-colored glowing rings that appear around the shadow of the observer, and are best observed from a high viewpoint or from a plane. Cirrus clouds only form glories when the constituent ice crystals are aspherical; researchers suggest that the ice crystals must be between 0.009 millimeters and 0.015 millimeters in length for a glory to appear.

## Relation to other clouds

Cirrus clouds are one of three different genera of high-level clouds, all of which are given the prefix "cirro-". The other two genera are cirrocumulus and cirrostratus. High-level clouds usually form above 6,100 m (20,000 ft). Cirrocumulus and cirrostratus are sometimes informally referred to as cirriform clouds because of their frequent association with cirrus.

In the intermediate range, from 2,000 to 6,100 m (6,500 to 20,000 ft), are the mid-level clouds, which are given the prefix "alto-". They comprise two genera, altostratus and altocumulus. These clouds are formed from ice crystals, supercooled water droplets, or liquid water droplets.

Low-level clouds usually form below 2,000 m (6,500 ft) and do not have a prefix. The two genera that are strictly low-level are stratus, and stratocumulus. These clouds are composed of water droplets, except during winter when they are formed of supercooled water droplets or ice crystals if the temperature at cloud level is below freezing. Three additional genera usually form in the low-altitude range, but may be based at higher levels under conditions of very low humidity. They are the genera cumulus, and cumulonimbus, and nimbostratus. These are sometimes classified separately as clouds of vertical development, especially when their tops are high enough to be composed of supercooled water droplets or ice crystals.

### Cirrocumulus

Cirrocumulus clouds form in sheets or patches and do not cast shadows. They commonly appear in regular, rippling patterns or in rows of clouds with clear areas between. Cirrocumulus are, like other members of the cumuliform category, formed via convective processes. Significant growth of these patches indicates high-altitude instability and can signal the approach of poorer weather. The ice crystals in the bottoms of cirrocumulus clouds tend to be in the form of hexagonal cylinders. They are not solid, but instead tend to have stepped funnels coming in from the ends. Towards the top of the cloud, these crystals have a tendency to clump together. These clouds do not last long, and they tend to change into cirrus because as the water vapor continues to deposit on the ice crystals, they eventually begin to fall, destroying the upward convection. The cloud then dissipates into cirrus. Cirrocumulus clouds come in four species: stratiformis, lenticularis, castellanus, and floccus. They are iridescent when the constituent supercooled water droplets are all about the same size.

### Cirrostratus

Cirrostratus clouds can appear as a milky sheen in the sky or as a striated sheet. They are sometimes similar to altostratus and are distinguishable from the latter because the Sun or Moon is always clearly visible through transparent cirrostratus, in contrast to altostratus which tends to be opaque or translucent. Cirrostratus come in two species, fibratus and nebulosus. The ice crystals in these clouds vary depending upon the height in the cloud. Towards the bottom, at temperatures of around −35 to −45 °C (−31 to −49 °F), the crystals tend to be long, solid, hexagonal columns. Towards the top of the cloud, at temperatures of around −47 to −52 °C (−53 to −62 °F), the predominant crystal types are thick, hexagonal plates and short, solid, hexagonal columns. These clouds commonly produce halos, and sometimes the halo is the only indication that such clouds are present. They are formed by warm, moist air being lifted slowly to a very high altitude. When a warm front approaches, cirrostratus clouds become thicker and descend forming altostratus clouds, and rain usually begins 12 to 24 hours later.

## Other planets

Cirrus clouds have been observed on several other planets. In 2008, the Martian Lander Phoenix took a time-lapse photograph of a group of cirrus clouds moving across the Martian sky using lidar. Near the end of its mission, the Phoenix Lander detected more thin clouds close to the north pole of Mars. Over the course of several days, they thickened, lowered, and eventually began snowing. The total precipitation was only a few thousandths of a millimeter. James Whiteway from York University concluded that "precipitation is a component of the [Martian] hydrologic cycle". These clouds formed during the Martian night in two layers, one around 4,000 m (13,000 ft) above ground and the other at surface level. They lasted through early morning before being burned away by the Sun. The crystals in these clouds were formed at a temperature of −65 °C (−85 °F), and they were shaped roughly like ellipsoids 0.127 millimeters long and 0.042 millimeters wide.

On Jupiter, cirrus clouds are composed of ammonia. When Jupiter's South Equatorial Belt disappeared, one hypothesis put forward by Glenn Orten was that a large quantity of ammonia cirrus clouds had formed above it, hiding it from view. NASA's Cassini probe detected these clouds on Saturn and thin water-ice cirrus on Saturn's moon Titan. Cirrus clouds composed of methane ice exist on Uranus. On Neptune, thin wispy clouds which could possibly be cirrus have been detected over the Great Dark Spot. As on Uranus, these are probably methane crystals.

Interstellar cirrus clouds are composed of tiny dust grains smaller than a micrometer and are therefore not true cirrus clouds, which are composed of frozen crystals. They range from a few light years to dozens of light years across. While they are not technically cirrus clouds, the dust clouds are referred to as "cirrus" because of their similarity to the clouds on Earth. They emit infrared radiation, similar to the way cirrus clouds on Earth reflect heat being radiated out into space.

Genus of atmospheric cloud


Maryland Route 355

Maryland Route 355 (MD 355) is a 36.75-mile (59.14 km) north–south road in western central Maryland in the United States. The southern terminus of the route, Wisconsin Avenue, is located in Bethesda in Montgomery County, at the county's border with Washington, D.C. It continues south into Washington, D.C. as Wisconsin Avenue NW. The northern terminus is just north of a bridge over Interstate 70 (I-70)/U.S. Route 40 (US 40) in the city of Frederick in Frederick County, where the road continues north as Market Street through Frederick towards MD 26.

MD 355 serves as a major thoroughfare through Frederick and Montgomery counties, passing through Bethesda, Rockville, Gaithersburg, Germantown, Clarksburg, Hyattstown, Urbana, and Frederick, roughly parallel to I-270. The southern portion of the route from the Washington, D.C. border to Germantown is a suburban four–to–six–lane divided highway lined with many businesses. North of Germantown, the route is predominantly a two lane rural road until it reaches Frederick, where it passes through commercial areas in the southern part of the city. The road changes names along its route, from the south, as Wisconsin Avenue, to Rockville Pike, followed by Hungerford Drive, then Frederick Road, and lastly as Urbana Pike.

MD 355 is the original route of US 240, which was planned in 1926 to run from Washington, D.C. north to Harrisburg, Pennsylvania; however, the route was designated a part of US 15 north of Frederick. This route served as the primary connector linking Frederick and points west to Washington, D.C. During the 1950s, US 240 was relocated in stages to the Washington National Pike, a freeway between Bethesda and Frederick shared with I-70S (now I-270). MD 355 was designated onto the former alignment of US 240 between Bethesda and Frederick as each stage of freeway was built. MD 355 was also designated through Frederick along Market Street, which was the former alignment of US 15 through the city before it was moved to a bypass in 1959. US 240 was decommissioned in 1972, and MD 355 was extended south along the former US 240 to the Washington, D.C. border. In 2006, the interchange with US 15 at the route's northern terminus was removed, resulting in MD 355 ending just short of US 15 at a dead end. By 2009, a four lane divided bypass of Urbana for MD 355, funded by private developers, was completed. The former alignment of MD 355 through Urbana was designated as MD 355 Business (MD 355 Bus.) before being removed from the state highway system. The same year, the portion of MD 355 north of I-70 was transferred to the city of Frederick and is no longer considered part of the route.

## Route description

MD 355 is a part of the main National Highway System from the District of Columbia line to I-495, in Bethesda. The highway is also a part of the National Highway System as an intermodal connector from I-495 to Shady Grove Road in Rockville, and as a principal arterial from Shady Grove Road to MD 27 in Germantown.

### Montgomery County

MD 355 begins in the Bethesda CDP, at the intersection with Western Avenue NW / Western Avenue (Maryland), the northwestern border between Washington, D.C., and the state of Maryland. It heads north from this point as Wisconsin Avenue, a six-lane divided highway. Washington Metro's Red Line runs in a tunnel underneath the road. Wisconsin Avenue NW traverses southeastward inside Washington, D.C., ending in Georgetown at an intersection with K Street NW underneath US 29 (Whitehurst Freeway NW), just north of the Potomac River. From the Washington, D.C. border, MD 355 heads north through areas of retail and high-rise buildings in Friendship Heights, and the Village of Friendship Heights, including The Shops at Wisconsin Place and the Friendship Heights station along the Red Line. Past Friendship Heights, the route continues into the wooded residential area of Somerset, before passing the Chevy Chase Country Club on the east side of the road, and the residential areas of the town of Chevy Chase, and its associated villages, to the west. It then forms an intersection with MD 191 (Bradley Boulevard) and Bradley Lane. Past this intersection, MD 355 enters downtown Bethesda, where it heads back into commercial areas with high-rise buildings.

In downtown Bethesda, the road intersects MD 410 (Montgomery Avenue) one-way eastbound, the westbound direction of MD 410 (East West Highway), and MD 187 (Old Georgetown Road), a short distance north, near the Red Line's Bethesda station. The road continues through the community and passes by Bethesda Theatre, a 1938 Art Deco cinema. It leaves the downtown area of Bethesda and becomes Rockville Pike at the intersection with Glenbrook Parkway / Woodmont Avenue. From here, the road passes west of Naval Support Activity Bethesda, which is home to the Walter Reed National Military Medical Center, one of the United States' most prominent military hospitals, and east of the National Institutes of Health, which is home to the United States National Library of Medicine, the world's largest medical library. The Medical Center station along the Red Line is located in this area.

Past the naval hospital and the NIH, the road passes west of Stone Ridge School of the Sacred Heart and intersects Cedar Lane. After this intersection, the route heads north into wooded areas, passing near residences as well as the Bethesda Meeting House, an 1850 wood-frame church. MD 355 continues north through more suburban residential areas before coming to an interchange that provides access to I-495 (Capital Beltway) and the southern terminus of I-270, where the Metro Red Line comes above the surface in the median of the route and passes over I-495. Past this interchange, the road skirts the edge of Rock Creek Park, coming to an intersection with Grosvenor Lane that features a northbound jughandle. The route passes to the west of the Linden Oak at the Grosvenor Lane intersection. MD 355 continues into residential areas of North Bethesda, where the Red Line parallels the route to the east to the Grosvenor–Strathmore station before returning to running under the road. Farther north, the route comes to the intersection with MD 547 (Strathmore Avenue) east of Georgetown Preparatory School.

The route heads through some residential neighborhoods before entering a commercial area with strip malls and some high-rise buildings where White Flint Mall, once one of the D.C. metropolitan area's largest shopping malls, was located on the east side of the road. MD 355 passes to the west of the Nuclear Regulatory Commission headquarters and heads past the North Bethesda station along the Red Line. The road comes to an intersection with Old Georgetown Road as well as a grade-separated interchange at Montrose Parkway. The Metro Red Line tunnel draws farther east from MD 355 before it crosses into Rockville, the county seat of Montgomery County. In Rockville, the road passes more commercial development with the Metro Red Line and CSX's Metropolitan Subdivision railroad line paralleling the road a short distance to the east. The route intersects MD 911 (First Street) and Wootton Parkway. MD 355 intersects MD 660 (Dodge Street), which is a short connector to MD 28 (Veirs Mill Road) that the route intersects a short distance later.

Past this intersection, MD 355 continues into downtown Rockville, where it becomes Hungerford Drive. The road passes by the Rockville station, which is used by the Metro's Red Line, MARC's Brunswick Line, and Amtrak's Capitol Limited (MARC and Amtrak trains run along the CSX line). MD 355 heads into more commercial areas and passes the Rockville Campus of Montgomery College before intersecting Gude Drive. Past this intersection, MD 355 becomes Frederick Road and heads northwest into a mix of commercial and residential areas in Derwood, drawing further away from the railroad tracks. The route leaves Rockville and intersects Shady Grove Road. Past Shady Grove Road, MD 355 has an interchange with I-370 and crosses into Gaithersburg. Here, the road heads through more commercial areas before heading into residential neighborhoods. It heads into business areas again and passes northeast of Gaithersburg High School as it approaches downtown Gaithersburg, where the route has an interchange with MD 117 (Diamond Avenue) and passes over CSX's Metropolitan Subdivision before continuing northwest past more businesses. MD 355 passes southwest of the Lakeforest Mall before intersecting MD 124 (Montgomery Village Avenue). MD 355 passes more strip malls past this intersection before crossing over Great Seneca Creek and leaving Gaithersburg. The route continues northwest into Germantown through residential areas before passing businesses again and intersecting Middlebrook Road. It passes through residential developments, with the road narrowing to four lanes before it reaches an intersection with MD 118 (Germantown Road). From here, the road passes more homes and a shopping center prior to crossing MD 27 (Ridge Road).

Past MD 27, the road passes more suburban developments before narrowing to a two-lane undivided road and heading through some woodland. It continues northwest through a mix of rural woodland and suburban development in Clarksburg, where MD 355 passes northeast of Clarksburg High School and intersects MD 121 (Clarksburg Road). Past this intersection, the route passes Little Bennett Regional Park on the east and businesses on the west, running closely parallel to I-270 located to the west. The route eventually draws farther east of I-270 and heads through residential neighborhoods and woodland before reaching Hyattstown. In Hyattstown, MD 355 intersects MD 109 (Old Hundred Road).

### Frederick County

After passing through Hyattstown, MD 355 crosses into Frederick County, where it becomes Urbana Pike. Here, it passes some businesses before intersecting MD 75 (Green Valley Road). Past this intersection, the road continues into a more rural setting consisting of farmland, woods, and some residential areas and businesses. The route reaches Urbana, where it heads onto a four-lane divided bypass called Worthington Boulevard to the east of the community, while the former alignment of MD 355 continues through Urbana as Urbana Pike. MD 355 intersects MD 80 (Fingerboard Road) and passes through residential areas in the Villages of Urbana subdivision, encountering two roundabouts. Upon leaving Urbana, the route intersects Lew Wallace Street and returns to its alignment along two-lane undivided Urbana Pike as it continues north through areas of woods and farms with some rural residences. The road passes Monocacy National Battlefield, the site of the Battle of Monocacy Junction in the American Civil War fought on July 9, 1864. Past the battlefield, the road crosses the Monocacy River and CSX's Old Main Line Subdivision railroad line.

In a short distance, MD 355 heads from rural areas into a commercial district on the outskirts of Frederick. The road widens to four lanes as it passes by the Francis Scott Key Mall and several other businesses. It intersects MD 85 (Buckeystown Pike), which provides access to and from I-70/US 40. MD 355 passes over I-70/US 40 and ends just north of the overpass, with the road continuing north into Frederick as locally maintained Market Street.

## History

The Rockville Pike portion of MD 355 dates back to what was a Native American trail that led from the mouth of Rock Creek to the great Conestoga Trail. In later times it was used as an escape route from Washington during the War of 1812 as well as a route for settlers to travel from Montgomery County to developing areas north and west. In 1911, a small portion of state highway leading northwest out of Rockville was completed, with the remainder between Rockville and Gaithersburg under contract. A state highway was proposed between Gaithersburg and Germantown. The state road between Gaithersburg and Germantown was finished by 1915. By 1921, the portions of state highway between the Washington, D.C. border and Rockville, to the northwest of Germantown, and between northwest of Urbana and Frederick were completed. At this time, a state highway was proposed between northwest of Germantown and northwest of Urbana. The state road was completed between Germantown and Clarksburg and through Urbana to a point southeast of the community by 1923. The entire length of the state road connecting Washington, D.C. and Frederick was completed by 1927. In the approved plan for the U.S. Highway System in 1926, US 240 was planned to run from Washington, D.C. to Harrisburg, Pennsylvania via Frederick. In 1927, US 240 was designated along the proposed 1926 route south of US 15/US 40 in Frederick with the US 15 designation given to the road north of Frederick. In 1950, US 240 was widened into a divided highway between the Washington, D.C. border and Bethesda.

In 1947, plans were made to construct a freeway, the Washington National Pike (now I-270), parallel to US 240. In 1953, the US 240 freeway was completed between MD 121 in Clarksburg and US 15 (now MD 85) in Frederick. The former alignment of US 240 between Clarksburg and Frederick was designated as US 240 Alt. A year later, the freeway was extended down to MD 118 in Germantown. At this time, the original alignment between Germantown and Frederick was designated MD 355, replacing what was US 240 between Germantown and Clarksburg and the entire length of US 240 Alt. between Clarksburg and Frederick. The US 240 freeway was extended south to MD 28 in Rockville in 1956, and MD 355 was subsequently extended south along the former alignment to the MD 28 intersection in Rockville. Also, the US 240 freeway was completed from US 15 north to US 40. In 1957, US 240 was upgraded to a divided highway between Bethesda and Rockville. The US 240 freeway was extended south to Montrose Road in 1958, resulting in MD 355 being extended south along the former alignment to Montrose Road. I-70S was designated onto the US 240 freeway in 1959. In addition, MD 355 was extended north to US 15 north of Frederick, passing through the city on Market Street, the one-way pair of Market Street northbound and Bentz Street southbound in the downtown area, and Market Street to the north of downtown. The route replaced US 15/US 240 south of downtown Frederick and US 15 north of downtown Frederick, with US 15 shifted to a bypass west of the city. In 1960, I-70S/US 240 was extended south to the Capital Beltway, and MD 355 was extended south along former US 240 between Montrose Road and the Capital Beltway.

In 1972, the American Association of State Highway Officials approved for the US 240 designation to be removed. As a result, MD 355 was extended south along the former US 240 alignment to the Washington, D.C. border. MD 355 was widened into a divided highway between Rockville and Gaithersburg in 1977. The divided highway was extended north from Gaithersburg to Germantown by 1997. In 2006, the northern terminus of MD 355 at the interchange with US 15 in Frederick was truncated to a dead end a short distance south of that route. In 2009, the portion of MD 355 north of the I-70 overpass was transferred to the city of Frederick, with the MD 355 designation officially being removed from this stretch. In 2010, an interchange was completed at Montrose Parkway.

In Frederick County, the two bridges which carry portions of MD 355 have been subject to infrastructure status concerns, and receive annual inspections, as part of the Federal Highway Administration's National Bridge Inventory (NBI). The Monocacy River crossing was built in 1930, and reconstructed in 1980. Its June 2016 NBI report noted that this bridge is possibly eligible to be listed on the National Register of Historic Places. The CSX crossing was built in 1931, but never reconstructed. This bridge's NBI report, from September 2016, determined that its deck was in poor condition, with advanced section loss or deterioration. The 2016 inspection reports for both bridges concluded that both of these MD 355 carriers' deck geometries were "[b]asically intolerable requiring high priority of replacement."

A four-lane divided bypass of Urbana was constructed for MD 355 in the 2000s. The primary reason for constructing the bypass was to relieve traffic heading through the community brought on by the construction of numerous shopping centers in the area, and the costs for constructing the bypass were entirely paid for by the developers of an area shopping center. The proposal for the bypass called for two roundabouts to control traffic. The first portion of the road opened in late 2005 from MD 355 south to a roundabout at Sugarloaf Parkway. On October 30, 2008, construction began to build the connection of the bypass to MD 355 south of MD 80. The bypass was completed by January 2009, at which point MD 355 was realigned onto it and the former alignment became MD 355 Bus. In 2013, maintenance of the bypass of MD 355 around Urbana was transferred from the developers to the state.

## Junction list

## Related routes

### MD 355 Business

Maryland Route 355 Business (MD 355 Bus.) was the designation of a 1.06-mile (1.71 km) business route of MD 355 in Urbana that ran along Urbana Pike. The route began at MD 355 south of Urbana, heading west as a two-lane undivided road and coming to an intersection with MD 80. Past this intersection, the road continued northwest through residential areas. The business route reached its terminus at another intersection with MD 355. The entire length of MD 355 Bus. originally followed MD 355C. In 2014, all of MD 355C except for a 0.376-mile (0.605 km) portion between a point south of Urbana Church Road and Sprigg Street was turned over to county maintenance. The remainder of MD 355C was turned over to county maintenance in an agreement dated December 8, 2017.

Junction list

### Auxiliary routes

- MD 355A runs along an unnamed road from MD 355 north to a cul-de-sac in Frederick, Frederick County. The route is 0.05 mi (0.080 km) long.
- MD 355B ran along an unnamed road from MD 355 Bus. east to a dead end in Urbana, Frederick County. The route was 0.12 mi (0.19 km) long. MD 355B was turned over to county maintenance in 2014.

## See also

State highway in Montgomery and Frederick Counties, Maryland, United States


Pather Panchali

Pather Panchali ( transl. Song of the Little Road) is a 1955 Indian Bengali-language drama film written and directed by Satyajit Ray and produced by the Government of West Bengal. It is an adaptation of Bibhutibhushan Bandyopadhyay's 1929 Bengali novel of the same name, and marked Ray's directorial debut. Featuring Subir Banerjee, Kanu Banerjee, Karuna Banerjee, Uma Dasgupta, Pinaki Sengupta, Chunibala Devi and being the first film in The Apu Trilogy, Pather Panchali depicts the childhood travails of the protagonist Apu and his elder sister Durga amidst the harsh village life of their poor family.

Production was interrupted because of funding problems and it took nearly three years for the film to be completed. The film was shot mainly on location, had a limited budget, featured mostly amateur actors, and was made by an inexperienced crew. The sitar player Ravi Shankar composed the film's soundtrack and score using classical Indian ragas. Subrata Mitra was in charge of the cinematography while editing was handled by Dulal Dutta. Following its premiere on 3 May 1955 during an exhibition at New York's Museum of Modern Art, Pather Panchali was released in Calcutta later the same year to an enthusiastic reception. It was a hit at the box-office, yet up until early 1980 had earned a profit of only ₹24 lakh. A special screening was attended by the Chief Minister of West Bengal and the Prime Minister of India. Critics have praised its realism, humanity, and soul-stirring qualities, while others have called its slow pace a drawback, and some have condemned it for romanticising poverty. Scholars have commented on the film's lyrical quality and realism (influenced by Italian neorealism), its portrayal of the poverty and small delights of daily life, and the use of what the author Darius Cooper has termed the "epiphany of wonder", among other themes.

The tale of Apu's life is continued in the two subsequent installments of Ray's trilogy: Aparajito (The Unvanquished, 1956) and Apur Sansar (The World of Apu, 1959). Pather Panchali is described as a turning point in Indian cinema, as it was among the films that pioneered the Parallel cinema movement, which espoused authenticity and social realism. The first film from independent India to attract major international critical attention, it won India's National Film Award for Best Feature Film in 1955, the Best Human Document award at the 1956 Cannes Film Festival, and several other awards, establishing Ray as one of the country's most distinguished filmmakers. It is often featured in lists of the greatest films ever made.

## Plot

In 1910s Nischindipur, rural Bengal, Harihar Roy earns a meagre living as a pujari (priest) but dreams of a better career as a poet and playwright. His wife Sarbajaya cares for their children, Durga and Apu, and Harihar's elderly cousin, Indir Thakrun. Because of their limited resources, Sarbajaya resents having to share her home with the old Indir, who often steals food from their already bare kitchen. Durga is fond of Indir and often gives her fruit stolen from a wealthy neighbour's orchard. One day, the neighbour's wife accuses Durga of stealing a bead necklace (which Durga denies) and blames Sarbajaya for encouraging her tendency to steal.

As the elder sibling, Durga cares for Apu with motherly affection but spares no opportunity to tease him. Together, they share life's simple joys: sitting quietly under a tree, viewing pictures in a travelling vendor's bioscope, running after the candy man who passes through, and watching a jatra (folk theatre) performed by an acting troupe. Every evening, they are delighted by the sound of a distant train's whistle.

Sarbajaya's grows increasingly resentful of Indir and becomes more openly hostile, which causes Indir to take temporary refuge in the home of another relative. One day, while Durga and Apu run to catch a glimpse of the train, Indir—who is feeling unwell—goes back home, and the children find she has passed away upon their return.

With prospects drying up in the village, Harihar travels to the city to seek a better job. He promises that he will return with money to repair their dilapidated house, but is gone longer than expected. During his absence, the family sinks deeper into poverty, and Sarbajaya grows increasingly desperate and anxious. One day during the monsoon season, Durga plays in the downpour, catches a cold and develops a high fever. Her condition worsens as a thunderstorm batters the crumbling house with rain and wind, and she dies the next morning.

Harihar returns home and starts to show Sarbajaya the merchandise he has brought from the city. A silent Sarbajaya breaks down at her husband's feet, and Harihar cries out in grief as he discovers that Durga has died. The family decide to leave their ancestral home for Benaras. As they pack, Apu finds the necklace Durga had earlier denied stealing; he throws it into a pond. Apu and his parents leave the village on an ox-cart, while a snake is seen slithering into their, now barren, house.

## Cast

## Production

### Novel and title

Bibhutibhushan Bandopadhyay's novel Pather Panchali is a classic bildungsroman (a type of coming-of-age story) in the canon of Bengali literature. It first appeared as a serial in a Calcutta periodical in 1928, and was published as a book the next year. The novel depicts a poor family's struggle to survive in their rural ancestral home and the growing up of Apu, the son of the family. The later part of the novel, where Apu and his parents leave their village and settle in Benaras, formed the basis of Aparajito (The Unvanquished, 1956), the second film of the Apu trilogy.

Satyajit Ray (2 May 1921 – 23 April 1992), working as a graphic designer for Signet Press, created the illustrations for an abridged edition of the book in 1944. At that time, Ray read the unabridged novel; Signet's owner D. K. Gupta told Ray that the abridged version would make a great film. The idea appealed to Ray, and around 1946–47, when he considered making a film, he turned to Pather Panchali because of certain qualities that "made it a great book: its humanism, its lyricism, and its ring of truth". The author's widow permitted Ray to make a film based on the novel; the agreement was in principle only, and no financial arrangement was made.

The Bengali word path literally means path, and pather means "of the path". Panchali is a type of narrative folk song that used to be performed in Bengal and was the forerunner of another type of folk performance, the jatra. English translations of the Bengali title include Song of the Little Road, The Lament of the Path, Song of the Road, and Song of the Open Road.

### Script

Pather Panchali did not have a script; it was made from Ray's drawings and notes. Ray completed the first draft of the notes during his sea voyage to and from London in 1950. Before principal photography began, he created a storyboard dealing with details and continuity. Years later, he donated those drawings and notes to Cinémathèque Française.

In Apur Panchali (the Bengali translation of My Years with Apu: A Memoir, 1994), Ray wrote that he had omitted many of the novel's characters and that he had rearranged some of its sequences to make the narrative better as cinema. Changes include Indir's death, which occurs early in the novel at a village shrine in the presence of adults, while in the film Apu and Durga find her corpse in the open. The scene of Apu and Durga running to catch a glimpse of the train is not in the novel, in which neither child sees the train, although they try. Durga's fatal fever is attributed to a monsoon downpour in the film, but is unexplained in the novel. The ending of the film—the family's departure from the village—is not the end of the novel.

Ray tried to extract a simple theme from the random sequences of significant and trivial episodes of the Pather Panchali novel, while preserving what W. Andrew Robinson describes as the "loitering impression" it creates. According to Ray, "the script had to retain some of the rambling quality of the novel because that in itself contained a clue to the feel of authenticity: life in a poor Bengali village does ramble". For Robinson, Ray's adaptation focuses mainly on Apu and his family, while Bandopadhyay's original featured greater detail about village life in general.

### Casting

Kanu Banerjee (who plays Harihar) was an established Bengali film actor. Karuna Banerjee (Sarbajaya) was an amateur actress from the Indian People's Theatre Association, and the wife of Ray's friend. Uma Dasgupta, who successfully auditioned for the part of Durga, also had prior theatre experience.

For the role of Apu, Ray advertised in newspapers for boys of ages five to seven. None of the candidates who auditioned fulfilled Ray's expectations, but his wife spotted a boy in their neighbourhood, and this boy, Subir Banerjee, was cast as Apu. The surname of three of the main actors and two supporting actors happened to be Banerjee, but they were not related to each other. The hardest role to fill was the wizened old Indir. Ray eventually found Chunibala Devi, a retired stage actress living in one of Calcutta's red-light districts, as the ideal candidate. Several minor roles were played by the villagers of Boral, where Pather Panchali was filmed.

### Filming

Shooting started on 27 October 1952. Boral, a village near Calcutta, was selected in early 1953 as the main location for principal photography, and night scenes were shot in-studio. The technical team included several first-timers, including Ray himself and cinematographer Subrata Mitra, who had never operated a film camera. Art director Bansi Chandragupta had professional experience, having worked with Jean Renoir on The River (1951). Both Mitra and Chandragupta went on to establish themselves as respected professionals.

Mitra had met Ray on the set of The River, where Mitra was allowed to observe the production, take photographs and make notes about lighting for personal reference. Having become friends, Mitra kept Ray informed about the production and showed his photographs. Ray was impressed enough by them to promise him an assistant's position on Pather Panchali, and when production neared, invited him to shoot the film. As the 21-year-old Mitra had no prior filmmaking experience, the choice was met with scepticism by those who knew of the production. Mitra himself later speculated that Ray was nervous about working with an established crew.

Funding was a problem from the outset. No producer was willing to finance the film, as it lacked stars, songs and action scenes. On learning of Ray's plan, one producer, Mr Bhattacharya of Kalpana Movies, contacted author Bibhutibhushan Bandyopadhyay's widow to request the filming rights and get the film made by Debaki Bose, a well-established director. The widow declined as she had already permitted Ray to make the film. The estimated budget for the production was ₹70,000 (about US\$14,613 in 1955). One producer, Rana Dutta, gave money to continue shooting, but had to stop after some of his films flopped.

Ray thus had to borrow money to shoot enough footage to persuade prospective producers to finance the whole film. To raise funds, he continued to work as a graphic designer, pawned his life insurance policy and sold his collection of gramophone records. Production manager Anil Chowdhury convinced Ray's wife, Bijoya, to pawn her jewels. Ray still ran out of money partway through filming, which had to be suspended for nearly a year. Thereafter shooting was done only in intermittent bursts. Ray later admitted that the delays had made him tense and that three miracles saved the film: "One, Apu's voice did not break. Two, Durga did not grow up. Three, Indir Thakrun did not die".

Bidhan Chandra Roy, the Chief Minister of West Bengal, was requested by an influential friend of Ray's mother to help the production. The Chief Minister obliged, and government officials saw the footage. The Home Publicity Department of the West Bengal government assessed the cost of backing the film and sanctioned a loan, given in installments, allowing Ray to finish production. The government misunderstood the nature of the film, believing it to be a documentary for rural uplift, and recorded the loan as being for "roads improvement", a reference to the film's title.

Monroe Wheeler, head of the department of exhibitions and publications at New York's Museum of Modern Art (MoMA), who was in Calcutta in 1954, heard about the project and met Ray. He considered the incomplete footage to be of very high quality and encouraged Ray to finish the film so that it could be shown at a MoMA exhibition the following year. Six months later, American director John Huston visited India for some early location scouting for The Man Who Would Be King (eventually made in 1975). Wheeler had asked Huston to check the progress of Ray's project. Huston saw excerpts of the unfinished film and recognised "the work of a great film-maker". Because of Huston's positive feedback, MoMA helped Ray with additional money.

Including the delays and hiatuses in production, it took three years to complete the shooting of Pather Panchali.

## Influences

The realist narrative style of Pather Panchali was influenced by Italian neorealism and the works of French director Jean Renoir. In 1949 Renoir came to Calcutta to shoot his film The River (1951). Ray, a founding member of the Calcutta Film Society (established in 1947), helped him scout for locations in the countryside. When Ray told him about his longstanding wish to film Pather Panchali, Renoir encouraged him to proceed. In 1950 Ray was sent to London by his employer, the advertising agency D.J. Keymer, to work at their headquarters. During his six months in London, he watched about 100 films. Among these, Vittorio De Sica's neorealist film Bicycle Thieves (1948) had a profound impact on him. In a 1982 lecture, Ray said that he had come out of the theatre determined to become a filmmaker. The film made him believe that it was possible to make realistic cinema that was shot on location with an amateur cast.

The international success of Akira Kurosawa's Japanese film Rashomon (1950) and Bimal Roy's 1953 Hindi film Do Bigha Zamin (which was shot partly on location and was about a peasant family) led Ray to believe that Pather Panchali would find an international audience. Ray also had more indigenous influences, such as Bengali literature and the native Indian theatrical tradition, particularly the rasa theory of classical Sanskrit drama. Darius Cooper describes the complicated doctrine of rasa as "center[ed] predominantly on feelings experienced not only by the characters but also conveyed in a certain artistic way to the spectator".

## Soundtrack

The soundtrack of the film was composed by the sitar player Ravi Shankar, who was at an early stage of his career, having debuted in 1939. The background scores feature pieces based on several ragas of Indian classical music, played mostly on the sitar. The soundtrack, described in a 1995 issue of The Village Voice as "at once plaintive and exhilarating", is featured in The Guardian's 2007 list of 50 greatest film soundtracks. It has also been cited as an influence on The Beatles, specifically George Harrison.

Shankar saw about half the film in a roughly edited version before composing the background score, but he was already familiar with the story. According to Robinson, when Ray met Shankar the latter hummed a tune that was folk-based but had "a certain sophistication". This tune, usually played on a bamboo flute, became the main theme for the film. The majority of the score was composed within the duration of a single night, in a session that lasted for about eleven hours. Shankar also composed two solo sitar pieces—one based on the raga Desh (traditionally associated with rain), and one sombre piece based on the raga Todi. He created a piece based on the raga Patdeep, played on the tar shehnai, by Dakshina Mohan Tagore to accompany the scene in which Harihar learns of Durga's death. The film's cinematographer, Subrata Mitra, performed on the sitar for parts of the soundtrack.

## Release and reception

Ray and his crew worked long hours on post-production, managing to submit it just in time for Museum of Modern Art's Textiles and Ornamental Arts of India exhibition of May 1955. The film, billed as The Story of Apu and Durga, lacked subtitles. It was one of a series of six evening performances at MoMA, including the US debut of sarod player Ali Akbar Khan and the classical dancer Shanta Rao. Pather Panchali's MoMA opening on 3 May was well received. A film still of Apu having his hair brushed by his sister Durga and mother Sarbojaya was featured in The Family of Man, a 1955 MoMA exhibition.

Pather Panchali had its domestic premiere at the annual meeting of the Advertising Club of Calcutta; the response there was not positive, and Ray felt "extremely discouraged". Before its theatrical release in Calcutta, Ray designed large posters, including a neon sign showing Apu and Durga running, which was strategically placed in a busy location in the city. Pather Panchali was released in Basusree, a Calcutta cinema on 26 August 1955 and received a poor initial response. The screenings started filling up within a week or two, buoyed by word of mouth. It opened again at another cinema, where it ran for seven weeks. A delay in subtitling led to the postponement of the UK release until December 1957. It went on to achieve great success in the US in 1958, running for eight months at the Fifth Avenue Playhouse in New York. It was a record run for the Fifth Avenue cinema. The Bengali government earned a profit of \$50,000 from its initial US release, and decades later the film grossed \$402,723 from its 2015 limited release. The film reportedly grossed an estimated total of ₹100 million (\$million) at the worldwide box office, as of 2017.

In India the film's reception was enthusiastic. The Times of India wrote: "It is absurd to compare it with any other Indian cinema... Pather Panchali is pure cinema". Chief Minister Roy arranged a special screening in Calcutta for Prime Minister Jawaharlal Nehru, who came out of the theatre impressed. Despite opposition from some within the governments of West Bengal and India because of its depiction of poverty, Pather Panchali was sent to the 1956 Cannes Film Festival with Nehru's personal approval. It was screened towards the end of the festival, coinciding with a party given by the Japanese delegation, and only a small number of critics attended. Although some were initially unenthusiastic at the prospect of yet another Indian melodrama, the film critic Arturo Lanocita found "the magic horse of poetry... invading the screen". Pather Panchali was subsequently named Best Human Document at the festival.

Lindsay Anderson commented after the Cannes screening that Pather Panchali had "the quality of ultimate unforgettable experience". In subsequent years, critics have given positive reviews. A 1958 review in Time described Pather Panchali as "perhaps the finest piece of filmed folklore since Robert Flaherty's Nanook of the North". In her 1982 book 5001 Nights at the Movies, Pauline Kael wrote: "Beautiful, sometimes funny, and full of love, it brought a new vision of India to the screen". Basil Wright considered it "a new and incontrovertible work of art". James Berardinelli wrote in 1996 that the film "touches the souls and minds of viewers, transcending cultural and linguistic barriers". In 2006 Philip French of The Observer called it "one of the greatest pictures ever made". Twenty years after the release of Pather Panchali, Akira Kurosawa summarised the effect of the film as overwhelming and lauded its ability "to stir up deep passions".

The reaction was not uniformly positive. On seeing the film, François Truffaut is reported to have said: "I don't want to see a movie of peasants eating with their hands". Bosley Crowther, the most influential critic of The New York Times, wrote in 1958, "any picture as loose in structure or as listless in tempo as this one is would barely pass as a 'rough cut' with the editors in Hollywood", even though he praised its gradually emerging poignancy and poetic quality. The Harvard Crimson argued in 1959 that its fragmentary nature "contributes to the film's great weakness: its general diffuseness, its inability to command sustained attention. For Pather Panchali, remarkable as it may be, is something of a chore to sit through". Early in the 1980s, Ray was criticised by Nargis Dutt, an Indian parliamentarian and former actress, for "exporting poverty". Darius Cooper writes that while many critics celebrated the Apu trilogy "as a eulogy of third-world culture, others criticized it for what they took to be its romanticization of such a culture". Stanley Kauffmann of The New Republic wrote that "its story is simple almost to the point of banality, it is rewarding if taken as a dramatized documentary".

As of May 2021, the film has a 97% fresh rating on Rotten Tomatoes based on an aggregate of 69 reviews with an average score of 9.3/10. The website's critical consensus reads: "A film that requires and rewards patience in equal measure, Pather Panchali finds director Satyajit Ray delivering a classic with his debut". In 2018 the film earned the 15th spot when BBC released the top 100 foreign language films ever, and filmmaker Christopher Nolan called it "one of the best films ever made".

### 1990s restoration

In the 1990s, Merchant Ivory Productions, with assistance from the Academy Film Archive and Sony Pictures Classics, undertook a project to restore the prints. The restored prints, along with several other Ray films, were released in select US theatres. Pather Panchali is available in DVD in Region 2 (DVD region code) PAL and Region 1 NTSC formats. Artificial Eye Entertainment is the distributor of Region 2 while Columbia Tri-Star is the distributor of Region 1 format.

### 2015 restoration

In 2013, the video distribution company The Criterion Collection, in collaboration with the Academy of Motion Picture Arts and Sciences' Film Archive, began the restoration of the original negatives of the Apu trilogy, including Pather Panchali. These negatives had been severely damaged by a fire in London in 1993, and all film cans and fragments belonging to the Ray films were sent to the Motion Picture Academy for storage, where they lay unseen for two decades. It was discovered upon reexamination that, although many parts of the films were indeed destroyed by fire or the effects of age, other parts were salvageable. The materials were shipped to a restoration laboratory in Bologna, Italy: L'Immagine Ritrovata. Over a thousand hours of labor by hand were expended in restoring and scanning the negatives and, in the end, about 40 percent of the Pather Panchali negative was restored. For those parts of the negative that were missing or unusable, duplicate negatives and fine-grain masters from various commercial or archival sources were used. The Criterion Collection's own lab then spent six months creating the digital version of all three films, at times choosing to preserve the distinctive look of the films even at the cost of retaining some imperfections.

On 4 May 2015, the restored Pather Panchali premiered at the Museum of Modern Art, a little more than 60 years to the day after the film's world premiere at the same venue. Several days later, all three films opened at New York's Film Forum, where they were originally scheduled to run for three weeks. Because of overwhelming public demand – with one writer commenting that "audiences can't seem to get enough" – the films were held over at that theater until 30 June. The trilogy was then sent to be exhibited in many other cities throughout the U.S. and Canada. The restoration work was widely acclaimed, with commentators calling the look of the restored films "gorgeous", "pristine" and "incredible".

## Themes

Author Andrew Robinson, in the book The Apu Trilogy: Satyajit Ray and the Making of an Epic (2010), notes that it is challenging to narrate the plot of Pather Panchali and the "essence of the film lies in the ebb and flow of its human relationships and in its everyday details and cannot be reduced to a tale of events". In his 1958 New York Times review, Crowther writes that Pather Panchali delicately illustrates how "poverty does not always nullify love" and how even very poor people can enjoy the little pleasures of their world. Marie Seton describes how the film intersperses the depiction of poverty and the delights and pleasures of youth. She represents the bond between Durga and Indir, and their fate, as signifying a philosophical core: that both the young and the old die. Seton writes of the film's "lyrical" qualities, noting especially the imagery immediately before the onset of monsoon. Robinson writes about a peculiar quality of "lyrical happiness" in the film, and states that Pather Panchali is "about unsophisticated people shot through with great sophistication, and without a trace of condescension or inflated sentiment".

Darius Cooper discusses the use of different rasa in the film, observing Apu's repeated "epiphany of wonder", brought about not only by what the boy sees around him, but also when he uses his imagination to create another world. For Cooper, the immersive experience of the film corresponds to this epiphany of wonder. Stephen Teo uses the scene in which Apu and Durga discover railway tracks as an example of the gradual build-up of epiphany and the resulting immersive experience.

Sharmishtha Gooptu discusses the idea that the idyllic village life portrayed in Pather Panchali represents authentic Bengali village life, which disappeared during the upheavals of Partition in 1947. She suggests that the film seeks to connect an idealised, pre-partition past with the actual present of partitioned Bengal, and that it uses prototypes of rural Bengal to construct an image of the ideal village. In contrast to this idealism, Mitali Pati and Suranjan Ganguly point out how Ray used eye-level shots, natural lighting, long takes and other techniques to achieve realism. Mainak Biswas has written that Pather Panchali comes very close to the concept of Italian neorealism, as it has several passages with no dramatic development, even though the usual realities of life, such as the changing of seasons or the passing of a day, are concretely filmed.

## Accolades

Pather Panchali has won many national and international awards. At India's 3rd National Film Awards in 1955, it was named Best Feature Film and Best Bengali Feature Film. The next year, it competed for the Palme d'Or at Cannes, where it won Best Human Document and an OCIC Award – Special Mention. More awards from film festivals across the world followed: the Vatican Award (Rome), the Golden Carabao (Manila), and the Diploma of Merit (Edinburgh) in 1956; the Selznick Golden Laurel for Best Film (Berlin), the Golden Gate for Best Director and Best Picture (San Francisco) in 1957; Best Film (Vancouver), and the Critics' Award for Best Film (Stratford) in 1958. It also won several awards for best foreign-language film: at the National Board of Review Awards 1958; at the Afro Arts Theater, New York, 1959; the Kinema Jumpo Award in Japan, 1966; and the Bodil Award in Denmark, 1969. In 1958 it had been nominated for Best Film at the 11th British Academy Film Awards.

Sight & Sound, the British Film Institute's (BFI) magazine, has included Pather Panchali several times in its Critics' Polls of the greatest-ever films. In 1962, it ranked 11th; in 1992, 6th; and in 2002, 22nd. It also topped the British Film Institute's user poll of "Top 10 Indian Films" of all time in 2002. The magazine ranked the film 42nd in its 2012 critics' poll of "Top 50 Greatest Films of All Time" and 48th in its 2012 directors' poll. In the most recent 2022 edition of BFI's Greatest films of all time list the film ranked 35th in the critics poll and 22nd in the director's poll. In 1998, in a similar critics' poll from Asian film magazine Cinemaya, Pather Panchali was ranked the second-greatest film of all time. The Village Voice ranked the film at number 12 (tied with The Godfather) in its Top 250 "Best Films of the Century" list in 1999, based on a poll of critics. In 2010, The Guardian ranked the film 12th in its list of 25 greatest arthouse films.

Pather Panchali was included in various other all-time lists, including Time Out's "Centenary Top One Hundred Films" in 1995, the San Francisco Chronicle "Hot 100 Films From the Past" in 1997, the Rolling Stone "100 Maverick Movies of the Last 100 Years" in 1999, "The New York Times Guide to the Best 1,000 Movies Ever Made" in 2002, the BFI Top Fifty "Must See" Children's Films in 2005, and BFI's "Top 10 Indian Films" of all time. It was included in NDTV's list of "India's 20 greatest films", and in 2013 in CNN-IBN's list of "100 greatest Indian films of all time". Akira Kurosawa ranked Pather Panchali at No. 37 on his Top 100 favourite films of all time list. The Apu trilogy as a whole was included in film critic Roger Ebert's list of "100 Great Movies" in 2001 and in Time's All-Time 100 best movies list in 2005.

## Legacy

Pather Panchali was followed by two films that continued the tale of Apu's life—Aparajito (The Unvanquished) in 1956 and Apur Sansar (The World of Apu) in 1959. Together, the three films constitute the Apu trilogy. Aparajito portrays the adolescent Apu, his education in a rural school and a Calcutta college. Its central theme is the poignant relationship between a doting mother and her ambitious young son. Apur Sansar depicts Apu's adult life, his reaction to his wife's premature death, and his final bonding with his son whom he abandoned as an infant. The sequels also won many national and international awards. Ray did not initially plan to make a trilogy: he decided to make the third film only after being asked about the possibility of a trilogy at the 1957 Venice Film Festival, where Aparajito won the Golden Lion. Apur Panchali (2014) is a Bengali film directed by Kaushik Ganguly, which depicts the real-life story of Subir Bannerjee, the actor who portrayed Apu in Pather Panchali. Aparajito, a 2022 Bengali film directed by Anik Dutta, tells the story of the making of Pather Panchali.

Pather Panchali was the first film made in independent India to receive major critical attention internationally, placing India on the world cinema map. It was one of the first examples of Parallel Cinema, a new tradition of Indian film-making in which authenticity and social realism were key themes, breaking the rule of the Indian film establishment. Although Pather Panchali was described as a turning point in Indian cinema, some commentators preferred the view that it refined a "realist textual principle" that was already there. In 1963 Time noted that thanks to Pather Panchali, Satyajit Ray was one of the "hardy little band of inspired pioneers" of a new cinematic movement that was enjoying a good number of imitators worldwide. The film has since been considered as a "global landmark" and "among the essential moviegoing experiences". On 2 May 2013, commemorating Ray's birthday, the Indian version of the search engine Google displayed a doodle featuring the train sequence.

After Pather Panchali, Ray went on to make 36 more films, including feature films, documentaries and shorts. He worked on scripting, casting, scoring, cinematography, art direction and editing, as well as designing his own credit titles and publicity material. He developed a distinctive style of film-making based, as was the case with Pather Panchali, on visual lyricism and strongly humanistic themes. Thus, Ray established himself as an internationally recognized auteur of cinema.

1955 film by Satyajit Ray

Best Bengali Feature Film National Film Award winners

Best Feature Film National Film Award winners

Films based on works by Bibhutibhushan Bandyopadhyay


First Battle of Naktong Bulge

The First Battle of Naktong Bulge was an engagement between United Nations Command (UN) and North Korean forces early in the Korean War from August 5–19, 1950 in the vicinity of Yongsan (Yeongsan, Changnyeong county) and the Naktong River in South Korea. It was a part of the Battle of Pusan Perimeter, and was one of several large engagements fought simultaneously. The battle ended in a victory for the UN after large numbers of US reinforcements destroyed an attacking North Korean division.

On August 5, the Korean People's Army (KPA), 4th Infantry Division crossed the Naktong River in the vicinity of Yongsan, attempting to cut UN supply lines to the north as well as gaining a bridgehead into the Pusan Perimeter. Opposing it was the 24th Infantry Division of the Eighth United States Army. Over the next two weeks, US and KPA forces fought a bloody series of engagements inflicting heavy casualties on one another in a confusing series of attacks and counterattacks, but neither side was able to gain the upper hand. In the end, the US forces, aided by reinforcements, air support and heavy weapons, destroyed the KPA force which was hampered by lack of supply and high desertion rates.

The battle was a turning point in the war for the KPA, which had seen previous victories owing to superior numbers and equipment. UN forces now had a numerical superiority and more equipment, including M4 Sherman tanks and heavy weapons capable of defeating the KPA T-34 tanks.

## Background

### Outbreak of war

Following the 25 June 1950 outbreak of the Korean War after the invasion of South Korea by North Korea, the United Nations decided to commit troops to the conflict on behalf of South Korea. The United States subsequently committed ground forces to the Korean Peninsula with the goal of fighting back the North Korean invasion and to prevent South Korea from collapsing. However, US forces in the Far East had been steadily decreasing since the end of World War II, five years earlier, and at the time the closest forces were the 24th Infantry Division, headquartered in Japan. The division was understrength, and most of its equipment was antiquated due to reductions in military spending. Regardless, the 24th was ordered to South Korea.

The 24th Infantry Division was the first US unit sent into Korea with the mission to take the initial "shock" of KPA advances, delaying much larger KPA units to buy time to allow reinforcements to arrive. The division was consequently alone for several weeks as it attempted to delay the KPA, making time for the 1st Cavalry and the 7th and 25th Infantry Divisions, along with other Eighth Army supporting units, to move into position. Advance elements of the 24th Division were badly defeated in the Battle of Osan on July 5, the first encounter between US and KPA forces. For the first month after the defeat of Task Force Smith, 24th Division was repeatedly defeated and forced south by superior KPA numbers and equipment. The regiments of the 24th Division were systematically pushed south in engagements around Chochiwon, Chonan, and Pyongtaek. The 24th made a final stand in the Battle of Taejon, where it was almost completely destroyed but delaying KPA forces until July 20. By that time, the Eighth Army's force of combat troops were roughly equal to KPA forces attacking the region, with new UN units arriving every day.

### North Korean advance

With Taejon captured, KPA forces began surrounding the Pusan Perimeter from all sides in an attempt to envelop it. The KPA 4th and 6th Divisions advanced south in a wide flanking maneuver. The two divisions attempted to envelop the UN's left flank, but became extremely spread out in the process. They advanced on UN positions with armor and superior numbers, repeatedly pushing back UN forces.

UN forces were pushed back repeatedly before finally halting the KPA advance in a series of engagements in the southern section of the country. Forces of the 3rd Battalion, 29th Infantry Regiment, newly arrived in the country, were wiped out at Hadong in a coordinated ambush by KPA forces on July 27, opening a pass to the Pusan area. Soon after, KPA forces took Chinju to the west, pushing back the US 19th Infantry Regiment and leaving routes to the Pusan open for more KPA attacks. US formations were subsequently able to defeat and push back the KPA on the flank in the Battle of the Notch on August 2. Suffering mounting losses, the KPA force in the west withdrew for several days to re-equip and receive reinforcements. This granted both sides a reprieve to prepare for the attack on the Pusan Perimeter.

### Naktong Bulge

About 7 miles (11 km) north of the point where it turns east and is joined by the Nam River, the Naktong River curves westward opposite Yongsan in a wide semicircular loop. For most of this span, the Naktong is around 400 metres (1,300 ft) wide and 6 feet (1.8 m) deep, allowing infantry to wade across with some difficulty but preventing vehicles from crossing without assistance. This perimeter was defended by a network of observation posts on the high ground, manned by 24th Infantry. Forces in reserve would counterattack any attempted crossings by KPA. Artillery and mortar fire units were also deployed so large amounts of fire could be delivered on any one spot. The division was extremely dispersed, already understrength, it presented a very thin line.

## Battle

The 24th US Infantry Division, under the command of Major General John H. Church, occupied a region some 16 miles (26 km) long along the Naktong River. The 34th Infantry Regiment occupied the southern half, west of Yongsan while the 21st Infantry Regiment occupied the northern half, west of Changyong. The 19th Infantry Regiment, meanwhile, was re-equipping in the rear of the lines. In all, the 24th and its supporting units had a strength of 14,540 on August 5.

Opposing the 24th Infantry was the KPA 4th Division, under the command of Major General Lee Kwon Mu. Both Mu and his division were highly decorated for their exploits so far in the war, particularly during the First Battle of Seoul. By August 4 the 4th Division had concentrated all of its regiments in the vicinity of Hyopch'on. It stood at a strength of about 7,000 with 1,500 in each infantry regiment.

### North Korean attack

At midnight on the night of August 5–6, 800 KPA soldiers of the 3rd Battalion, 16th Regiment waded across the river at the Ohang ferry site, 3.5 miles (5.6 km) south of Pugong-ni and west of Yongsan, carrying light weapons and supplies over their heads or on rafts. A second force attempted to cross further north but was hit with machine gun and artillery fire, falling back in confusion. At 02:00 on August 6, the KPA began engaging the forces of 3rd Battalion, 34th Infantry and moved forward after a small fight, attempting to penetrate the lines to Yongsan. KPA infantry forced 3rd Battalion back, and they abandoned their command post to consolidate their position. The attack caught the Americans by surprise as US commanders expected the KPA to attempt a crossing further north. The landing threatened to split the US lines and disrupt supply lines to positions further north. Subsequently, the KPA were able to capture a large amount of US equipment.

### US counterattack

The 34th Infantry's regimental headquarters ordered the 1st Battalion to counterattack the KPA. When 1st Battalion arrived at 3rd Battalion's former command post, it was ambushed by KPA troops on the high ground. C Company, the first to arrive, suffered over fifty percent casualties. A and B Companies counterattacked with tanks and armor, eventually rescuing the beleaguered C Company. At around 20:00, A Company made contact with L Company, 3rd Battalion, still in its positions on the river, radioing that the KPA had penetrated eastward north of the Yongsan-Naktong River road to Cloverleaf Hill, but had not yet crossed south of the road to Obong-ni Ridge. The KPA had penetrated 3 miles (4.8 km) east of the Naktong and halfway to Yongsan.

Several units of the 34th Regiment began to retreat north and into the 21st Infantry's lines, but Church ordered them turned around. He also ordered the 19th Infantry to counterattack west along the northern flank of the 34th Infantry to help oppose the KPA. Although the 24th Infantry was repulsed closer to the river, 1 mile (1.6 km) inland the 19th Infantry trapped about 300 KPA in a village and killed most of them.

The 1st Battalion, 34th Infantry, had managed to block the KPA advance to Yongsan while the 19th Infantry was able to push it back and inflict substantial casualties. However, by the evening of August 6, the KPA held firmly on to their bridgehead. Attempted crossings that night were repulsed to the south by Republic of Korea Army (ROK) forces, but an unknown number of reinforcements were moved across the river the night of August 6–7. On August 7–8, the KPA tried to move two more battalions across the river to the north, but were repulsed by 21st Infantry, which was still in place. The KPA battalions were shifted south to cross at the bridgehead, instead. By August 8, an estimated KPA regiment were across the Naktong.

### Counterattacks

American counterattacks continued into the morning of August 7, but the gains were slow, hampered by the hot weather and a lack of food and water. The KPA were able to press forward and regain the Cloverleaf Hill and Oblong-ni Ridge, critical terrain astride the main road in the bulge area. By 16:00 that day, the 9th Infantry Regiment, 2nd Infantry Division, a unit newly arrived in Korea, was sent to the region. Church immediately ordered it to attack the KPA salient at the bulge. 9th Infantry was fresh and well-equipped. They were also inexperienced, many of their number being reservists. Despite a tenacious attack, the 9th Infantry was only able to regain part of Cloverleaf Hill before intense fighting stalled its movement.

KPA forces began making gains in the hills along the river adjacent to their bridgehead, against positions of the 34th Infantry. Coordinated attacks pushed A Company to the north back from their hills with heavy casualties on August 7. K Company to the south was also attacked but held its line, reinforced by L Company on August 10. Fighting continued for several days, resulting in heavy casualties as both sides captured and recaptured the hills along the Naktong, neither side able to gain a decisive advantage against the other.

### Task Force Hill

In an attempt to destroy the KPA bridgehead, Church assembled a large force under the 9th Infantry Regiment. Dubbed Task Force Hill, this force comprised the 9th, 19th and 34th Infantry Regiments as well as 1st Battalion, 21st Infantry, plus supporting artillery and other attached units. It was assigned to drive the KPA from the east bank of the river on August 11. Commanding the task force was Colonel John G. Hill, the Commanding Officer of the 9th Infantry Regiment.

The KPA 4th Division, meanwhile, had constructed underwater bridges of sandbags, logs, and rocks, finishing the first on August 10. 4th Division used it to move trucks and heavy artillery as well as additional infantry and a few tanks across the river. By the morning of August 10, an estimated two KPA regiments were across the river and occupying fortified positions. Supplies continued to stream in through rafts. Task Force Hill mounted its attack, but was once again unable to make progress due to the newly established artillery. Its directive to attack quickly became one to dig in and hold its ground, and by nightfall the entire KPA 4th Division was across the river. On August 10, elements of the KPA 4th Division began to move south, outflanking Task Force Hill. The next day, scattered KPA elements attacked Yongsan. The KPA repeatedly attacked at night, when American soldiers were resting and had greater difficulty resisting.

### Reinforcements

On August 12, General Walton Walker, in command of the Eighth Army, dispatched part of the 27th Infantry Regiment, 25th Infantry Division, to attack north from the 25th Division's zone to drive off KPA 4th Division troops moving into Yongsan. Simultaneously, Church assembled all the combat service support soldiers he could and formed them into a combat unit to block further penetration of KPA forces, which were setting up roadblocks on the roads from Yongsan.

Additional reinforcements poured in. The rest of the 27th Infantry moved in, as well as a battalion from the 23rd Infantry Regiment, 2nd Infantry Division. These were able to push KPA infiltrators out of Yongsan and back to their firmly held positions at Cloverleaf Hill. On August 14, following an artillery barrage, Task Force Hill launched a direct assault on these positions. Fighting continued the entire day in a fierce series of attacks and counterattacks in which both sides, already at far reduced strength, inflicted large numbers of casualties. However, Task Force Hill'''s second attack was just as unsuccessful as its first. Casualties among officers was high in the fight, and the disorganization that followed meant most of the units in the fight could not communicate to coordinate any large actions. It became a battle of attrition by August 15 as neither the KPA 4th Division nor Task Force Hill were able to get the upper hand in the fight, which in several cases erupted in desperate hand-to-hand combat. Casualties mounted and a frustrated Walker ordered the 5,000-man 1st Provisional Marine Brigade to the area to turn the tide. The brigade moved from the Masan region in the middle of a counteroffensive being conducted by the 25th US Infantry.

The KPA 4th Division in the meantime was suffering serious logistical setbacks from lack of food, equipment, ammunition and, weapons. Conscripts from local South Korean villages were brought in to replace mounting losses. There was also virtually no provision for the wounded in the division, and the KPA forces began to come apart under these stresses. Still, the division's morale remained relatively high and General Lee refused to withdraw.

### Destruction of the bridgehead

The 1st Marine Provisional Brigade, in conjunction with Task Force Hill, mounted a massive attack on Cloverleaf Hill and Obong-ni on August 17. The offensive began at 08:00 on August 17, with US forces unleashing all heavy weapons available to them against the KPA positions; artillery, mortars, M26 Pershing tanks and airstrikes.

At first, tenacious KPA defense halted the Marines who responded with artillery, raking Cloverleaf Hill. Heavy indirect fire forced the KPA out of their positions before the Marines and Task Force Hill'' eventually overwhelmed them, one hill at a time. The Marines approached Obong-ni first, destroying resistance on the slope with an airstrike and a barrage from US tanks, but strong resistance caused heavy casualties, and they had to withdraw. The KPA 18th Regiment, in control of the hill, mounted a disastrous counterattack in hopes of pushing the Marines back. The division's tactics of cutting off supplies and relying on surprise, which had provided them so much success up to this point, failed in the face of massive US numerical superiority.

By nightfall on August 18, KPA 4th Division had been annihilated; huge numbers of deserters had weakened its numbers during the fight, but by that time, Obong-ni and Cloverleaf Hill had been retaken by the US forces. Scattered groups of KPA soldiers fled back across the Naktong, pursued by American planes and artillery fire. The next day, the remains of 4th Division had withdrawn across the river. In their hasty retreat, they left a large number of artillery pieces and equipment behind which the Americans later pressed into service.

## Aftermath

The battle caused massive casualties for both sides. By the end of the fight, KPA 4th Division had been completely destroyed, with only 300 or 400 men in each of its regiments. Of its original 7,000 men, the division now had a strength of only 3,500, having suffered over 1,200 killed. Several thousand of the members of the division deserted during the fight. Most of these men were South Korean civilians forcibly conscripted into the KPA. 4th Division would not recover until much later in the war. The battle represented a new phase in the war for the KPA. Their numerical superiority was gone, and their strategy of attacking supply lines and rear formations of US units was no longer effective without overwhelming numbers. Additionally, the advantage the T-34 tank had once provided was also gone; American units were now well equipped with effective anti-tank weapons, as well as larger numbers of tanks of their own. Subsequently, all 4th Division's T-34s were quickly knocked out before they could inflict much damage.

The 9th Infantry and supporting units sustained 57 killed, 106 wounded, two captured, and 13 missing, a total of 180 casualties. The 21st Infantry suffered around 30 killed and 70 wounded, the 19th Infantry around 450 casualties, and the 34th Infantry around 400. The 27th Infantry reported around 150. The 1st Provisional Brigade reported 66 Marines dead, 278 wounded, and one missing. In total, American forces suffered around 1,800 casualties during the conflict, including about a third them killed.

In memory of the battle at Naktong Bulge, as well as other conflicts along the Pusan Perimeter and the Battle of Taegu, the South Korean government set up the Nakdong River Battle Museum along the river in the vicinity of the conflict in 1979, which includes a number of artifacts from the Korean War as well as a memorial to those killed during the war.

## See also

- Hill 303 massacre

Battle of the Korean War during the Battle of Pusan Perimeter

Battles and operations of the Korean War in 1950

Battles of the Korean War involving North Korea

Battles of the Korean War involving the United States