Pather Panchali 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
Pather Panchali until June 30. 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”. 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,