Pather Panchali 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
Pather Panchali 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