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 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",