Subrata Mitra to a cameraman...Almost every shot of "Pather Panchali" posed a problem for me, innumerable problems, many sleepless nights spent on ruminating over the prospects of the next day's shooting..."Pather Panchali" had many excellent shots--both technically and artistically, but it had many bad shots too." From 1997 until his death, Mitra was an emeritus professor of cinematography at the Satyajit Ray Film and Television Institute (SRFTI) at Kolkata. Subrata Mitra Subrata Mitra (12 October 1930 – 7 December 2001) was an Indian cinematographer. Acclaimed for his work in "The Apu Trilogy" (1955–1959), Mitra is often considered one of the greatest of
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,