Subrata Mitra as a cinematographer with Satyajit Ray, the legendary Indian film maker, for "Pather Panchali" (1955). He continued to work with him for many of Ray's later films. He is known for pioneering the technique of bounce lighting, while filming "The Apu Trilogy". Satyajit Ray thought that "Subrata Mitra’s camera work is better than Raoul Coutard’s". Coutard was at the time much more acclaimed than Mitra having collaborated with Godard on many of his film projects. One of his most important technical innovations was his introduction of bounce lighting, which he pioneered while filming "Aparajito" (1956), the second part of "The
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,