Bansi Chandragupta production designer Eugène Lourié and learned the craft of film designing. During the shooting of this movie, he met Satyajit Ray who asked him to join a group of film enthusiasts to form the Calcutta Film Society. Later, Ray asked Chandragupta to be set designer for his film "Pather Panchali". This collaboration sustained till "Shatranj Ke Khilari" (1977). Some of the best examples of Chandragupta's work are from the Ray films: "Pather Panchali", "Jalsaghar" and "Charulata". Apart from Ray's films, best works of Chandragupta's works are visible in "36 Chowringhee Lane" by Aparna Sen, "Umrao Jaan" by Muzzafar Ali and
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,