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 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,