Apart from suggesting an echo of the end of Grapes of Wrath in the closing compositions of Pather Panchali, I'd prefer to turn to one or two allegations of amateurism levelled against Ray—notably Paul Dehn's objection to the 'elementary' use in Panchali of long tracking shots. To me these shots are often among the most magical moments of the picture: the children pursuing the sweet-seller, the train sequence, or Apu running after Durga across the fields when they have quarrelled over the toy-box. And how many magical moments there are!…

[One can find nothing] amateurish in the visuals, the grey soft-dwelling close-ups and misty, luminous landscapes. Subrata Mitra may never have handled a camera before, but Ray has inspired him, just as he must have inspired Ravi Shankar, whose evocatively dissonant score was created in a night and is nowhere more perfectly employed than at the film's...