Like in most neorealism films, Ray does not filter out the natural sound of the wind in the film. For example, in the scene where Apu finds his sister sitting among the tall blades of grass, there is a distinct hum of the wind, providing a natural feel to the movie. To the viewers, the scene is so natural that one may develop and impression that no acting is taking place. Here, the aim of the neo-realist is to capture the objects in their natural environment. In addition, the concept of neorealism becomes evident in instances in which the targets are unaware that they are the focus of the camera lens. This way, the non-professional actors will act naturally without any hint of exaggeration (Bardwell 2012). Ray captures the concept of naturalism well, particularly when he depicts members of the poor Bengali family going through their tasks in the rural neighborhood. In addition, Ray incorporates more naturalism in his film by focusing on other distinct elements that bear similarities with neorealism. For example, his close shot of the train as it moves down the tracks is an indication of how keenly Apu and Durga are observing the moving object. After the train goes past the astonished children, the camera remains in the same position with its focus being the smoke that the train has left behind. In Bollywood films, camera crew does not linger too much on once scene. However, Ray is an exception to the modern breed of Bollywood filmmakers, and he is determined to follow the path of neorealistics.
The timing of the Pather Panchali is also rather apt since its settings are similar to those of neorealistic films. India gained independence in 1947 and experienced political strife in the following years. It was against this backdrop of anarchy and lawlessness that Ray produced his movie. Similarly, Italian neorealism movies have anarchy and social disorder as the main inspiration. As a key player in the Second World War under the leadership of the Fascist regime, Italy was on the brink of disintegration. These conditions were the perfect settings for neorealistic movie directors who felt the need to capture the state of suffering and hardships in the society (Fabe 2014). Similar neo-realist counterparts, Ray bass his movie on the state of anarchy in India in the 1940s. Most neorealistic films are representations of real-life situations and have little or no room for creativity or imagination. Consequently, Ray remains true to the natural approach of a typical neo-realist by depicting the actors in their most natural settings.