Gandhi insisted that the spirit of India lives in its villages, but the drift away from the village and toward urbanization in post- independence India continues. Questions arise regarding the ideological motivations driving artists’ treatments of the village in various notable works in the modern South Asian canon. A comparison is drawn between Satyajit Ray’s Pather Panchali [1955] and Orissan artist and author Prafulla Mohanti’s My Village, My Life [1973]. While at first glance the two may seem to have little to do with another, a close consideration reveals some striking similarities between them, providing some compelling insights into Ray’s methods and vision.