Hatti-ma-tim-tim (Hattimatimtim)

As children recite this, they put their hands on their hips and squat to the second line to indicate the laying of eggs; and then stick their fists against the sides of their head with their forefingers extended to the third line to indicate horns.

Children often confuse the actions doing the wrong action to the wrong line 🙂

Phonetically in Roman script:

      Tara mathay paarey dim,
      Taader khada duto singh,
      Tara Hattimatimtim.


In Bengali (draft being verified)

      তারা মাঠে পাড়ে ডিম,
      তাদের খাডা দুটো সিং,
      তারা হাটিমাটিমটিম.


Subrata Mitra

Subrata Mitra (Bengali: সুব্রত মিত্র, 12 October 1930 – 7 December 2001) was an Indian cinematographer. Acclaimed for his work in The Apu Trilogy (1955–1959), Mitra is often considered one of the greatest of Indian cinematographers.

At the age of 21, Mitra, who had never held a camera before, began his career as a cinematographer with Satyajit Ray, the legendary Indian film maker, for Pather Panchali (1955). He continued to work with him for many of Ray’s later films. He is known for pioneering the technique of bounce lighting, while filming The Apu Trilogy. He was also a cousin of the renowned singer Uma Bose.

From 1997 until his death, Mitra taught cinematography at the Satyajit Ray Film and Television Institute (SRFTI) at Kolkata.


One of his most important technical innovations was his introduction of bounce lighting, which he pioneered while filming Aparajito (1956), the second part of The Apu Trilogy. According to the Internet Encyclopedia of Cinematographers: “Mitra made his first technical innovation while shooting ‘Aparajito’. The fear of monsoon rain had forced the art director, Bansi Chandragupta, to abandon the original plan to build the inner courtyard of a typical Benares house in the open and the set was built inside a studio in Calcutta. Mitra recalls arguing in vain with both Chandragupta and Ray about the impossibilities of simulating shadowless diffused skylight. But this led him to innovate what became subsequently his most important tool – bounce lighting. Mitra placed a framed painter white cloth over the set resembling a patch of sky and arranged studio lights below to bounce off the fake sky.

His director Satyajit Ray also stated:
You know, about seven or eight years after Pather Panchali was made, I read an article in American Cinematographer written by Sven Nykvist — at the time of Bergman’s Through a Glass Darkly, I think — claiming the invention of bounced light. But we had been using it since 1954.”


  • 1955: Pather Panchali – Directed: Satyajit Ray
  • 1956: Aparajito – Directed: Satyajit Ray
  • 1957: Parash Pathar – Directed: Satyajit Ray
  • 1958: Jalsaghar – Directed: Satyajit Ray
  • 1959: Apur Sansar – Directed: Satyajit Ray
  • 1960: Devi – Directed: Satyajit Ray
  • 1962: Kanchenjungha – Directed: Satyajit Ray
  • 1963: The Householder – Directed: James Ivory
  • 1963: Mahanagar – Directed: Satyajit Ray
  • 1964: Charulata – Directed: Satyajit Ray
  • 1965: Shakespeare Wallah – Directed: James Ivory
  • 1966: Nayak – Directed: Satyajit Ray
  • 1966: Teesri Kasam – Directed: Basu Bhattacharya
  • 1969: The Guru – Directed: James Ivory
  • 1970: Bombay Talkie – Directed: James Ivory
  • 1974: Mahatma and the Mad Boy – Directed: Ismail Merchant
  • 1985: New Delhi Times – Directed: Romesh Sharma

Of the aforesaid, it turns out that Satyajit Ray and Basu Bhattacharya are both part of the family, although not related to Subrata Mitra.


  • 1986: National Film Award for Best Cinematography : New Delhi Times
  • Padma Shree