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Sometime in May 1966, Satyajit Ray called Uttam Kumar. “Uttam, Nayak premieres tomorrow at Indira Cinema. I hope you will be there,” Ray reportedly said. “But Manikda, the press and public will be in attendance. Do you think I should go? There will be pandemonium,” he replied. “Uttam, don’t forget it’s a Satyajit Ray film. Please be there,” Ray commanded.

The next day, the news of Kumar’s appearance at the cinema house spread and all hell broke loose. By late afternoon, roads leading to Bhowanipore had to be barricaded. Kumar’s car – by most accounts a Chevrolet Impala – was piloted through the by-lanes. The theatre was shaking under the weight of uproarious chanting, ‘Guru, guru’, with demands to see the star. The hall manager rushed to Ray. “Sir, if we don’t bring him up on stage there will be a serious law-and-order issue.” Minutes later, the lights came on and Kumar was seen standing on the platform in front of the screen. He raised his hand. The crowd fell silent, as if by the waving of a magic wand. “I request you to please be silent and watch the film. Don’t forget it is a Satyajit Ray film.”

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