PRINT April 1992


SOMETIME IN THE FIRST MONTHS of 1960 I went to Calcutta. My main reason for going was to meet Satyajit Ray. Indian friends of mine in New Delhi had told me that in addition to the films that make up his famous “Apu Trilogy”—Pather Panchali, Aparajito, and The World of Apu—Ray had directed other films that were not at all known in the West, and I was hoping that somehow I could see them. There were in fact two, and one of them—Jalsaghar, better known as The Music Room—sounded particularly intriguing. The other was called Parash Pathar, or The Philosopher’s Stone, and Ray had made both in the gap between finishing Aparajito and taking up work on the last film of his trilogy.

My friends had told me that it was not hard to meet India’s foremost artist: all I had to do was to call him up. So I did just that once I arrived in Calcutta, getting his number out of the directory. I don’t remember

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