Remembering Mahanayak Uttam Kumar on his death anniversary, Ruchira celebrates a timeless icon. His magnetic charm and profound performances redefined Bengali cinema, exclusively for Different Truths.
On a cloudy, humid day exactly forty-five years ago (July 24, 1980), the legendary Bengali actor Uttam Kumar, revered as Mahanayak (meaning “superstar”) by millions of his devoted fans, passed away just weeks before his 54th birthday.
For decades, Uttam Kumar (born Arun Kumar Chatterjee) strode through the Bengali film industry (aka Tollywood) like a colossus. While he may not have been conventionally handsome, his above-average height, glowing alabaster complexion, and remarkable baritone combined to make him the heartthrob of Bengali women. From teenagers to octogenarians, everyone found his charming manners and beaming smile irresistible!
I, too, grew up listening to personal anecdotes from my mom about how my oldest aunt, Boropishi (who married and moved to Delhi), would visit Kolkata, and the two of them would gallivant around the city to catch up on Uttam Kumar’s latest movies in the space of just a few days.
Uttam Kumar’s career in films was a rollercoaster ride; his first few movies bombed at the box office, earning him the sobriquet “Flopmaster General”. It was the veteran actor Pahari Sanyal who advised the young actor to switch his name to Uttam (lit.: excellent, high quality) in the film Sahajatri (1951), hoping the jinx would break. And sure enough, it did! His first success was in the movie Basu Paribar. Then, there was no looking back.
Tollywood of the 1950s and 1960s witnessed a flood of Uttam Kumar’s movies, particularly his on-screen pairing with the dazzling Suchitra Sen. The duo delivered multiple romantic hits in quick succession, with notable films including Saptapadi, Shapmóchan, Chawa Pawa, Sagarika, Pathe Holo Deri, Harano Sur, and Indrani, to name a few. The list is virtually endless!
Together, they reached the pinnacle of fame and glory. Although Uttam Kumar acted with contemporary actresses such as Sabitri, Tanuja, Madhabi, Aparna Sen, and Sandhya Roy, the Uttam-Suchitra pairing stood out above the rest. Uttam’s lover-boy image continues to linger in the hearts and minds of many surviving old-timers.
Perhaps Uttam’s best phase was ushered in during the mid-1960s with Pinaki Bhushan Mukherjee’s “Chowringhi”, based on an eponymous novel by Moni Shankar Mukherjee. In this film, he delivered a stellar performance alongside Dr Shubhendu Chatterjee, another renowned actor. Although not the protagonist, Uttam became the cynosure of all eyes, captivating the viewers with his exceptional public relations skills and friendly demeanour towards the diverse clientele at the hotel where he worked as a front office manager-cum-receptionist. His professional life was intertwined with themes of love, friendship, and loneliness, making his performance profoundly humane.
Around this time, life took a significant turn when the legendary Satyajit Ray decided to cast him as the lead in his film “Nayak”, which catapulted him into the limelight and heightened his popularity. Hitherto, he began to be recognised as Mahanayak. The name stuck on, lifelong. In this movie, Ray explores the psyche of a popular hero, portraying his struggles and the range of emotions experienced at every stage of his journey.
By any measure, “Agnishwar” (1975) is his most serious and brilliant film. The eponymous protagonist is an outspoken, blunt, and fearless medical practitioner who constantly rebels against social dogmas and norms. Yet, he possesses a heart of gold, overflowing with compassion and patriotism.
As he grew older, Uttam Kumar’s acting style evolved, attaining maturity, poise, and dignity that were evident in his performances. He became a more serious actor, with his frivolity and playfulness fading away. Films in this latter category include Sanyasi Raja, Amanush Ananda Ashram, and the penultimate Ogo Bodhu Sundari, which is a straight adaptation of the immortal musical “My Fair Lady”.
As an ardent movie viewer and self-proclaimed critic, I would give thumbs down to Bonpolashir Podaboli, Sabyasachi, Bibhas, Marutirtha Hinglaj, Shuk Sari, Samadhan Shilpi, Annpurnar Mondir, Kankabatir Ghat, and Jodu-bangsho. They lack the instant appeal to the human heart, though they might be good by other parameters. On the contrary, I would rate Antony Firingee, Thana Theke Aschii, Memsaheb, and Devdas as his outstanding (read popular) films apart from the others mentioned earlier.
Unfortunately, the last years of his life were marred by alcoholism, marital strife, stress, and declining health. His untimely demise left a significant void in the industry. One can only wistfully conclude that had he lived on, the Mahanayak would surely have continued to give us more scintillating films.
Picture from IMDb
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Uttam kumar’s impact on love and romance visualised in mostly run of the mill films pairing Suchitra Sen.But in later years we came across his matured intense acting style in character roles.Of course the genre difference is never rigid – Krishnendu in Saptopadi vis a vis Ganada in Jadubansh.With many a shortcomings ( complexion height no-baritone) Uttam made himself uttam padar chele.Simultaneously he redefined love chemistry for middle class timid youth with last scene hug with his ladylove.
By the way Ogo badhu Sundari was no adaptation of my fair lady but carricature.