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There have been many stars in the history of Bengali cinema over the years, but there was, is, and will ever be only one Mahanayak Uttam Kumar. These are the lines that both my parents told me when we came out of Nandan after watching Uttam Kumar's re-released film Nayak in February this year.
For many generations of Bengalis, Uttam Kumar embodied the ideal Bengali male. Women wanted an Uttam Kumar in their lives, and the men wanted to be Uttam Kumar.
In Dinen Gupta’s Basanta Bilap, Chinmoy Roy asks his on-screen girlfriend to call him Uttam Kumar, and when she does, he lets out a deep sigh. Only if wish-fulfilment could be that easy.
The characters that the Mahanayak played offered a window into tender, masculine, emotionally intelligent, and vulnerable characters that are still rare in Indian Cinema. This persona resonated with audiences.
Such was the appeal of Uttam Kumar and his on-screen partner Suchitra Sen that when Bibhuti Laha, the maker of many a Uttam-Suchitra hits, announced his new film Lalu-Bhulu, someone asked Laha, “Is Uttam playing Lalu and Suchitra Bhulu?”
Even in his negative roles, Uttam Kumar seemed to be committing sins the Bengali urban professional middle class was guilty of and hence served as a way of purging our souls. Uttam Kumar emerged as Bengal’s conscience creator.
Uttam Kumar's roles were not just romantic — they were also political. They resisted the aggressive posturing of dominant masculinity, offering instead a vision of tenderness, self-doubt, and sensitivity. His characters often made space for the women around them to speak, decide, and leave — should they want to.
In many ways, his on-screen portrayals of empathetic, tender men were the precursor to today's male characters written by women writer-filmmakers. He did not play the angry young man lashing out against the world, or the hypermasculine hero beating up baddies like swatting flies. He was gentle, therefore, believable.
Today, in conversations about toxic masculinity and what it means to be a man on screen, the term "soft masculinity" is often used as a corrective alternative. But Uttam Kumar didn't just perform soft masculinity in his films; he embodied it.
Nayak: The Hero (1966)
Satyajit Ray’s film Nayak: The Hero was released in 1966, but to this day, it holds a great significance and mimics the hard-hitting, truthful elements of society back to us, especially pertaining to the film industry. The story revolves around Arindam Mukherjee played by Uttam Kumar, an idol at its peak of success revealing insecurities, mistakes and regrets.
Almost all the scenes feel completely natural yet are written with immaculate details. There are questions put forward to us as audiences by the director — who is truly happy? Which of those passengers on board are truly happy and content with their lives? Are people really satisfied with what they get in life? With this thought bearing in the mind, it would probably make us wonder if we have been looking for happiness in the wrong places all this while.
Saptapadi (1961)
In Saptapadi (1961), he played the devil-may-care Krishnendu, a Hindu medical student, who falls in love with his Anglo-Indian classmate Rina Brown (played by Suchitra Sen), and converts to Christianity, leading to tragic consequences. Krishnendu is a joy to watch. He is intelligent, practical, and easygoing, but he is also running away from the pressure and responsibilities his family imposes on him.
The film’s theme rings too familiar a bell in today’s time, with a significant rise in threats to couples marrying outside their faith. It is a reminder of what could happen when religious beliefs are allowed to overrule feelings of love — it can lead to disaster and despair. And while many such stories have happy endings, reality is often far from being so kind.
The iconic duet Ei Poth Jodi Na Shesh Hoy from Saptapadi, with Uttam Kumar and Suchitra Sen riding a bike and dreaming of an endless journey, continues to define romantic imagination in Bengal even today.
Grihadaha (1967)
In Grihadaha (1967), Uttam and Suchitra’s on-screen love is portrayed as mutual recognition, not conquest. In a cultural landscape where female desire was often muted or sensationalised, Uttam Kumar legitimised it simply by taking it seriously. The core narrative of a complex love triangle and the societal challenges faced by the characters remain relevant, as complex relationships and emotional struggles are universal and continue to be a part of human experience.
Deya Neya (1963)
Deya Neya (1963), a comedy directed by Sunil Bandopadhyay, stars Uttam Kumar and Tanuja in lead roles. The story begins in Lucknow, where Proshanto Roy (Uttam Kumar) lives with his parents — his very successful and wealthy industrialist father BK Roy (Kamal Mitra) and doting mother (Chhaya Devi). The son of a wealthy industrialist aspires to be a singer against the wishes of his father. However, when he leaves for Kolkata to fulfil his dreams, he falls in love with Sucharita (Tanuja).
The central conflict between the artistic son (Prasanta) and his practical, business-oriented father is a timeless struggle. The pressure from families to follow a stable, lucrative career path, even when a child's heart lies elsewhere, is a common experience for young people today. Prasanta's fight to validate a career in the arts echoes the challenges faced by many aspiring artists and musicians.
The desire for independence, to prove one's self-worth, and to forge a unique identity separate from parental expectations is a universal coming-of-age theme.
The courtship between Uttam Kumar and Tanuja has a gentle, old-world charm that is very different from the fast-paced, digital-centric relationships of today. For a modern audience, this can be a refreshing and nostalgic glimpse into a different era of romance.
Amanush (1974)
Amanush (1974), based on Shaktipada Rajguru's story Naya Basat, stars Uttam Kumar in the titular role, alongside Sharmila Tagore, Utpal Dutt and Anil Chatterjee. The film follows Madhu, who degenerates into a penniless drunkard from a scion of a landlord family, after getting implicated in a false murder case by a vindictive man.
The film shows how the law is manipulated by the wealthy and influential, while the poor and innocent are punished. The film's depiction of Madhu raising his voice for the downtrodden reflects a continuing struggle against social and economic injustice.
