Uttam Kumar - Wikipedia
Uttam Kumar was an Indian film actor, director, producer and singer who predominantly worked He could not complete his studies and started working at the Kolkata Port trust as a clerk. During . Such departures were unusual in relation to set formats of stardom in Indian popular cinematic cultures, where deviating from. A book about Uttam Kumar attempts to get at the man behind the with Suchitra Sen, his extramarital relationship with Supriya Chowdhury, his. Suchitra Sen and Uttam Kumar maintained that they were colleagues but their . Uttam and Suchitra's relationship was based on mutual trust, appreciation and.
It took us a month and 23 days. Our house on Lansdowne Road also got sold off. I debuted in in the film Basu Paribar. Uttam Kumar was the oldest son of the family and I the oldest daughter. Then I got married and quit films. After a gap, when I returned I never left. They went on to star in excess of a dozen films together. He used to urge me to read story books and was in search of a story that would allow him to work with artistes.
Uttam Kumar did not like getting on aeroplanes, she added as an aside. He worked tirelessly on the film as director and more so as he had cast himself in it as well.
In the end when it turned out to be four hours long, he was advised to prune it to acceptable standards. In Marutirtha Hinglajhe played a mentally disturbed character.
In Kuhak he was a murderous thief, while in Sesh Anka, he was a suave businessman who had murdered his wife and was romantically engaged to the daughter of a social elite and rich nobleman. In Aparichita he also played the role of a villain. Such departures were unusual in relation to set formats of stardom in Indian popular cinematic cultures, where deviating from established 'star images' were often considered to be risky.
However, this brought Uttam Kumar early recognition as a genuine actor of substance apart from a box office superstar and stood him in good stead later, especially in his collaborations with Satyajit Ray in Nayak and Chiriyakhana. A perfectionist, Uttam Kumar performed on stage for a full year, opposite Sabitri Chatterjee in Star Theatre in the play "Shyamali" [On screen, he played opposite Kaberi Bose]to hone up his skill as an actor.
He was also offered the role of Rajendra Kumar in the Raj Kapoor starrer film Sangam but for some reason he refused the role. It is now widely accepted that Ray wrote the script with Uttam in mind. Many people feel the film bears resemblance to Uttam Kumar's own life — the sense of anxiety and restlessness mirrored Uttam's insecurities about his phenomenal success and abiding fear that his superstardom might not last. Uttam made the role of Arindam Mukherjee his own and Ray later confessed that if Uttam had refused the film, he would have abandoned it.
He worked with Ray the following year in Chiriyakhana He explored new avenues of film-making by trying his hand at production, singing, composing music, screenplay writing and directing. The success of his Indian films as producer — Harano SurSaptapadiBhrantibilash, JotugrihaGrihadah — won greatest acclaim. On producing Chhoti Si Mulaqat inwhich was a Hindi film starring Uttam and VyjayanthimalaUttam almost used up all his savings, since the film had to be shot in colour and was shot in extravagant locations.
Both Uttam and Vaijantimala had huge hopes associated with the film, but the film was a flop leading to great disappointment for Uttam Kumar.
It was later said that this flop was one of the main reasons for triggering the heart attack which ultimately led to his death.
He came out with an authorised biography Aamar Ami in — He had a phenomenal fan base which continues even to this day. Parts of that book was published by the magazine Nabokallol. On the day Uttam died, the original manuscript was stolen. It was the year India became independent.
Her father-in-law was both a wealthy and respected lawyer.
Memories and the man
The snobbish Calcutta society was ready to defer to the daughter-in-law of Adinath Sen more readily than it was to, say, Kanan Devi, the star with humble origins who had dominated the Bengali silver screen just before Sen.
Especially as she, already the mother of a one-year old child, had entered films not only with the approval of her well-regarded father-in-law but at the behest and active participation of her marine engineer husband, Dibanath Sen. It was Dibanath who spoke to producers and studio heads for an opening for his wife, accompanied her to meetings with directors and screen tests.
He has even been seen, in the early days, lolling against his Morris Minor outside a studio while his wife was busy inside.
The life and times of a hero - The Hindu
And, when things turned sour, the marriage faltered, Suchitra neither divorced nor publicly disowned her wayward husband. He died in America inaway from his family.
The idea of films may have come naturally to Dibanath. Instead, she built on it and converted herself, through sheer will power and personality, into a figure that commanded both respect and awe within the industry and out.
They said she was moody and unpredictable; they said she was difficult; a tough nut; they said she was standoffish and unapproachable. Small price to pay, surely, for demanding and getting, as she did, a make-up room all to herself, the first time a female artiste was given one in Tollygunge, a make-up man solely for her, a separate title card in the credits for herself, her name ahead of Uttam Kumar in the Suchitra-Uttam starrers, encouraging a more professional atmosphere at studios by banning outsiders, including journalists, during her shoots—raising in the process the profile of all women in the industry.
The kind of woman she played, and the kind of woman she was may have been the kind of woman our parents wanted us to be but there may still have been a Suchitra Sen mystique to unravel even if she had continued to act in films like Bhagavan Srikrishna Chaitanya, the movie that first brought her to public notice.
That was when people first became mesmerised by her lovely, ethereal beauty, her flawless looks that held her audience captive in her heyday and continue to cast a spell even today, as seen by the popularity of the reruns of her films on television. Of course, this is beauty as it was understood in those innocent times when it was a face that drove droves of fans to the theatres, not a body.
Mrs Sen never set out to be nor was she ever promoted as a sex symbol of any kind. Gazing at her, enraptured, the Bengali mind would quiver, but gently. She would create no ruinous storm. It was all in her face, a face that the camera simply adored. This is what gives her her much-vaunted screen presence, her hypnotic qualities, her unparalleled success.