PTI
Panaji
Unconventional, complex, intense, diverse. Many adjectives. One man. Nana Patekar. The adjectives as much as descriptive for the persona as for the actor whose intensity burnt through the screen as he traversed genres in films such as ‘Krantiveer’, ‘Parinda’ and ‘Welcome’, touching the edges of stardom but never quite becoming the star, content perhaps with the astonishing versatility of the roles offered to him.
Patekar, who earned the reputation of being temperamental and no-nonsense in an industry where diplomacy was a required skill, died on Thursday in his Goa home. He was 75.
“We all have to go someday. I don’t know whether I will be here tomorrow. That time comes in the life of everyone. But before that time comes (we have to think) – am I able to do what I want to do?” Patekar said just four days ago in Dona Paula, the picturesque seaside town he had made his home, far from the glittering lights of tinsel town. The words were prophetic and reflective.
It had been a chequered life for the actor – accused of sexual harassment by actor Tanushree Dutta, the controversy launching India’s MeToo movement in 2018 – who became breadwinner for his family when he was barely in his teens after his father’s business failed.
Movies changed the trajectory of life for Patekar, who discovered the stage while still in school. He broke out in theatre with Vijaya Mehta’s ‘Hamidabai Chi Kothi’ that led to more acclaimed performances on stage. In interviews, Patekar often credited Smita Patil for convincing him to try movies. Patekar said he hesitated because he felt his dark complexion would lead to rejection.
The big screen debut came in 1978 with Muzaffar Ali’s ‘Gaman’, which had Patil and Farookh Sheikh in lead roles. It led to movies such as ‘Sinhaasan’, ‘Giddh’, ‘Aaj Ki Awaz’, ‘Ankush’ and ‘Pratighaat’. Ten years later came Mira Nair’s 1988 film ‘Salaam Bombay’.
which saw him playing a local thug and drug dealer.
The role in the Oscar-nominated film brought him instant notice and propelled him into the big league of critically acclaimed actors.
In 1990, Vidhu Vinod Chopra cast him as Anna, the central villain in his acclaimed ‘Parinda’. The role, still remembered for its quiet menace, won him his first of three National Awards.
He won his second National Film Award, this time as lead actor, for his role in 1994 hit ‘Krantiveer’ as the wayward son of a freedom fighter who transforms and fights for the rights of the poor. His third National award was for the 1996 film ‘Agni Sakshi’, where he played an abusive husband and stalker.
The roles were as varied as possible, be it Prakash Jha’s ‘Apaharan’ and ‘Rajneeti’, Marathi film ‘Natsamrat’, the comedic ‘Welcome’ and ‘Welcome Back’, Tamil hit ‘Kaala’, Sanjay Leela Bhansali’s debut ‘Khamoshi: The Musical’, Gulzar’s ‘Hu Tu Tu’ or Ram Gopal Varma’s ‘Bhoot’.
Not content with just acting, Patekar took a break at the peak of his career to direct ‘Prahaar: The Final Attack’, where he played a Maratha Light Infantry officer. The actor trained for two years to play the role.
Patekar used his training to eventually serve during the Kargil conflict in 1999. He sought permission to join soldiers in the war zone from then defence minister George Fernandes. He was allowed after he made his case and became part of a Quick Reaction Team in the Army.
