'Uttam wanted to meet Suchitra Sen a week before his death' | Hindi Movie News - Times of India
Here's why Suchitra Sen's pairing with Uttam Kumar mystified, charmed Aamar Bondhu Suchitra Sen, she describes her relationship with the. As a Bengali kid growing up in Delhi, I didn't have access to all the Suchitra Sen films. It was only through Doordarshan that I could see her. A week before Uttam Kumar died on July 24, , he had wanted to meet Suchitra Sen."He called her after watching 'Alo Aamaar Alo' on TV.
During this period, he acted in amateur theatre groups. His prodigious joint family had its own theatre group, the Suhrid Samaj, which staged many amateur shows.
Uttam Kumar - Wikipedia
The youngest, whose screen name was Tarun Kumaracted in several Bengali films and grew to become an actor of considerable repute, in screen and on stage. Uttam Kumar married Gauri Debi in They divorced in Their only son, Gautam died at the age of 53 due to cancer. His grandson Gaurav Chatterjee  is also an actor. Uttam Kumar married actress Supriya Devi in and they lived together till following Kumar's death. No one carries Indian culture in a Kurta and Dhoti as well as he does.
Then he acted in about four to five films, all of which were flops. In those films he constantly varied his name: He was dubbed as the 'Flop Master General'. When he entered the studio, people would laugh at him and comment "Here comes the new Durgadas He considered leaving the world of cinema and start working at Calcutta Ports.
But his wife, Gouri Chatterjee told him that it would be better if he did not to do a job his heart was not in. He later got the contact at M. P Studios for three years. P studios produced the film "Basu Paribar" in which he came into prominence, but his breakthrough film was Agni Pariksha in that began the success of the all-time romantic pair of Uttam Kumar — Suchitra Sen, though they had first paired in Sharey Chuattor The film ran for 65 weeks and established Uttam in the industry.
On the background of the mass migration from the then East Pakistan to Calcutta, the Uttam-Suchitra pair gave expression to the yearnings of a new, transformed city. In contrast to the earlier phase of Bengali cinema mostly dominated by the dramatised style of the New Theaters' films in the sthe Uttam-Suchitra films were marked by a more naturalistic acting style, a bit dramatic-stylized, soft-focus black-and-white cinematography with chiaroscuro effects, and a more popular and modern form of music that broke away more decisively from earlier dependence on classical types.
Uttam Kumar was especially adored for his effortless naturalism in front of the camera and a distinctively urbane charisma that broke free from the prototypical Bengali screen hero of the past. He acted in Nayak by Satyajit Ray in which the master-director scripts the rise of a young actor with an ordinary background to a star sought after by one and all. In fact, this film may be considered as a tribute to Uttam Kumar. This near-total reign was somewhat slightly disturbed during the politically turbulent era of the late sixties up to the Emergency, when Uttam Kumar's regular, politically passive or relatively conservative romantic film persona sometimes found it difficult to fit into the narratives of unrest that came to the fore.
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. It was one of the most telling points of the relationship.
Another reason why the pairing worked was the respect and admiration the two shared for each other's craft. At her peak, Sen commanded a price of Rs1 lakh per film. This was more than what several of her male co-stars, even Uttam Kumar commanded.
Yet, there never emerged any stories of Uttam Kumar complaining or throwing a fit about the position. Uttam Kumar This respect is most obvious in Saptapadi Playing star crossed lovers, the two actually recreated a scene from Shakespeare's Othello for the film. It is a remarkable example of their innate chemistry.
A mercurial personality, Sen was quite different before her reclusiveness kicked in.
Her daughter Moon Moon Sen recalls in the same biography that she would often head for a night out clad in a gown and feathers, a la Garbo on Hollywood Boulevard. At the celebration party of Saat Pake BandhaSen ripped apart co-star, Soumitra Chatterjee's shirt to prove that she actually had the strength to carry out that scene in the film.
At times childlike, at times a diva, she was a sphinx to her peers. Yet, it had a certain allure. For Dilip Kumar who was 'charmed by her intellect' during Devdas to Sanjeev Kumar, who remained a close friend post AandhiSen was the archetypal heroine.
No one exemplifies this feeling than Uttam Kumar. During the film Saptapadi, writer Nitai Bhattacharya had scripted an ending that required the demise of Sen's character, Rina Brown.
However, Uttam Kumar would have none of it. He managed to convince the writer, at the expense of Rs2, of his own money to change the ending into a more ambiguous one. Despite the rise of her stature, Sen never really embraced Hindi cinema. Many attribute the pairing of Uttam-Suchitra as a cause for this.
For Raj Kapoor though, she held no love. I look for intelligence and sharp conversations.