The word superstar has a Western origin, dating back to its use for cinema icons in the 1950s and 60s. In India, the term was first used in the mainstream media for Rajesh Khanna in the early 70s, during his manic five-year reign. But before that, a variant of the term had already been used for a screen legend, albeit only in part of the country. This is the story of the country’s original superstar, or as the fans called him, Mahanayak.
This was the last film released during his lifetime. He was in his 50s by now, and his films had begun to fail at the box office. He earned acclaim for films like Kitaab and Anand Ashram, but the box-office returns were mixed. The next day, he succumbed to a heart attack.
After 1976, despite frequent successes, Uttam Kumar’s star began to wane. In 1980, Dui Prithibi was released, and became successful and critically acclaimed after a long time. The Mahanayak fell ill on the sets of Ogo Badhu Sundori on July 23, 1980. He was 53.
On September 3, the man revered as the Mahanayak (Great actor) celebrated his birth centenary. Born Arun Kumar Chattopadhyay in Calcutta, Uttam Kumar’s film journey began in 1947 as an extra in the Hindi film Maya Dore. His first acting role in a film was the younger version of the central character, played by Asit Baran, in Drishtidan (1948). He was credited as Arup Kumar or Uttam Chatterjee in his first few films and only took on the moniker Uttam Kumar for the 1951 film Sahajatri. In 1964, he famously turned down Raj Kapoor for Sangam. In 1968, Uttam Kumar made his Bollywood debut opposite Vyjayanthimala in Chhoti Si Mulaqat. In 1956, a young Satyajit Ray had offered him Ghare Baire.
Uttam Kumar , arguably the biggest and most loved actor ever to emerge from Bengali cinema, was born a hundred years ago this week. The following year, he had his breakthrough with Basu Paribar, in which he worked opposite Supriya Devi, one of his later frequent co-stars, for the first time. Bengali cinema was a force in its own right in the 1950s and 60s, but many stars in the industry often used it as a stepping stone to Hindi films , which had a wider audience appeal. But Uttam Kumar seldom did that. Throughout the 60s, at the peak of his career, Uttam Kumar turned down several Hindi films, including notable big-budget ventures like Bees Saal Baad. The role eventually went to Rajendra Kumar. He himself produced the film. Over the next few years, he appeared in a handful of Hindi films, notably Amanush. But his heart was always in Calcutta, where he reigned supreme in Bengali films. But even there, the Mahanayak was selective. But the star politely turned him down, saying a negative role wouldn’t suit an established star. The two would eventually collaborate a decade later with the seminal hit, Nayak.
