Suchitra Sen and Gulzar worked together in the 1975 film Aandhi.
New Delhi:
Did you know that Suchitra Sen andGulzar addressed each other as 'Sir'?
In an interesting anecdote in her book "Uttam Kumar AndSuchitra Sen: Bengali Cinemas First Couple", author MaitreyeeB Chowdhury says that Suchitra used to be addressed as 'Sir'by Gulzar, not much out of respect as out of humour.
"While working on Aandhi (1975), Gulzar resorted tocalling her 'Sir', in retaliation to her persistently callinghim so, despite being friends. Such was Suchitra's persona,"she writes.
The book also says that M F Husain drew a sketch ofSuchitra based on her pictures and named it 'Mystique'.
According to Chowdhury, Aandhi gave Suchitra the kind ofadulation and respect that she had always desired as an actor.
"Gulzar says that he was aware of Suchitra's strongpersona and he conceived the role especially for her. Suchitrawanted to dub for Aandhi in her own voice - a wish to proveher Hindi diction. Though her Hindi diction in the film hadscope for much improvement, Aandhi finally establishedSuchitra as a successful actor in Hindi cinema," the book,published by Om Books International, says.
"Uttam Kumar and Suchitra Sen: Bengali Cinema's FirstCouple" is a tribute to this unparalleled star-duo of Bengalicinema. The pair ushered in what came to be known as thegolden era of Bengali cinema.
Of the 60 films Suchitra worked in, 30 were with Uttam.The duo gave a string of hits such as Sagarika (1956),Harano Sur (1957), Indrani (1958), Agnipariksha (1954),Saptapadi and Grihadaha (1967), all part of Bengalicinematic history today.
The writer says that platonic or spiritual, their mutualadmiration was palpable and infectious. Both shared much morethan their films and would even look to each other for solacein times both good and bad.
"The two had tremendous respect for each other, too.Uttam's and Suchitra's relationship was based on mutual trust,appreciation and admiration for each other's work andpersonality... They maintained a dignified presence in public.Interestingly, whenever Suchitra was asked to define herrelationship with Uttam, she was brief with her words.
"She would usually dismiss it as 'just friends'. Uttamadmitted to having not only a soft corner for Suchitra, butalso that he was in awe of her as a co-actor, as well as aperson. 'Yes I loved her, but this love is of a different kindand genre,'" she writes.
Uttam and Suchitra, who worked in the Bengali filmindustry for almost three decades, also tested the waters inHindi cinema. Whether it was destiny or wrong timing, both thestars, though hugely popular in Bengal, were only marginallysuccessful in Hindi films.
Uttam was the dream hero, the everyday man and aflamboyant star, rolled into one. He began his career in filmsin 1947, incidentally with the role of an extra in a Hindifilm named Mayador. He was at this point struggling to get atoehold in films after being successful in Bengali theatre.
Contrary to his expectations of a great beginning,Mayador was never released. Taking it as a warning about hisfuture in Hindi films, he returned home to try his luck inBengali cinema, where he achieved phenomenal success afterinitial hiccups.
Uttam did not work in Hindi films until much later, whenhe was a matinee idol in Bengali cinema. He took classes inspoken Hindi and Urdu to polish his diction, However, when herealised that his intrinsic Bengali mannerisms and styleappealed more to a Bengali than a Hindi audience, he decidedto concentrate on Bengali films.
The book says that the popular film Anand is said tohave been inspired by the friendship between Raj Kapoor andHrishikesh Mukherjee. Uttam and Shashi Kapoor were theoriginal choices, though finally Rajesh Khanna and AmitabhBachchan were cast in the lead roles.
Suchitra made her debut with Sesh Kothay (1952). Sincethis film was never released, her first release was SaatNumber Kayedi (1953).
When Suchitra made her debut in Hindi films in 1953 asParo in Devdas, she was already an established actor inBengal. She agreed to do the role (initially offered to MeenaKumari) for two reasons - the opportunity to work with BimalRoy and the chance to play a character from Sarat Chandra'sfamous novel, something she had always desired, the book says.
Apart from Devdas and Aandhi (1972), she acted in fivemore Hindi films - Musafir (1957), Champakali (1957),Bambai ka Babu (1096), Sarhad (1960) and Mamta (1966).
In an interesting anecdote in her book "Uttam Kumar AndSuchitra Sen: Bengali Cinemas First Couple", author MaitreyeeB Chowdhury says that Suchitra used to be addressed as 'Sir'by Gulzar, not much out of respect as out of humour.
"While working on Aandhi (1975), Gulzar resorted tocalling her 'Sir', in retaliation to her persistently callinghim so, despite being friends. Such was Suchitra's persona,"she writes.
The book also says that M F Husain drew a sketch ofSuchitra based on her pictures and named it 'Mystique'.
According to Chowdhury, Aandhi gave Suchitra the kind ofadulation and respect that she had always desired as an actor.
"Gulzar says that he was aware of Suchitra's strongpersona and he conceived the role especially for her. Suchitrawanted to dub for Aandhi in her own voice - a wish to proveher Hindi diction. Though her Hindi diction in the film hadscope for much improvement, Aandhi finally establishedSuchitra as a successful actor in Hindi cinema," the book,published by Om Books International, says.
"Uttam Kumar and Suchitra Sen: Bengali Cinema's FirstCouple" is a tribute to this unparalleled star-duo of Bengalicinema. The pair ushered in what came to be known as thegolden era of Bengali cinema.
Of the 60 films Suchitra worked in, 30 were with Uttam.The duo gave a string of hits such as Sagarika (1956),Harano Sur (1957), Indrani (1958), Agnipariksha (1954),Saptapadi and Grihadaha (1967), all part of Bengalicinematic history today.
The writer says that platonic or spiritual, their mutualadmiration was palpable and infectious. Both shared much morethan their films and would even look to each other for solacein times both good and bad.
"The two had tremendous respect for each other, too.Uttam's and Suchitra's relationship was based on mutual trust,appreciation and admiration for each other's work andpersonality... They maintained a dignified presence in public.Interestingly, whenever Suchitra was asked to define herrelationship with Uttam, she was brief with her words.
"She would usually dismiss it as 'just friends'. Uttamadmitted to having not only a soft corner for Suchitra, butalso that he was in awe of her as a co-actor, as well as aperson. 'Yes I loved her, but this love is of a different kindand genre,'" she writes.
Uttam and Suchitra, who worked in the Bengali filmindustry for almost three decades, also tested the waters inHindi cinema. Whether it was destiny or wrong timing, both thestars, though hugely popular in Bengal, were only marginallysuccessful in Hindi films.
Uttam was the dream hero, the everyday man and aflamboyant star, rolled into one. He began his career in filmsin 1947, incidentally with the role of an extra in a Hindifilm named Mayador. He was at this point struggling to get atoehold in films after being successful in Bengali theatre.
Contrary to his expectations of a great beginning,Mayador was never released. Taking it as a warning about hisfuture in Hindi films, he returned home to try his luck inBengali cinema, where he achieved phenomenal success afterinitial hiccups.
Uttam did not work in Hindi films until much later, whenhe was a matinee idol in Bengali cinema. He took classes inspoken Hindi and Urdu to polish his diction, However, when herealised that his intrinsic Bengali mannerisms and styleappealed more to a Bengali than a Hindi audience, he decidedto concentrate on Bengali films.
The book says that the popular film Anand is said tohave been inspired by the friendship between Raj Kapoor andHrishikesh Mukherjee. Uttam and Shashi Kapoor were theoriginal choices, though finally Rajesh Khanna and AmitabhBachchan were cast in the lead roles.
Suchitra made her debut with Sesh Kothay (1952). Sincethis film was never released, her first release was SaatNumber Kayedi (1953).
When Suchitra made her debut in Hindi films in 1953 asParo in Devdas, she was already an established actor inBengal. She agreed to do the role (initially offered to MeenaKumari) for two reasons - the opportunity to work with BimalRoy and the chance to play a character from Sarat Chandra'sfamous novel, something she had always desired, the book says.
Apart from Devdas and Aandhi (1972), she acted in fivemore Hindi films - Musafir (1957), Champakali (1957),Bambai ka Babu (1096), Sarhad (1960) and Mamta (1966).
