Utpal Dutt (1925-64)
Prolific Bengali and Hindi actor born in Shillong, Assam; also director and a major Marxist theatre personality in Bengal. After 1977 associated with the CPI(M). Started career in the 40s with Geoffrey Kendall’s theatre group performing Shakespeare, later directing Shakespeare for the Little Theatre Group. Formed his own group in 1949, then joined the Bengal unit of IPTA (1950-1) doing agitational plays staged on street corners and occasionally during political rallies to massive audiences, such as Chargesheet (1950), written overnight following the arrest of CP members and performed next day at Hazra Park. The Special Train was performed on behalf of striking workers of the Hindustan Automobile Factory, Uttarpara (1961). Also did theatrical spectaculars: Angar (1959), Kallol (1965; a play about the Royal Indian Navy mutiny of 1946, sparking off political rallies), Din Badaler Pala (1967, written for the CPI(M)’s electoral campaign) and Tiner Talwar (1970). Barricade (1972) and Dushwapner Nagari (1975) were staged in the context of the Emergency. Also made major interventions in the Jatra form (e.g. Rifle, Sanyasir Tarabari). Claims influence of Erwin Piscator to ‘create proletarian myths of revolution’ (cf. Dutt, 1984). His work, comprising mostly historical reconstructions, was criticised by the Left for its determinism and the recourse to the ‘ great man’ theory of history. Prolific film actor with a spectacular début as Michael Madhusudhan, a legendary 19th C. Bengali poet, repeating the role several times on the stage. After [[Mrinal Sen]]’s Bhuvan Shome, shifted to Hindi films, often playing retired soldiers or bluff comedian fathers (Guddi) in melodramas. Also important comedy roles in Bengali, e.g. Mohan Baganer Meye, Shriman Prithviraj et al. Claimed to act in films mainly to finance his theatrical work. Played key roles in recent Satyajit Ray films, e.g. the king in Hirak Rajar Deshe and the stranger in Agantuk. Directorial work extends his theatrical work. Autobiography, including his views on theatre, published in 1982. Stridently populist essays on film, often targeting the New Indian Cinema were published after his death as Towards A Heroic Cinema (1994).
FILMOGRAPHY (* also d): 1950: Michael Madhusudhan; Vidyasagar; Jaan Pehchan; 1952: Siraj-ud-Dowla; 1953: Maharaj Nandakumar; 1954: Vikram Urvashi; Chitrangada; 1955: Rani Rashmoni; 1956: Kirti Garh; Shubha Lagna; Mahakavi Girishchandra; 1958: Jogajog; Rajdhani Theke; 1960: Uttar Megh; Kuhak; 1961: Megh*; Pankatilak; Dilli Theke Kolkata; Saptapadi; 1962: Kancher Swarga; Abasheshe; Sakshi; 1963: Shesh-Anka; Maniram Dewan; Surya Sikha; 1964: Momer Alo; 1965: Ghoom Bhangar Gaan*; Shakespeare Wallah; 1966:Sankha Bela; 1967: Mahashweta; 1968: Chowringhee; 1969: Aparichita; Bibaha Bibhrat; Bhuvan Shome; Saat Hindustani; The Guru; 1970: Bombay Talkie; Kalankita Nayak; Interview; Heer Ranjha; 1971: Fariyad; Khunje Berai; Kuheli; Ek Adhuri Kahani; Guddi; 1972: Calcutta ’71; Shesh Parba; Mere Jeevan Saathi; Sabse Bada Sukh; Marjina Abdallah; Shriman Prithviraj; Parivartan; 1973: Mr Romeo; Agni Bhramar; Honeymoon; Shravan Sandhya; Rodon Bhora Basanta; Shesh Pristhay Dekhun; 1974: Amanush; Asati; Charitraheen; Bisarjan; Bikele Bhorer Phool; Chorus; Phuleshwari; Sadhu Judhishthirer Karcha; My Friend; Thagini; Alor Thikana; Sedin Du-janay; Jukti Takko Aar Gappo; Chhutir Phande; Swikarokti; 1975: Palanka; Sansar Simantey; Swayamsiddha; Salaam Memsaab; Nishi Mrigaya; Julie; Anari; Aparajito; Sei Chokh; Ek Hans Ka Joda; Jana Aranya; Mohan Baganer Meye; 1976: Ananda Mela; Dampati; Sandhya Surya; Datta; Kitne Paas Kitne Door; Raees; Yugo Manab Kabir; Nidhi Ram Sardar; Do Anjaane; Shaque; Santan; Asadharan; Pratisruti; Jatayu; 1977: Anand Ashram; Anurodh; Farishta Ya Qatil; Ek Hi Raasta; Babu Moshai; Mantramugdha; Sister; Swati; Imaan Dharam; Kissa Kursi Ka; Kotwal Saab; Priyatama; Lal Kothi; Safed Hathi; Swami; Yahi Hai Zindagi; Sanai; 1978: Moyna; Tilottama; Dhanraj Tamang; Bandi; Atithi; Toote Khilone; Striker; Joi Baba Felunath; Chakravyuha; Niskriti; 1979: Jhor*; Nauka Dubi; Golmaal; Kartavya; Prem Vivah; The Great Gambler; Bayan; Naya Bakra; 1980: Bandhan; Gharer Baire Ghar; Hirak Rajar Deshe; Paka Dekha; Pankhiraj; Shesh Bichar; Agreement; Apne Paraye; Khwab; Nishana; Ram Balram; Asha; 1981: Baisakhi Megh*; Kalankini; Subarna Golak; Saheb; Barsaat Ki Ek Raat/Anusandhan?; Naram Garam; Shaukeen; Meghmukti; Angoor; Raaste Pyar Ke; Chaalchitra; Agni Pareeksha; 1982: Raj Bodhu; Matir Swarga; Hamari Bahu Alka; Pratiksha; Prateeksha; 1983: Rang Birangi; Maa*; Achha Bura; Kisise Na Kehna; Pasand Apni Apni; Shubh Kaamna; Agami Kal; Indira; Jay Parajay; Duti Pata; Srinkhal; Prayashchitta; 1984: Ahuti; Harishchandra Shaibya; Madhuban; Pujarini; Rashifal; Inquilab; John Jani Janardan; Lakhon Ki Baat; Paar; Bandh Honth; Yeh Desh; Love Marriage; Inquilab Ke Baad*; Shapath; Ulta Seedha; 1985: Aar Paar/Anyay? Abichar; Bhalobasha Bhalobasha; Pratigya; Putulghar; Tagori; Bandhan Anjana; Saheb; 1986: Uttar Lipi; Jiban; Pathbhola; Aap Ke Saath; Baat Ban Jaye; Kirayedaar; Main Balwan; Sada Suhagan; Lal Mahal; 1987: Aaj Ka Robin Hood; Pyar Ke Kabil; Sukumar Ray (Sh); Samrat-o-Sundari; Pratikar; Jar Je Priyo; 1988: Prati Paksha; Agun; Agaman; Mahaveera; Sagar Sangam; Pratik; Parasmoni; Jyoti; 1989: Asha-o-Bhalobasha; Biday; Gili Gili Ge; Bahurani; Judge Saheb; Aakrosh; Angar; Kari Diye Kinlam; Libaas; Shubha Kamana; Ladaai (B); Mahajan; Garmil; 1990: Mera Pati Sirf Mera Hai; Raktorin; Agnikanya; Triyatri; Jawani Zindabad; Qaidi; Nyayadanda; 1991: Agantuk; Ahankar; Path-o-Prasad; Maan Maryada; Pati Param Guru; Sajani Go Sajani; Nawab; 1992: Padma Nadir Majhi; Manikanchan; Pennam Calcutta; Mayabini; 1993: Bhranta Pathik; Mishti Madhur; 1994: Ajana Path; 1995: Kecho Khurte Keute; Pratidhani; Abirbhab.