Nana Patekar: 7 underrated films of the veteran actor

Nana Patekar’s commanding presence on screen has been defined by the thoughtful interplay between the enormous weight of his voice and his piercing gaze. In Krantiveer, it takes shape of storming appeal where his dialogue delivery is rapturous and his eyes burn with fury. In contrast, he uses the same elements to underline the stone-cold rigidity of Sadhu Agashe in Ab Tak Chhappan. Nana could charm both by restraint and spectacle.

His filmography is long and diverse, riddled with complex characters that went beyond the easy tags of hero and villain. Looking beyond the cop, gangster and the revolutionary, Nana embodied some more nuanced roles that gave a glimpse into an actor, who was ready to do it all. Turning away from dramatic resolves, Nana made space for emotions with a minimalistic design in these lesser-known works.

As he leaves the world with his towering legacy, here is a look at 7 underrated films featuring the veteran actor:

1) Trishagni (1988)

Nana Patekar in a still from ‘Trishagni’
| Photo Credit:
Special Arrangement

Nabendu Ghosh’s deeply evocative film features Nana showcasing his impeccable ability to internalise the psychological dilemmas of his character. Playing a young Buddhist monk, Nana’s performance brings stillness in his movements, often emoting just with the steadiness of his gaze as the film explored a deeper moral decay that begins to take shape in his mind. Directed by Nabendu Ghosh, the film was based on a short story written by O Sangho written by Saradindu Bandopadhyay. It won the National Film Award for Best First Film of a Director in 1988.

2) Thodasa Roomani Ho Jayen (1990)

Nana Patekar in a still from ‘Thodasa Roomani Ho Jayen’
| Photo Credit:
Special Arrangement

In Amol Palekar’s Thodasa Roomani Ho Jayen, Nana substitutes his aggressive demeanor from Parinda to a contemplative awakening as he plays a poetic conman who promises the people of a small village to bring rain in exchange for some money. Loosely based on the Hollywood classic The Rainmaker, Thodasa Roomani Ho Jayen presents a version of Nana that is reflective, philosophical and easily charming.

3) Prahaar (1991)

Nana Patekar in a still from ‘Prahaar’
| Photo Credit:
Special Arrangement

The only film that Nana co-wrote and directed, Prahaar unfolds with an understated appeal. Nana plays the titular role of Major Chavan, a strict army officer known for his relentless approach while leading the commando training of young cadets. Carrying his angry-man aura, Nana sheds light on the fractures lying in the country’s administrative system which gives rise to vigilante justice. A rare movie in Nana’s filmography, Prahaar puts focus on his directorial instincts, as he infuses a certain restraint and nuance to proceedings.

4) Diksha (1991)

Nana Patekar in a still from ‘Diksha’
| Photo Credit:
Special Arrangement

An adaptation of U.R. Ananthamurthy’s novel Ghatashraddha, Diksha featured Nana playing Koga, a person belonging to an oppressed caste in a traditional village in 1930’s Karnataka. With a reverential bend in his body language, Nana infused an austere vulnerability in the character, stepping away from sentimentality to aim for a portrayal steeped in realism. The film went on to win the National Film Award for Best Feature Film in Hindi in 1991.

5) Disha (1992)

In ace filmmaker Sai Paranjpye’s aching social-drama, Nana’s understated skills were on display again as he essayed the role of a newly wed farm labourer from a drought-stricken village, who moves to Bombay in search of employment. Coupled with Sai’s layered handling of the subject, Nana conveys the emotional turmoil of the character through his silences, with the weight of his pain reflecting starkly on his face. Also starring parallel cinema veterans Shabana Azmi and Om Puri, Disha powerfully documented the struggles of immigrant workers in Mumbai of the past.

6) Abhay (1994)

Nana Patekar in a still from ‘Abhay’
| Photo Credit:
Special Arrangement

Playing a menacing ghost in Annu Kapoor’s adaptation of Oscar Wilde’s short story The Canterville Ghost, Abhay marked a drastic tonal shift in Nana’s filmography. Dressed as the devil with rounded moustache and a long tilak on the forehead, there was a touch of fantasy to his character, Rana, which was different from the middle-class ethos that he brought to his films that came before. Yet, Nana balanced the dramatic overtones of Rana with a sensitive emotional core as the ghost transforms himself into a redeeming figure through the film, deemed the Best Children’s Film at the 42nd National Film Awards

7) Hu Tu Tu (1999)

Nana Patekar in a still from ‘Hu Tu Tu’
| Photo Credit:
Special Arrangement

The last film that Gulzar directed before turning completely to song writing featured Nana Patekar playing a rebel poet in a fiercely political and unsettling film. As Bhau, Nana becomes the sutradhar of the story, guiding the audience in the manner of a traditional street play. Even though it lends the film a didactic touch, Nana’s assured portrayal of the radical poet becomes the highlight along with the strong presence of Tabu.