Nana Patekar (Viswanath Patekar) (born 1951), Hindi–Marathi actor, performed menial jobs while acting in amateur theatre with the Avishkar group, in Vijay Tendulkar’s and others’ plays. He brought a new performance idiom into mainstream Hindi cinema with his tautly controlled body and bravura, staccato dialogue delivery, deploying this performance style in very different ways. While Patekar has increasingly come to be associated with a regional and national right-wing politics, the actor’s screen persona is not so straightforward. Films such as Ankush (1986), Prahaar (1991) and Krantiveer (1994) appear to confirm this political characterization, but his roles in Salaam Bombay (1988) and Disha (1990) are of the mould of social realism. Others, such as in Parinda (1989), Thodasa Rumani Ho Jaye (1990), Raju Ban Gaya Gentleman (1992) and Ghulam-e-Mustafa (1998), suggest a tapestry of types: the psychotic gangster, an emissary of the monsoon and romance, a sutradhar retailing social critique, a Muslim gangster.
Author: House of World Cultures
This artist took part in the following project(s) organized/funded by the culturebase.net partner institutions.
New Perspectives from India
(19 September 03 - 16 November 03)