Prosenjit Chatterjee Shines in Two New Roles: A Deep Dive into His Iconic Performances

Prosenjit Chatterjee's Dual Triumphs

Prosenjit Chatterjee delivers two remarkable performances in quick succession. In Atanu Ghosh’s Bengali film Shesh Pata, he portrays a rebellious writer, while in the Hindi series Jubilee on Prime Video, he takes on the role of a shrewd film studio executive.

Chatterjee's acting across his extensive filmography, which exceeds 300 titles, appears seamless. However, he emphasizes that his craft has been honed through deliberate effort over the years.

“Following Amar Sangi, I was typecast as a romantic lead for nearly eight years,” the 60-year-old actor shared. “I was often seen as Biswajeet Chatterjee’s son, a charming boy known for his dancing. My transition to action began with Asha O Bhalobasha, where I fought a leopard. This shift led to a perception of Prosenjit as an action star. Attending high-profile events, I was discussed in a particular light. Collaborating with Ritu [Ghosh] challenged me to gain recognition at film festivals, and I worked with directors like Goutam Ghose and Buddhadeb Dasgupta. Suddenly, I became known as Prosenjit babu.”

In a recent interview, Chatterjee reflected on his 15 most memorable roles, spanning from his early works to his latest projects, Jubilee and Shesh Pata.

Balmiki Sengupta, Shesh Pata (2023), directed by Atanu Ghosh
A novelist retreats into solitude following his wife's passing.

“This film holds significant importance for me as an actor. Atanu consistently presents me with intriguing roles. His narratives often eschew conventional storytelling, instead exploring life's moments and human psychology. For instance, Mayurakshi depicted a father-son relationship over three days, while Robibar focused on a couple's unexpected reunion on a Sunday.

Balmiki is a bestselling author who isolates himself after a personal tragedy. He is both unpredictable and uncompromising, embodying a character that some might label eccentric. He is a recluse yet possesses an extroverted side.

“I invest considerable time in understanding my characters. Preparation is key. Balmiki is unlike anyone I know. Portraying an author requires attention to language and pronunciation, which varies from role to role. For example, in Mayurakshi, I adopted a different speech pattern as an NRI.

Initially, I hesitated to take on the role of Balmiki, fearing his unpredictable nature and frequent mood swings. Atanu reassured me, advising me to relax.

In today's world, creative individuals face constant scrutiny, often leading to compromises. Balmiki, however, stands firm against such compromises. Many successful figures make concessions, or they risk becoming like Balmiki. I haven’t enjoyed every one of my 300-plus films; some were purely for financial gain.”

Shesh Pata is currently screening in theaters.

Srikant Roy, Jubilee (2023), directed by Vikramaditya Motwane
A flamboyant film studio head is solely focused on profit.

“The national reviews have been overwhelmingly positive. Few shows receive such acclaim. I owe this to Vikram, who envisioned me as Srikant Roy from the outset of writing the script years ago.

Vikram maintains a hands-on approach, overseeing every aspect of production. He directs in a traditional manner, often standing close to the camera and providing instructions directly to actors without using a microphone.

While some describe Srikant as a morally ambiguous character, he is fundamentally a businessman tasked with managing his empire effectively. His innovative spirit shines through in his introduction of playback singing and his bold stance against the US and Russia, showcasing his dedication to elevating Indian cinema.

The studio era of the 1940s resonates deeply with me. I have closely observed the workings of major studios like New Theatres and the prominent Bombay studios, where film stars were once salaried employees, including my father.

Notable scenes include a musical number featuring Aparshakti and a tense moment where I silently intimidate my wife on a train. In that scene, I was instructed to embody a tiger while she represented a lamb.

People often ask how I achieved that portrayal. I’ve done similar scenes before. In Utsab, there’s a moment where my wife calls me, and I had to convey that I was developing a fever through a mere glance. The camera captures every subtle movement, even the flutter of an eyelash. Mastering that control is essential.”

Watch Jubilee on Prime Video.

Alok, Duti Pata (1983), directed by Bimal Roy Jr
A young man from a wealthy family falls for a rural girl.

“I was just 19 when I starred in my debut film, which featured hit songs. Prior to that, I had been struggling.

During that time, teenage romance films were scarce. Bengali cinema typically featured older heroes, and most films were still in black-and-white, with actors sporting traditional attire. Duti Pata was one of the few in color.

Duti Pata was released a few years after Bobby and ran for over 22 weeks, marking my rise to stardom. However, I didn’t work much in the following years, often taking on character roles. People would comment on my youthful appearance, suggesting I wasn’t leading-man material. My co-stars were often older, including Mahua di [Roychoudhury], who was both my heroine and my father’s.

I never sought career advice from my father, nor did he offer any. I began performing at Star Theatre on Thursdays, Saturdays, and Sundays for a modest fee of 500 rupees a month. I continued in theater until I was discovered and offered Duti Pata. It was only after Amar Sangi that I truly emerged as a commercial hero.”

Sagar, Amar Sangi (1987), directed by Sujit Guha
A young man from a wealthy family falls in love with the daughter of a domestic worker.

“This film is pivotal to my career. It marked my first platinum jubilee and became my signature work. At every event I attend, the song Chirodini Tumi Je Amar plays. I was fortunate to have the support of Bappi da [Lahiri] and Kishore babu [Kumar]. This film revolutionized Bangla cinema and my career trajectory. Following its release, the blend of romance, dance, and action typical of Hindi films began to permeate Bengali cinema.

The initial response was tepid from Friday to Sunday, but by Monday, it exploded in popularity, running for up to 75 weeks in some areas and even longer in rural regions. Films like Guru Dakshina featuring Tapas Pal also enjoyed extended runs. It was a golden era for Bangla cinema.”

Watch Amar Sangi on YouTube.

Mahendra, Chokher Bali (2003), directed by Rituparno Ghosh
A self-absorbed wealthy man engages in infidelity without taking responsibility.

“For several years, no one was willing to invest in this project, leading to multiple casting changes. Major roles were recast repeatedly, except for Mahendra. Ultimately, the film was produced, thanks to SVF. I had initially suggested the project to them, and Ritu managed to cast Ash [Aishwarya Rai Bachchan]. Her involvement elevated the film to a national level, what we now refer to as pan-Indian.

Creating this film was challenging, not only then but even now. Securing financing is difficult, and we lack the resources that Bombay cinema enjoys. We can’t produce a film like Devdas as Sanjay Leela Bhansali does. Yet, Ritu embraced the challenge and crafted a captivating film. Even today, people outside Bengal ask me, ‘Did you act in Chokher Bali?’”

Watch Chokher Bali on Hoichoi.

Kaushik, Dosar (2006), directed by Rituparno Ghosh
A man is incapacitated after an accident involving his lover, leaving his wife to care for him.

“At that time, I was primarily involved in action films. However, in this role, I had to portray a character who was bedridden. Ritu instructed me to convey emotions through my eyes, aiming for the audience to eventually forgive the husband.

Ritu consistently challenged me with demanding roles. Aside from Khela, where I played a likable character, I rarely portrayed the ‘good guy.’ Dosar was my most well-dubbed film at that time, and now Shesh Pata is being praised for its dubbing quality.

In Dosar, I delivered lines while mumbling and coughing, leading many to believe it was sync sound. However, it wasn’t. Ritu taught me how to modulate my voice so that the sound recordist could capture it effectively. Today, we all apply the techniques Ritu imparted.

Back then, audiences would flock to my films simply because of my face on the poster. I never feared losing my image. I accepted roles in Baba Keno Chakor while simultaneously filming Utsab. I even produced Teen Yaari Kotha, one of India’s first adult comedies as we understand the genre today.”

Watch Dosar on Hoichoi.

Indranil, Shob Choritro Kalponik (2009), directed by Rituparno Ghosh
A self-absorbed poet struggles with his pragmatic wife.

“In this role, I portray an artist who is somewhat lost in his own world, viewed as a failure by his wife. After his death, she begins to understand his true essence.

Originally, Ritu had envisioned this film for Anjan Dutt, Mamata Shankar, and me during the production of Unishe April. However, it was only later that I replaced Anjan, with Bipasha and Mamata taking on other roles.”

Watch Shob Choritro Kalponik on Hoichoi.

Paresh, Swapner Din (2004), directed by Buddhadeb Dasgupta
A government worker travels to villages to screen family planning films while yearning for an actress he once saw.

“I was initially slated to star in Buddha babu’s Uttara, which eventually went to Tapas Pal. I couldn’t take on Kalpurush, leading to Rahul Bose stepping in.

Buddha babu was an eccentric director, often providing less than ten days' notice before shooting. Working with him was a unique experience. Both Swapner Din and Ami Yasin Ar Amar Madhubala are magical films.

During the shoot for Swapner Din in Bolpur, I attracted a crowd of about 100,000 people. I was at the peak of my commercial cinema career then. Buddha babu was frustrated, questioning my popularity. We had to distract onlookers to film in peace.

Regrettably, Ami Yasin Ar Amar Madhubala was never released due to producer issues. I had seen Yasin on a VCD and found it fantastic.”

Biplab, Clerk (2010), directed by Subhadra Chowdhury
A government typist escapes his mundane life through fantasies in his apartment.

“This film was ahead of its time, even by today’s standards. It was an experimental, European-style film that is rarely produced.

Unfortunately, we struggled to reach audiences back then due to the lack of digital platforms. When Clerk was released, I was isolated for three months filming Moner Manush in the jungle. The producer launched Clerk without any promotion.

Despite this, I haven’t met anyone passionate about cinema who hasn’t seen Clerk. I urge people to watch it online.”

Watch Clerk on Hoichoi.

Lalon, Moner Manush (2010), directed by Goutam Ghose
A portrayal of the Bengali mystic, poet, philosopher, and social reformer.

“I never anticipated Goutam da would cast me as Lalon fakir. I dedicated myself fully to this role.

For nine months, I didn’t take on any other projects. I immersed myself in the world of Bauls, living with them and learning their ways. I had to internalize their songs and mannerisms, as Lalon often transitioned into song mid-dialogue. I truly don’t know how I managed to embody Moner Manush.

Watch Moner Manush on YouTube.

Arun Chatterjee, Autograph (2010), directed by Srijit Mukherji
A superstar is cast in a remake of Satyajit Ray’s Nayak.

“After Chokher Bali, Bengali films struggled in multiplexes, but Autograph changed that dynamic.

Srijit was introduced to me by Nandana Sen, who insisted I read the script, claiming it wouldn’t succeed without my involvement. After reviewing the script, I believed it could be transformative.

He secured top-notch producers [Madhu Mantena, SVF], and everything aligned perfectly. Following Moner Manush and Autograph, the narrative surrounding me shifted significantly. Around that time, I also declared I would no longer participate in violent action films.”

Watch Autograph on Hoichoi, Apple TV+, YouTube Movies, and Google Play.

Probir Roy Chowdhury, Baishe Srabon (2011), directed by Srijit Mukherji
A volatile police officer is called back to duty to catch a serial killer.

“I portrayed a character full of attitude but devoid of violence. The dialogue, laden with profanity, might intimidate some, but I aimed for a naturalistic delivery. I anticipated the dialogue would resonate with audiences.

I drew inspiration from Mithun da [Chakraborty], who had a knack for casually incorporating swear words into his dialogue. My grandfather often spoke in a similar manner. This style of communication was common among Bengalis back then, and it remains prevalent today, albeit with more English profanity.”

Watch Baishe Srabon on Hoichoi.

Dr Ahmadi, Shanghai (2012), directed by Dibakar Banerjee
An activist's assassination triggers a series of politically charged events.

“Though my role was minor, it was significant. Dibakar utilized my talents better than anyone else, as Ritu noted. It’s a character I’ll always remember.”

Watch Shanghai on Amazon Prime Video, ZEE5, and YouTube.

Kushal Hazra/Hensman Anthony, Jaatishwar (2014), directed by Srijit Mukherji
A librarian believes he was the Bengali poet and singer-songwriter Anthony Firingee in a past life.

“Kushal Hazra is a character I hold dear, as there’s no reference point for him. I shaved my head for the role, and the makeup artist received a National award for their work.”

Watch Jaatishwar on Hoichoi.

Sushovan, Mayurakshi (2017), directed by Atanu Ghosh
A son visits his father, who is succumbing to dementia.

“Many misunderstand Atanu’s films. My greatest gift in Mayurakshi was the opportunity to work with Soumitra Chatterjee, especially in his later years. Our characters shared a father-son bond, which made a poignant scene where I powdered his body possible. Without that connection, the scene wouldn’t have resonated.”

Watch Mayurakshi on ZEE5.

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