Uttam Kumar (3 September 1926 – 24 July 1980) is one of the most famous names of Indian Bengali Cinema.^[1] Born Arun Kumar Chatterjee in 1926 at Ahiritola, North Calcutta he is widely known as Uttam Kumar and Mahanayak (The great hero). He remains as much of a cultural icon as he had been in his lifetime. A versatile actor, director, producer, singer and music director, his multifaceted talent earned him much acclaim and adulation.^[2]

Early life and family[link]

Uttam Kumar was born in Kolkata in the home of his maternal uncle at Ahiritola, while his ancestral house is on Girish Mukherjee Road, Bhowanipore, Kolkata. After his schooling in South Suburban School (Main), he went for higher studies in Goenka College of Commerce and Business Administration, a college affiliated to the University of Calcutta. He could not, however, complete his studies and started working at the Kolkata Port as a clerk. During this period, he acted in amateur theatre groups. His prodigious joint family had its own theatre group, the Suhrid Samaj, which staged many amateur shows.

Uttam Kumar was the eldest of three sons (Arun, Barun and Tarun) of Satkari Chatterjee and Chapala Debi. The youngest, whose screen name was Tarun Kumar, acted in several Bengali films and grew to become an actor of considerable repute, in screen and on stage. There are several films in which Uttam Kumar and Tarun Kumar starred together like Saptapadi, Sonar Harin, Maya Mriga, Sesh Anka, Deya Neya, Jeeban-Mrityu, Dhanyi Meye,"Mon Niye" Sanyasi Raja, and Agniswar. Uttam Kumar married Gauri Debi [Chatterjee]. Their only son, Gautam, a businessman, died of cancer at the age of 53. His grandson, Gaurav is a Tollywood actor. Pulak Bandyopadhyay, a famous lyricist, was his uncle.Uttam kumar is generally perceived in Bengal as "Mahanayak' means the great actor.

Career[link]

Debut and breakthrough[link]

Uttam's first release was Drishtidan (The gift of sight) directed by Nitin Bose, though he worked in an earlier unreleased film called Mayador (Embrace of affection). He came into prominence in the film Basu Paribar and his breakthrough film was Agni Pariksha that began the roaring success of the all-time romantic pair of Uttam Kumar - Suchitra Sen; though they had first starred in Sharey Chuattor (74 and a half anna). Altogether, this pair starred in about 30 films between 1954 and 1974-75.

Coming in the wake of the Indian Partition of 1947, and unprecedented mass migration from the then East Pakistan to Kolkata (then known as Calcutta), the Uttam-Suchitra pair gave expression to the yearnings of a new, transformed city. They played out on screen the new desires of a young audience trying to come to terms with industrial modernity and a new form of urban existence. The stylized, black-and-white romanticism of landmark Uttam-Suchitra films of the 1950s like "Agni Pariksha", "Shapmochan",Sagarika (1956), Shilpi (1956), or Harano Sur, Indrani, Sabar Uparey, Surjyo Toron reflected a novel, youthful urban desire to break free from the confines of the feudal joint family and set up a nucleated, private space for the couple in love. In contrast to the earlier phase of Bengali cinema mostly dominated by the dramatised style of the New Theaters' films (in the 1940s), the Uttam-Suchitra films were marked by a more naturalistic acting style, a bit dramatic-stylized, soft-focus black-and-white cinematography with chiaroscuro effects, and a more popular and modern form of music that broke away more decisively from earlier dependence on classical types . These features were put in place by a new generation of cinematographers like Dinen Gupta and Ajoy Kar, a fresh batch of directors (Kar himself,Sudhir Mukherjee, Naresh Mitra, Sushil Majumdar, the combines of Jatrik and Agradoot) and musicians like Nachiketa Ghosh, Rabin Chattopadhyay, Anupam Ghatak, Hemanta Mukherjee Anil Bagchi, Sudhin Dasgupta and Salil Chowdhury, along with lyricists like Gauriprasanna Majumdar, Pranab Roy, Pulak Bandopadhyay. A number of them hailed from the left wing Indian People's Theater Association (IPTA) movement.

Uttam Kumar was especially adored for his effortless naturalism in front of the camera and a distinctively urbane charisma that broke free from the prototypical Bengali screen hero of the past. He went on to form successful screen pairs with many leading ladies like Supriya Choudhuri, Sabitri Chatterjee, Madhabi Mukherjee, Sharmila Tagore, Anjana Bhaumick, Aparna Sen and Sumitra Mukherjee; apart from Sandhyarani in the 50s, Arundhati Debi and Mala Sinha in the 60s and Kaberi Bose and Tanuja in the 60s and 70s. Often hailed as the one-man industry, he dominated Bengali cinema for three decades until his death. This near-total reign was somewhat slightly disturbed during the politically turbulent era of the late sixties up to the emergency, when Uttam Kumar's regular, politically passive or relatively conservative romantic film persona sometimes found it difficult to fit into the narratives of unrest that came to the fore.

Never quite satisfied with his undisputed matinée idol status, Uttam Kumar started experimenting with character roles early in his career, as evidenced by films like Khokababur Pratyabartan, (1960), Mayamriga, (1960) or Thana Theke Aschi (1965) and Bicharak. In Marutirtha Hinglaj (1959), he essayed a mentally disturbed character. In Kuhak he was a murderous thief, while in Sesh Anka, he was a suave businessman who had murdered his wife and was romantically engaged to the daughter of a social elite and rich nobleman. In Aparichita (1969) he also played the role of a villain. Such departures were unusual in relation to set formats of stardom in Indian popular cinematic cultures, where deviating from established 'star images' were often considered to be risky. However, this brought Uttam Kumar early recognition as a genuine actor of substance apart from a box office superstar and stood him in good stead later, especially in his collaborations with Satyajit Ray in Nayak (1966) and Chiriyakhana. A perfectionist, Uttam Kumar performed on stage for a full year, opposite Sabitri Chatterjee in Star Theatre in the play "Shyamali" [On screen, he played opposite Kaberi Bose]to hone up his skill as an actor.

Stardom and legacy[link]

Apart from Bengali, Uttam Kumar also acted in some Hindi films such as Chhoti Si Mulaqat (along with Vyjayanthimala), Amanush,Anand Ashram, Dooriyaan (with Sharmila Tagore), and Kitaabwith Vidya Sinha. But his towering contribution was to Bengali cinema and the Bengali film industry on the whole.

Perhaps his most lauded appearances was in Satyajit Ray's Nayak (The Hero). It is now widely accepted that Ray wrote the script with Uttam in mind. Many people feel the film bears resemblance to Uttam Kumar's own life — the sense of anxiety and restlessness mirrored Uttam's insecurities about his phenomenal success and abiding fear that his superstardom might not last. Uttam made the role of Arindam (Mukherjee) his own and Ray later confessed that if Uttam had refused the film, he would have abandoned it. He worked with Ray the following year in Chiriyakhana (1967).^[3]

When the Indian government instituted the National Film Awards for National Film Award for Best Actor and National Film Award for Best Actress in 1967, Uttam Kumar was the first-ever recipient of the Best Actor Award for his performances in Anthony Firangee and Chiriyakhana in 1967.

He explored new avenues of film-making by trying his hand at production, singing, composing music, screenplay writing and directing. The success of his Bengali films as producer — Harano Sur, Saptapadi, Bhrantibilash, Jotugriha (1964), Grihadah — won great acclaim.^[4] Later, Uttam directed much-lauded films such as Sudhu Ekti Bochhor and Bon Palashir Padaboli. He composed music for the film Kaal Tumi Aleya in which Hemanta Mukherjee and Asha Bhonsle sang to his tune.

He came out with an autobiography Amaar Ami in 1979-80. He had a phenomenal fan base which continues even to this day.^[5] Reruns of his films on television decades after his death are still eagerly watched. Uttam Kumar’s time is considered by most as the golden era of Bengali cinema.

Filmography[link]

Late journalist Rintu Mukherjee, in his Khanojonma Uttam, explained the incredible bankability of this star. From 1947 to 1980, both in Bengali and Hindi, Uttam Kumar acted in 202 films. Among them 39 were blockbusters, 57 were superhits, 57 made profits above the average and the rest flopped.

Awards[link]

• B.F.J.A Best Actor Award for Hrod (1955)
• Recognition from the Government of India for Harano Sur (1957)
• B.F.J.A Best Actor award for Saptapadi (1961). Uttam Kumar received the award from the legendary film-maker Debaki Bose.
• B.F.J.A Best Actor award for Nayak (1966). Attended the Berlin Film Festival as a distinguished guest.
• The very first recipient of the National Film Awards in the Best Actor category for both Chiriyakhana and Antony Firingee (1967).
• B.F.J.A Best Actor award for Grihadha (1967).
• B.F.J.A Best Actor award for Ekhane Pinjar (1971).
• Best Actor award from 'Prosad' magazine for Stri (1973). He received the award from Kanan Devi.
• B.F.J.A Best Actor award for Amanush (1974).
• Best Actor Filmfare Award Nomination for Amanush (1975).
• He received the Best Actor award for the same film from the Government of West Bengal on January 26, 1975. The price was worth 5000 rupees.
• B.F.J.A Best Actor award for Bahnisikha (1976).
• Best Actor award both from the Prosad magazine and Sanonskritik Sanbadik Sanostha for Anand Ashram (1977).

Uttam-Suchitra[link]

The on-screen chemistry between Uttam Kumar and Suchitra Sen has always been much adored and admired.They looked like really beautiful couples. Some of Uttam's famous films co-starring Suchitra Sen include "Share Chuattor", "Agni Pariksha", "Shilpi", Saptapadi (Seven Steps),^[6][7] Pathe Holo Deri (Delay on the road), Harano Sur (Lost Music), Chaowa Paowa (Wish and Achievement), Bipasha, Jiban Trishna (Thirst for Life), Sagarika, Trijama, Indrani, Sabar Upare, Surjyo Toron, Rajlakshmi O Sreekanto, "Ekti Raat", "Grihadaha" [also starring Sabitri Chatterjee], Kamallata, Har Mana Har, Alo Amar Alo.^[8][9]

Uttam-Supriya[link]

Shonar Harin (1959) saw Supriya Devi (who would win great accolades for her performance in Ritwik Ghatak's Meghe Dhaka Tara the following year) play the lead opposite Uttam Kumar. As they began to act in more films together, the two got involved off-screen as well. In 1963, Uttam left his family home in Girish Park and stayed with Supriya for the next 17 years till his death. They starred together in several other films like Uttarayan, Chirodiner, Agni Sanskar", "Suno Baranari", "Kal Tumi Aleya", "Lal Pathor", "Andha Ateet", "Sudhu Ekti Bochhor", "Mon Niye", "Bilambita Loy", "Bhola Maira", "Sanyasi Raja, "Bon Palashir Padabali" etc.^[10]

Death[link]

A workaholic, he was rumored to have said that his preferred demise would be on the floor of a studio, doing what he loved best: acting. While filming Ogo Bodhu Shundori in 1980, he suffered a heart attack. Uttam Kumar was admitted to the Belleveue Clinic. The doctors did their best for 16 hours but he died that night on July 24, 1980 at the age of 53. As his hearse wound its way across Bhowanipur and finally to the Keoratala Burning Ghat, traffic in Kolkata came to a halt as thousands flocked the streets to pay their respects and have a last glimpse of the legend.^[11][12]

Quotes[link]

• "I prefer following my own ways of acting, like the ways we talk, get angry,that kind of natural spontaneous acting. More of portraying a character."
• "Sometimes I got scared. So much of accolade... Would they last for long? And that is why I was not ready to get carried away in the waves of admiration. I desire for more work."
• "I never fear work. Rather I derive pleasure out of work."
• "Films, Shilpi Sansad, then there was the world of my own, my privacy: I was confused. As if my every moment has been sold..."
• "Whenever I set to work, one after the other, death news hit me. Again I eased myself by realizing that death is the only truth."

Tributes and appreciations[link]

There is a theatre (Uttam Mancha) named after him in Kolkata. A life-size statue has been erected near Tollygunj metro station which has recently been renamed after the iconic actor by the Central Railway Ministry.^[13] Besides, Shilpi Sansad, the actor's pet project of safegurading the artistes especially the poor and the old, is active still. Celebrating the 83rd birth anniversary of Uttam Kumar, the Department of Posts in 2009, released a series of new postal stamps featuring the actor on them.The Department of Posts also released a brochure on the Uttam Kumar Stamp release with a note that says 'Uttam Kumar – The Legend of Indian Cinema'.^[14]

Distinguished names paying homage to Uttam[link]

• Satyajit Ray

"It is the demise of a leading light of the Bengali film industry...There isn't - there won't be another hero like him."

• Tapan Sinha

"I personally felt that the acting of Uttam Kumar could be compared to the best actor of any country. His great attribute is his diligence...Many are born with talent, but the talent gets eclipsed due to the lack of diligence. Uttam Kumar has both of them. Perhaps, that is the reason why he still sparkles."

• Suchitra Sen

"Uttam is my friend. In a word, he is a great,great artist. But still sometimes i feel as if he is not properly exploited."

• Vyjayanthimala

"Uttam Kumar was the most gifted actor I ever worked with. His first Hindi film, Chhoti Si Mulaqat, was opposite me in 1967...Uttam Kumar was thoroughly professional, cooperative and lip-synced perfectly, especially on "Aye Chand" and "Tujhe Dekha". He lip-synched songs rendered by Hemant Kumar, Manna Dey and Mohammed Rafi as if he was singing them. I was criticised for Chhoti Si Mulaqat but Uttam Kumar never criticised me"^[15]

• Shakti Samanta

"Uttam was a great human being...it can easily be underscored -- actor of his class is a rare kind"

• Madhabi Mukherjee

"...slowly Uttam Kumar got popular. And a fairy tale was born. I was never bothered to know the individual self of the romantic hero of this fairy tale. I would never want to. What if the dream gets shattered! Let the beautiful spell be alive! Long live Uttam Kumar -- The evergreen romantic hero."

• Kanan Devi

"It feels good to see all praising one. Uttam is one such person...He never had any pose or pretension...God gave him everything but a friend."

• Samaresh Basu

"Uttam Kumar, the numero uno hero of Bengal, the most loving."

• Bimal Mitra

"Sri Uttam Kumar is not merely the actor, I regard him as the creator of character. May be as the creator of character, he has achieved such stupendous popularity."

• Ashutosh Mukhopadhyay

"He is the hero and life of many of my fictions."

• Ashapoorna Devi

"Uttam! An extraordinary artist! The artistic self of Uttam Kumar never dies down! Oh God give him Uttam health, Uttam strength, Uttam longevity" (in Sanskrit and in Bengali, 'Uttam' means 'Good')

• Mithun Chakraborty

"Uttam Kumar is my guru. From my childhood, I am a diehard Uttam fan"

• Soumitra Chatterjee

"Many think that I have always been a sharp critic of Uttam Kumar's acting. This is not true. I have rarely seen actor of his stature. I have been fan of his acting, his admirer."

• Rajesh Khanna

"I have seen so many dhuti, kurta-clad Bengalis both on screen and in reality. But Uttam Kumar as the Bengali babu is unique. What I believe is that there is no one who can ever represent the Bengali community like Uttamda did."

• Shatrughan Sinha

"Usually, what we find is that the good-looking guys lack substance, or the reverse. But Uttam Kumar had the both...I have always respected that man...when I was at Pune Film Institute, we used to argue on Dilip Kumar-Uttam Kumar-Raj Kapoor."

• Shashi Kapoor

"My first real meet with Uttam Kumar was in Calcutta and the occasion was the release of Jis Desh Men Ganga Behti Hai. Hemen Ganguly happened to be the distributor of that film. He used to be the 'common friend' of elder brother (Raj Kapoor) and Uttam Kumar. It was my pleasure to see the two greats together. I was awestruck by the royal gaits of the both...I like Uttam Kumar like any common Bengali."

• Hindustan Standard (on Uttam Kumar's directorial debut)

"In Uttam Kumar, we have found a director who shows his brilliance on diverse levels."

Respects[link]

The Tollygunge metro station of Kolkata Metro was renamed as "Mahanayak Uttam Kumar" and decorated the station by movie pictures of Uttam Kumar by Indian Railways.

Kolkata Film Festival 2011 has a special screening of the Mahanayak's "Nayak" and a documentary on him.

References[link]

External links[link]

• Uttam Kumar at the Internet Movie Database
• Biography, filmography at Calcuttaweb

Sharmila Tagore
Sharmila Tagore in 2009
Born	Sharmila Tagore (1946-12-08) December 8, 1946 (age 65) Hyderabad, Hyderabad State, British India
Other names	Ayesha Sultana Ayesha Sultana Khan Sharmila Tagore Khan Sharmila Khan Ayesha Khan
Occupation	Actress
Years active	1959–present
Religion	Islam {Converted}
Spouse	Mansoor Ali Khan (1969–22 September 2011, his death)
Children	Saif Ali Khan Saba Ali Khan Soha Ali Khan

Sharmila Tagore (born 8 December 1946) is an Indian film actress. She has won National Film Awards and Filmfare Awards for her performances. She has led the Indian Film Censor Board from October 2004 till March 2011. In December 2005 she was chosen as an UNICEF Goodwill Ambassador.^[1]

Early life[link]

Sharmila was born in a Hindu Bengali family in Hyderabad State to Gitindranath Tagore who was then deputy general manager of the East India Company owner of Elgin Mills. Gitindranath was the son of Kanakendranath Tagore who is the son of noted painter Gaganendranath Tagore. She attended St. John's Diocesan Girls' Higher Secondary School and Loreto Convent, Asansol.^[2] She is the great-grand niece of noted poet Rabindranath Tagore. ^[3][4]

Career[link]

Sharmila began her career as an actress in Satyajit Ray's 1959 Bengali film Apur Sansar (The World of Apu), as the ill-fated bride of the title character. She appeared in a number of Ray films, often co-starring with Soumitra Chatterjee.

She established herself as a popular Hindi film actress with Shakti Samanta's Kashmir Ki Kali with Shammi Kapoor in 1964. Samanta again cast her in many more hit films, notably An Evening in Paris (1967), again with Shammi, the first appearance in a bikini of an Indian actress,^[5][6] (Sadhana had appeared in one-piece bathing suit in earlier films) which not only shocked conservative Indian audiences^[7][8] but also set off a wave of bikini-clad actresses carried forward by Parveen Babi (in Yeh Nazdeekiyan, 1982^[9]), Zeenat Aman (in Heera Panna, 1973; Qurbani, 1980^[9]) and Dimple Kapadia (in Bobby, 1973^[9]) but established Tagore's role as somewhat of a sex symbol in Bollywood.^[10][11][12] Wearing a bikini put her name in the Indian press as one of Bollywood's ten hottest actresses of all time and was a transgression of female identity through a reversal of the state of modesty, which functions as a signifier of femininity in Bombay films.^[13] But, when Tagore was the chairperson of the Central Board of Film Certification, she expressed concerns about the rise of the bikini in Indian films.^[14]

Samanta later teamed up Tagore with Rajesh Khanna for movies such as Aradhana (1969) and Amar Prem (1972). Other directors paired them together in Daag (1973), Maalik (1972) and Safar (1970). She starred in Gulzar's 1975 film, Mausam and won the National Film Award for Best Actress. She also played a supporting role as heroine Sarita Choudhury's mother in Mira Nair's 1991 film Mississippi Masala.

Her latest release is a Marathi film Samaantar by Amol Palekar. Her earlier releases were Vidhu Vinod Chopra's Eklavya: The Royal Guard, which brought together real-life mother and son, Sharmila Tagore and Saif Ali Khan. They shared screen space for the first time since Aashiq Awara (1993).

Personal life[link]

Tagore was born a Hindu in 1946, and that remained her faith until she married Mansoor Ali Khan Pataudi, Nawab of Pataudi, a former captain of the Indian cricket team, in a ceremony held on 27 December 1969. At that point, Tagore converted to Islam. They had three children: Saif Ali Khan (b. 1970), Saba Ali Khan (b. 1976)^[15] and Soha Ali Khan (b. 1978). Mansoor Ali Khan Pataudi died, at age 70, on 22 September 2011. Tagore remains a Muslim.^[16]

Awards[link]

• 1969 - Filmfare Best Actress Award — Aradhana
• 1970 - Nominated, Filmfare Best Actress Award — Safar
• 1976 - National Film Award for Best Actress — Mausam
• 1997 - Filmfare Lifetime Achievement Award
• 2002 - Star Screen Lifetime Achievement Award
• 2004 - National Film Award for Best Supporting Actress — Abar Aranye
• 2004 - Commander of the Order of Arts and Letters of France
• 2006 - Nominated, Filmfare Best Actress Award — Viruddh... Family Comes First
• 2007 - Lifetime Achievement National Award (Actress) — Journalist Association of India
• 2011 - Outstanding Achievement in Indian cinema — Floriana IIFA Awards, Toronto

Filmography[link]

Full list of Sharmila Tagore's film career is available at http://www.imdb.com/name/nm0846616/

See also[link]

• List of Indian film actresses

References[link]

External links[link]

• Sharmila Tagore at the Internet Movie Database
• Biography from satyajitray.org
• Being Sharmila

Anita Guha (1932 – 20 June 2007) was an Indian actress who usually played mythological characters in films. She became known for playing the title role in Jai Santoshi Maa (1975). Previously, she had played Sita in other mythological films "Sampoorna Ramayana" (1961), "Shree Ram Bharat Milap" (1965) and, "Tulsi Vivah" (1971).

Career[link]

She came to Mumbai in the 1950s as a beauty pageant contestant, when she was 15 years old. She became an actress there and made her film debut in "Tangewali" (1955). She moved onto hit films like "Sharada" (1957),^[1] and "Goonj Uthi Shehnai" (1959), for which she earned her only Filmfare nomination of her career as Best Supporting Actress.^[2]

But it was her title role in Jai Santoshi Maa (1975) that brought her the most fame. She had never even heard of goddess Santoshi until she was offered the role, as this was a little-known goddess. It was only a guest appearance, and her scenes were shot 10–12 days. She fasted during the shooting.^[3] The low-budget pic was a surprise hit, and broke box office records while becoming a cultural phenomenon. The goddess Santoshi now became a famous goddess, and women all over India worshipped her. People treated the movie theatres showing Jai Santoshi Maa as a temple, bringing offerings of food, leaving slippers at the door. Guha claimed that people came to her asking her to bless them, as they perceived her to be a real goddess. Oddly, she never became a devotee of the goddess herself, claiming that she was a devotee of Kali Maa.^[4]

Other mythological films she acted in include "Dekh Kabira Roya" (1957), "Kavi Kalidas (1959), "Jai Dwarkadesh" (1977) and "Krishna Krishna" (1986). She wasn't happy that she became typecast as a mythological actress, because acting offers eventually stopped coming her way. Her earlier credits include period films such as "Sangeet samrat Tansen" (1962), "Kan Kan Mein Bhagwan" (1963), "Veer Bhimsen" (1964). She played Rajesh Khanna's adoptive mother in the huge hit Aradhana.

Personal life[link]

She was married to actor Manik Dutt; they had no children. After her husband's death, she lived alone in Mumbai where she died of cardiac failure on 20 June 2007.

Filmography[link]

Awards and nominations[link]

• 1960: Filmfare Award
  • Filmfare Best Supporting Actress Award: Goonj Uthi Shahnai: Nominated

References[link]

1. ^ Anita Guha, 70s, actress - Entertainment News, Obituary, Media - Variety
2. ^ 1st Filmfare Awards 1953
3. ^ The Telegraph - Calcutta : etc The Telegraph (Kolkata)
4. ^ On playing Santoshi Ma Rediff.com.

External links[link]

• Anita Guha at the Internet Movie Database

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Pahari Sanyal, (Bengali: পাহাড়ী সান্যাল) (22 February 1906–10 February 1974) born Nagendranath Sanyal, was a stalwart Bengali character actor whose status was as towering as that of others such as Chhabi Biswas and Kamal Mitra.

Sanyal acted in many famous Bengali films Like "Harano Sur", "Bhanu Goyenda Jahar Assistant", "Shilpi" etc. Besides being an adept character actor, Sanyal gave a superlative performance in his portrayal of iconoclastic Bengali reformer Vidyasagar. He played a small but meaty role of an ornithologist in Ray's timeless classic Kanchenjungha. He was seen in some of the acclaimed Hindi films such as Raj Kapoor starrer Jagte Raho and English films such as Merchant-Ivory venture, The Householder.

Filmography[link]

External links[link]

• Pahari Sanyal at the Internet Movie Database

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Basanta Chowdhury ^[spelling?] (Bengali: বসন্ত চৌধুরী ) was an actor who had been playing a hero even before the era of Uttam Kumar.

Early Life[link]

Basanta Chowdhury was born on 5 May 1928 in Nagpur. In 1945, he completed his Matriculation Examination from D.N.H. School. After that, he graduated from the Morris College as a graduating student of Nagpur University in 1949.

Career[link]

His first film was Mahaprasthaner Pathe by director Kartik Chattopadhay in 1952. Some of his memorable films are, Bhagaban Shri Krishna Chaitanya, Jadu Bhatta, Andhare Alo, Deep Jwele Jai, Anushtoop Chhanda, Abhaya O Srikanta, Raja Rammohan Roy, Diba Ratrir Kabya, Devi Chowdhurani. He was attached to amateur theatre and radio also .

In 1965, he was awarded the Best Actor Prize for his film Raja Rammohan by B.F.J.A.^{[citation needed]} In 1996, he also received Bangla Stage Centenary Star Theatre award from Calcutta University^{[citation needed]}. He had also acted in several Hindi films.

Basanta Chowdhury had been the Sheriff of Kolkata. He was also appointed as the Chairman of Nandan.
Basanta Chowdhury died on 20 June 2000 at the age of 72.

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