Nawab Sir Khwaja Salimullah, zamindar of Dhaka

A zamindar or zemindar was an aristocrat, typically hereditary, who held enormous tracts of land and held control over his peasants, from whom the zamindars reserved the right to collect tax (often for military purposes). Over time, they took princely and royal titles such as Maharaja (Great King), Raja (King), Nawab (Lord), Mirza (Prince) Chowdhury (Lord), and many others.

Although zamindars were considered to be equivalent to lords and barons ^[1] in some cases they were also seen as independent, sovereign Princes.^[2]

Often zamindars were Indian princes who lost their sovereignty due to British Rule (see: Madras Zamindari). For example, the Sivaganga Zamindari and Ramnad Zamindari were the lesser and greater Kingdom of Marava ruled by the Royal family till the 1800, ever since then they were the Zamindars of Marava.

There is no clear distinction between royal zamindars, such as Raja Venkata Ranga Rao, or merely aristocratic zamindars. Many Kings were former zamindars, such as the Royal House of Benares; conversely many new zamindars were old Kings.^[3] As a result, there is some confusion about the Indian Kingdoms about who is a King and who is a zamindar, as there were as many as 568 kingdoms and according to some other sources, 572 princely states in India before independence. During the Mughal Empire, zamindars belonged to the nobility^[4][5] and formed the ruling class. Emperor Akbar granted them mansabs and their ancestral domains were treated as jagirs.^[6]

The practice took structural footholds prior to the Mughal Era but was solidified by the indirect system of taxation in the Mughal Empire and British Raj. After the British withdrew, the system was legally abolished with the creation of India, Pakistan and (after independence in 1971) Bangladesh; however, it is still current in some areas of modern Pakistan. They built lavish palaces, lush gardens, schools, temples and other venues of philanthropy. Several families were of ancient lineage and had been independent rulers in earlier periods of history. In most cases, zamindar families were descendants of cadet branches of earlier royal families.^[7] Zamindars held considerable powers within their territories: magisterial, army recruitment (as lathials), revenue collection and taxation, among others.

Various other terms for zamindar were and are used in various provinces. For example, a zamindar is known as a Wadera in Sindh and as a Thakur in Rajasthan, Uttar Pradesh, Madhya pradesh, Himachal pradesh, Haryana, Uttrakhand, Chhatisgarh and Bihar. In the Punjab and Haryana, there are multiple variations, such as Chaudhary (which often became lambardar or zaildaar during the British Empire's occupation of North India), Sardar and Malik (an Arabic term which literally means "King"). The word zamindar is derived ultimately from the Persian زمین Zamīn, "earth/land", and the common suffix دار -dār, "-holder" (also found in many of the terms above).^[8] The term means, in Persian, 'land owner.'

Mughal Era[link]

Mehtab Chand (1820-79) (zamindar of the Burdwan Raj) as a young man, c.1840-45 A.D.

They were initially officials employed by the Mughals to collect taxes from Ryots (peasants).^[9] The zamindari system used the existing structure of the bhuiyan land tenure system of the pre-Mughal era by the Mughals as a key economic and political institution to implement the sharia-based Islamic rule over the "zimmis".^{[citation needed]}

Before the Mughals, the Indian Aristocracy was used to collecting and retaining revenue from land and production. The mughals introduced new officials and courtiers (Zamindars) to divert the revenue back to the Imperial Capital at Delhi.^[10] In the Mughal Era, the zamindari system began to ensure proper collection of taxes during a period when the power and influence of the Mughal emperors were in decline. With the Mughal conquest of Bengal, "zamindar" became a generic title embracing people with different kinds of landholdings, rights and responsibilities ranging from the autonomous or semi-independent chieftains to the peasant-proprietors. All categories of zamindars under the Mughals were required to perform certain police, judicial and military duties. Zamindars under the Mughals were, in fact, more the public functionaries than revenue collecting agents. Although zamindaris were allowed to be held hereditarily, the holders were not considered to be the proprietors of their estates.^[11]

The territorial zamindars had judicial powers. Naturally, judge-magistracy, as an element of state authority conferred status with attendant power, which really made them the lords of their domains. They held regular courts, called zamindari adalat. The courts fetched them not only power and status but some income as well by way of fines, presents and perquisites. The petty zamindars also had some share in the dispensation of civil and criminal justice. The Chowdhurys, who were zamindars in most cases, had authority to deal with the complaints of debts, thefts and petty quarrels and to impose paltry fines.

British era[link]

Zamindars were landlords in colonial India. The zamindari system was a way of ensuring taxes were collected from peasants. The zamindar was considered a lord, and would collect all taxes on his lands and then hand over the collected taxes to the British authorities (keeping a portion for himself). The similarities to medieval feudalism are evident (see Indian feudalism).

In the 18th century, when English and Scots merchants and adventurers began to settle in Mughal India in significant numbers, they noticed a superficial resemblance between the role and status of the zamindari and the landed gentry the squires or lairds that were once typical of the British Isles. Like the zamindari, the English squires and Scots lairds were the leading proprietors in their villages. In addition, they were often entrusted with important judicial and governmental functions, by the Crown in their capacities as Justices of the Peace. It was natural for the British incomers to assume that the zamindari of northern India were a kind of local squirearchy, although there were important differences.

History[link]

Some new zamindars were old Rajas. Many descended from 18th century revenue speculators and military adventurers. Several families were of very ancient lineage, like those claiming Bargujar, Meenas ancestry and had always been independent rulers at earlier periods of Indian history. They frequently intermarried with the ruling families of the princely states such as Sita Devi of Baroda's marriage (daughter of the Zamindar of Pithapuram), to Maharaja Pratap Singh Gaekwad. Their tenants numbered from dozens to many thousands, and under imperial law, had to pay rent to zamindars to retain rights to their land.

Under the British some of the formerly independent Indian states that were given the status of zamindaris. Some of these zamindars held title to vast tracts of land, for which they were required to pay annual rents to the Government of British India. The zamindar of Burdwan was the single largest taxpayer in the British Empire, and was referred to as "Maharaja" but in his case it was a non-ruling title and not a princely one. Burdwan and other zamindars like Raj Darbhanga (the largest zamindar of India with highest monthly income), Bettiah Raj and Dumraon were very wealthy and lived like royalty. The second rank of zamindars included Balrampur, Sahaspur-bilari, Jhangirabad, and Dhampur. Other zamindars included Tahirpur, Cossimbazar, Mymensingh, Natore, Puthia, Dighapatia and Tekari Raj.

Accession[link]

Unlike the autonomous or frontier chiefs, the hereditary status of the zamindar class was circumscribed by the Mughals, and the heir depended to a certain extent on the pleasure of the sovereign.^[12] Heirs were set by descent or a times even adoption by religious laws,.^[13] Under the British Empire, the zamindars were to be subordinate to the crown and not act as hereditary lords, but at times family politics was at the heart of naming an heir.^[14] At times, a cousin could be named an heir with closer family relatives present^[15] even a lawfully wedded wife could inherit the zamindari if the ruling zamindar named her as an heir^[16][17]

Southern India[link]

Bhaskara Sethupathy, Raja of Ramnad estate

The governors of the Vijayanagara Empire, who were under the direct control of central government ruled the provinces and feudatory kings. The feudatory kings were called “Nayakas” and paid tribute to the emperor who ruled the kingdoms. Vijayanagara Empire was destroyed in Tallikota war of 1565 AD, when Muslim states (Golconda, Bijapur, Ahmednagar, and Bidar) came together against the empire. Various tributary kingdoms that were under Vijayanagara Empire came under the control of Sultans of Golconda and Bijapur. These Golconda and Bijapur Sultans employed Balija, Velama, Kamma and Reddy kings as the rulers of various kingdoms and had them to pay the tribute and collected revenue. Thus many more of these kingdoms/provinces, also known as Samsthanamus or Zamindaris, came into existence.

Golconda Empire came under the control of Mughal Dynasty in 1686 and became to be known as the Deccan Suba. This rule of Mughal Dynasty didn’t last long. Nizamul Ul Mulk Asaf Jah, as the governor of the Deccan, controlled the present state of Andhra Pradesh and parts of Tamil Nadu and Orissa. In the beginning French had influence over Hyderabad however Salabat Jang, who came to power after his father, realized that the French were losing ground to British and so realigned himself with the English. In 1761, East India Company helped Nizam Ali Khan to depose his brother Salabat Jang and helped him occupy the Deccan Suba. The East India Company then took Andhra regions for lease from Nizam Ali. Later, by accords of 1768 and 1779 these Andhra regions came under complete control of East India Company, whereas Telagana states remained under Nizam. In 1802, the British government under a Permanent Revenue Settlement agreement restored the ruling powers and rights of kings of Andhra regions. During this time, rich and influential people to become rulers (Zamindars) to the city-states (Zamindaris). In the beginning, the British allowed old kingdoms to have armies with the condition that they would support the British Empire during the war. However, this right to have army was abolished and these kings were reduced to the level of Zamindars. These feudal kingdoms/zamindaris was abolished after the formation of the Indian Union, a democratic Republic In general, Telugu rulers belong to local Telugu castes/tribes. However, there are a few exceptions. Peddapuram was ruled by Vatsavayi dynasty, which was from a Kshatriya family. Revidi and Golugonda was ruled by Bhupathiraju dynasty, another Kshatriya family^[18].

Brahmin Dynasties ruled Polavaramu and Lakkavaramu. The rest of the kingdoms/zamindaris were ruled by powerful local non-Aryan tribes/castes. These kingdoms have supported Telugu poets and Telugu literature.^[19]

After Creation of India[link]

In most states the zamindari system was mostly abolished in India soon after its creation with the 1st amendment to the constitution of India which amended the right to property as shown in Article 19 and 31.^[20] This allowed the states to make their own "Zamindari Abolition Acts". The term is usually associated with the aristocracy as zamindars are still considered to be of the landed gentry. Zamindars tend to marry into families of the same social class; however, there have been cases of impoverished nobles marrying into rich families with no titles (this is sometimes considered marrying into the same social class, even if the other family is not of the nobility).

After Independence of Bangladesh[link]

The Zamindars of Bengal were influential in the development of Bengal. They played pivotal part during the Indian Rebellion of 1857.^[21] In 1950, land reform was accomplished in East Bengal with the abolishment of the feudal zamindari system. The abolition of the zamindari system (which divided the society into lords, owners of property, and commoners, users of property) in Bangladesh after independence from Pakistan was a major landmark that took place immediately effective Jan 10th 1972 under a Presidential Ordinance, which became permanent under its new constitution April 10, 1973.In Bangladesh most Zamindars were given titles such as Chowdhury, Sharkar and Khan

In Pakistan[link]

In Pakistan the zamindari System is still present in some form, especially in the provinces of Sindh and Punjab. Zamindars are known by different terms in different provinces. In Sindh, for example, zamindars are known as Wadera, while in Punjab, different terms such as Chowdhury, Pakhral, Sardar, mir and Malik are used.

The title of 'Lambardar' is only available to a powerful family of zimindar this is a state-privileged status which is generally hereditary and equivalent to an English Duke, there can only be one Lambardar of the village/city, who in many cases has wide ranging governmental powers, i.e. the policing authority of the village, and many other governmental and administrative perks, this has resulted in a feudal system perpetrating the Pakistan Senate and its elected representatives. Almost all elected leaders of the State have been from the landed and feudal gentry in many cases holding the tile of Lambardar. Most Presidents and prime ministers also have been from feudal stock, with the exception of Martial law administrators and Generals who led coups to power.

See also[link]

• Indian feudalism

Notes[link]

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