Soumitra Chatterjee was a source of light in a world lacking inspiration, says filmmaker Atanu Ghosh

There are only a handful of actors who can successfully deliver a stirring performance by integrating their identity into their roles. Veteran actor Soumitra Chatterjee, who breathed his last at the age of 85, immortalised two characters using this method over the course of his storied career, which spanned more than six decades. Chatterjee brought life to the character of Apu in Satyajit Ray’s Apur Sansar (1959) as a debut artiste and crafted the definitive version of the detective Feluda in Sonar Kella (1974) and Joi Baba Felunath (1979).

In recent times, the actor worked with new directors who showcased his mastery time and again. Atanu Ghosh’s National award-winning film Mayurakshi (2017) not only earned Chatterjee the Best Actor (Male) at the Filmfare award East but also proved that the octogenarian still had much to offer.

“He was like a source of light to me in this world that lacks inspiration. He was not only an actor — he was an institution in the truest sense of the word. This void will never be filled,” said the grieving director.

Ghosh's association began with Chatterjee in 2005, when he worked the actor in the telefilm Asampto. In the month of September, the director interviewed the legend for a documentary on his life. “He could infuse his life experiences into his performances. He was undoubtedly intelligent, focused and skilled but more than that he had a unique perspective on life,” said the filmmaker. Ghosh believes that this is the reason why Chatterjee could never be typecast.

Every actor or film enthusiast must return to his work, to simply study the ways he moulded himself as an actor. “Once he told me in an interview, 'My style of acting follows the Chinese paintings that produce maximum effect with minimum brush strokes'. His spontaneous and unburdened acting style is proof of his understated craft. At the same time, he was equally convincing in roles that required him to be hyper,” recalled Ghosh.

He could bring a distinctive flavour to his performance by incorporating a reflection from his personal life at the last moment, before delivering his shot. According to Ghosh, Chatterjee was always well updated with the contemporary styles of acting as well.

Ghosh also highlighted Chatterjee’s unique sense of humour. "Once during the inauguration of an exhibition of his paintings, the lights went off. Soumitra Uncle joked, 'This is the ideal lighting set-up for the exhibition of an unprofessional artiste like me!' In another incident, I praised him for his performance, after he delivered a shot. Soumitra Uncle cheerfully asked for a cup of tea saying, 'Please serve me tea, the director has finally handed me a merit certificate',” recalled Ghosh.

Chatterjee lived for the moment, constantly seeking new inspiration, which affected people around him.

“He was perhaps the only actor to have consistently edited Ekkhon, a full-fledged literary journal for 14 years,” said Ghosh.

“I remember one day, he was writing something deep in concentration before Chatterjee's masterclass started. I asked him what he was writing. He replied that he had to review a book and suddenly had got an idea regarding the last paragraph and was finishing the work,” added Ghosh.

Chatterjee had tremendous memory. It was no big deal for him to draw inimitable references from Tagore and correct others when they misquoted the author. “He could recount every incident with the exact details. I even told him that for Mayurakshi he had to work harder as unlike his character, who was suffering from dementia and cognitive dysfunction, he had a tremendous memory and sharp brain. He replied, 'See! Everyone was thinking I am able to portray the character simply because I am aged',” said Ghosh.