Hindi film viewers know Utpal Dutt as an adorable comedian, a person they identify as the moustache-loving Bhavani Shankar of Golmaal (1979), who is hilarious to the core, but Utpal Dutt was much more than an actor, let alone a comedian. One of the greatest Shakespearean actors of all time and a legendary figure in modern Indian theatre, he was an actor, director, and writer-playwright, known for his strong commitment to social causes and his anti-establishment views.
I first got to know about his other side when a dear Bengali friend told me about his work in theater. She told that he is probably the finest Shakespearean actor India ever produced. I was in disbelief at such a claim and almost brushed it off, but then I studied about him. To my surprise my friend was not alone in her opinion. Utpal Dutt wasn’t just an actor—he was a whirlwind of creativity. A man whose life danced between the stage and the screen with a passion that could ignite a revolution. Known for his towering presence in Bengali theatre and his unforgettable roles in Indian cinema, he blended artistry with activism in a way few could. It’s fascinating how he could make you laugh in one moment and ponder the injustices of the world in the next.
Early Life and Career
Utpal Dutt, born on March 29, 1929, in Barisal, Bengal which is now in Banglades), was a colossus in the realms of Indian theatre and cinema. His journey began with his passion for English literature, which he pursued with an honours degree from St Xavier’s College, Calcutta. This foundation led him to establish “The Shakespeareans” in 1947. He later founded the “Little Theatre Group” in 1949, which became a cornerstone for modern Indian theatre.
A founding member of the Indian People’s Theatre Association (IPTA), which he left after a couple of years and started his own theatre group. He borrowed the term “epic theatre” from Bertolt Brecht, which he wrote and directed extensively to promote dialogue and bring about discussion and change in Bengal.
Utpal Dutt On Stage
Dutt’s early career was marked by his powerful portrayal of Shakespearean characters, which garnered him recognition from the Kendal family, leading to tours across India and Pakistan. His portrayal of Othello was particularly acclaimed for its passion and intensity. However, Dutt’s legacy is not confined to his performances alone. He was a pioneering figure in bringing sociopolitical narratives to the stage, using his plays as a medium for his ideologies.
Works like “Angar (1959)”, about the exploitation of miners;’ “Kallol (1965)”, about the Royal Indian Navy mutiny of 1946; “Manusher Adhikar (1968)”; “Louha Manob (1964)”; “Tiner Toloar”; and “Maha-Bidroha” are testaments to his commitment to theatre as a form of political engagement. Due to his anti-establishment views and, at times, revolutionary writings, he always faced criticism and censorship. A few of his plays faced a ban, and he was jailed twice for sedition.
Utpal Dutt In films
In cinema, Dutt’s versatility shone through over 100 films in Bengali and Hindi. Dutt made his film debut with the 1942 film “Kissi Se Na Kahna”. His Bengali breakthrough came with Madhu Bose’s “Michael Madhusudhan” in 1950. The film portrays the life of Anglo-Bengali poet Michael Madhusudan Dutt, focusing on his literary struggles and cultural conflicts. Utpal Dutt plays Michael with great authenticity and nuance. The film was praised for its historical accuracy, Bose’s direction and Utpal Dutt’s performance.
He followed it by films like Vidyasagar (1950), Vikram Urvashi (1954), Rani Rasmani (1955), Taka Ana Pay (1956), Subhalagna (1956), Harano Sur (1957), Rakta Palash (1962), Shesh Anka (1963), Surya Sikha (1963), Momer Alo (1964),
In 1969 Utpal Dutt starred in Bhuvan Shome, directed by Mrinal Sen, based on Banaphool’s story. The plot follows a rigid railway officer, who hunts in Gujarat and meets a village girl (Suhasini Mule) who changes his outlook. As Bhuvan Shome Utpal Dutt’s delivered a restrained performance that conveys transformation. The film uses black-and-white visuals and sparse dialogue to emphasize isolation. It won the National Film Award for Best Feature Film, Best Director for Sen and Best Actor for Dutt. The movie grossed modestly but gained cult status for its innovative style.
His roles in films like Saat Hindustani (1969), Guddi (1971), Ek Adhuri Kahani (1972), Mere Jeevan Saathi (1972), Julie (1975), Anari (1975), Do Anjaane (1976), Suntan (1976), Anurodh (1977), Dulhan Wahi Jo Piya Man Bhaaye (1977), Ek Hi Raasta (1977), Kissa Kursi Ka (1977), Priyatama (1977), Swami (1977), The Great Gambler (1979), showcased his range from serious cinema to light-hearted comedies.
Comercial Successs
One of Dutt’s most iconic role came in Gol Maal (1979), directed by Hrishikesh Mukherjee. The story centers on Ram Prasad, played by Amol Palekar, who lies about a twin to impress his boss, Bhavani Shankar (Dutt). Utpal Dutt plays Bhavani Shankar, a traditional employer who values honesty, tradition and above all “Mustache.” His comedic timing elevates the film’s humor. Critics praised Dutt’s portrayal of a principled yet gullible character. He again teamsup with Hrishikesh Mukherjee for Naram Garam (1981), Rang Birangi (1983). Shaukeen, directed by Basu Chatterjee, is a 1982 Hindi comedy. The story revolves on three elderly friends—played by Ashok Kumar, A.K. Hangal, and Utpal Dutt—who seek adventure in Goa. Dutt plays Inderjeet Anand, a widower craving excitement. The plot unfolds with humorous escapades involving a young woman (Rati Agnihotri). The film gets a cult following with time for its explorarion of playfulside of elderly men.
He also appeared in Ek Adhuri Kahani (1972) and Chorus (1974) by Mrinal Sen; Paar (1984) and Padma Nadir Majhi (1993) by Gautam Ghose; Shakespeare Wallah (1965), The Guru (1969), and Bombay Talkie (1970) by James Ivory; Jukti Takko Aar Gappo (1974) by Ritwik Ghatak; Guddi (1971), ‘Gol Maal’ (1979), and Kotwal Saab (1977) by Hrishikesh Mukherjee; Priyatama (1977), Shaukeen (1982), and Hamari Bahu Alka (1982) directed by Basu Chatterjee and Amanush (1975), Anand Ashram (1977), and Barsaat Ki Ek Raat (1981) by Shakti Samanta.
Utpal Dutt and Satyajit Ray
Utpal Dutt also worked with Satyajit Ray in four films. Their partnership produced works that combined social satire, adventure, and philosophical inquiry. Utpal Dutt first worked with Ray in Jana Aranya (1976) in a smaller role.
Joi Baba Felunath (1979)
Directed by Ray, Joi Baba Felunath adapts Ray’s own novel, featuring detective Feluda (Soumitra Chatterjee) investigating a stolen idol in Varanasi. Dutt plays Maganlal Meghraj, a cunning antagonist who confronts Feluda in a memorable sequence involving hypnosis and a knife-throwing act. The film showcases Dutt’s ability to infuse menace with humor. It was released on January 5, 1979, and earned praise for its mystery elements and location shooting.
Hirak Rajar Deshe (1980)
Ray directed Hirak Rajar Deshe, a sequel to Goopy Gyne Bagha Byne (1969), satirizing authoritarian rule. Dutt portrays Hirak Raja, a tyrannical king who brainwashes citizens and exploits diamond mines. The plot follows musicians Goopy and Bagha (Tapen Chatterjee and Rabi Ghosh) overthrowing the regime. Dutt’s exaggerated performance as the king highlights the film’s comedic critique of power. It won the National Film Award for Best Music Direction for Ray’s score.
Agantuk (1991)
Ray’s final film, Agantuk, released on May 17, 1991, examines identity and cultural prejudice. Dutt plays Manmohan Mitra, who came to visit his long-lost niece after wandering the world for 35 years. The story unfolds as the family suspects the uncle’s motives. Dutt’s portrayal captures bourgeois skepticism, adding tension to the philosophical drama. The film won the National Film Award for Best Feature Film and Best Direction.
Later Works
Some of his other notable films include Angoor (1982), Inquilaab (1984), Yeh Desh (1984), Saaheb (1985), Ulta Seedha (1985), Ap Ke Saath (1986), Baat Ban Jaye (1986) and many more.
Dutt also directed acclaimed films like Megh (1961), Ghoom Bhangar Gaan (1965), Jhar (Storm) (1979), based on the Young Bengal movement; Baisakhi Megh (1981); Maa (1983); and Inquilab Ke Baad (1984).
His contributions earned him the National Film Award for Best Actor in 1970 and three Filmfare Best Comedian Awards. In recognition of his lifetime contribution to theatre, he was awarded the Sangeet Natak Akademi Fellowship in 1990.
Personal Life
Dutt married theatre and film actress Shobha Sen in 1960; together they have a daughter, Bishnupriya Dutt, who is a professor of theatre and performance studies at the School of Arts & Aesthetics at Jawaharlal Nehru University, New Delhi.
Utpal Dutt’s influence extended beyond the stage and screen. He was a writer and a thinker, with publications on Shakespeare and revolutionary theatre. His commitment to his craft and his ideologies made him a figure of reverence in Indian culture. His death on August 19, 1993, marked the end of an era, but his works continue to inspire artists and audiences alike.
Utpal Dutt on IMDB
