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From a wandering minstrel to a betrayed nawab, from a guitar-strumming desi Presley and a master of intrigue to an unlikely patriot, Biswajit's made a conscious effort not to get stereotyped. We trace the multi-hued career of our Lifetime Achievement Award winner through some of his milestone movies
Maya Mriga '60: This was my first big hit in Bengali and set me up as the romantic star of the '60s. For Maya Mriga I had to agree to play Krishna in the producer's earlier film Kansha. I wasn't too keen on a mythological, afraid that I'd get slotted in "godly” roles. I agreed only after being assured of the lead in Bimal Ghosh's next. I was doing Maya Mriga on stage at the time. For almost 300 nights I appeared in a party scene and disappeared after just one line, "Jai Garermathe hawa kheye aashi Let me go to the Maidan for a breath of fresh air.” It was amazing to be elevated from an extra to the lead in the space of one film!
Dada Thakur '62: This platinum jubilee bangla film was the biography of the lead actor of a popular radio programme on Akashvani, Golpodadur Ashar. I played a bigda hua zamindar ka beta. An alcholic and a womaniser who inspired by Dada Thakur's Sarat Pandit desh bhakti becomes an unlikely patriot. He is felled by a Britisher's bullet but before dying wins a great victory for the nationalists. For this performance I received the President's Gold Medal from Dr. Radhakrishnan. Satyajit Ray's Abhijan won the Silver Medal. It still embarrasses me that I eclipsed Manikda's Ray glory, even momentarily.
Bees Saal Baad'62: I was playing Bhootnath in the Bengali stage version of Bimal Mitra's Sahib Biwi aur Ghulam. Guru Dutt was scouting around for his own Bhootnath at the time and flew down to Kolkata with Geeta Dutt and Abrar Alvi to catch a show. He was so impressed that he air-dashed me to Mumbai where at the studio I was introduced to Meena Kumari, Rehman and Waheeda Rehman as the "hero” of Sahib Biwi aur Ghulam. Back home I was advised not to be tied down to an exclusive five-year-contract so reluctantly, I turned down his offer.
Soon after, Hemant Kumar dropped by to inform me that he was making a Hindi film and wanted me to play the lead. Bees Saal Baad was the remake of the Bengali Jighansha for which Hemantda had scored the music. All through the shooting I wondered what I was doing wandering around a daldal in an overcoat, a lantern in hand. I changed my mind only on the day of the premiere when thanks to the special effects, Hemantda's evocative background music and Lataji's haunting 'Kahin deep jale kahin dil...', I felt as if I was watching an English film.

After this superhit film Hemantda and I were shuttling between Kolkata and Mumbai, dividing time between our Bengali and Hindi films, every week. And the joke going around was that these two frequent fliers had bought out Indian Airlines.
Kohraa '64: Kohraa was inspired by Rebecca and I was warned that it would be banned. It wasn't.
The sets of Kohraa were a tourist attraction. Biren Nag who directed both Bees Saal Baad and Kohraa, had been an art director and decided on white sets, white furniture, white costumes... Everything in the frame was safed. The black and white looked gorgeous on film!
'Yeh nayan dare dare...' is one of my most favourite songs. Waheeda Rehman is such a fine actor. She was always telling me, "You're looking good...You did that scene really well...” She was really encouraging!
Shehnai '64: SD Narang's film was inspired by a famous Gulshan Nanda story revolving around the son of an Air Force officer who overrides his widowed mother's pleas, becomes a pilot and goes to war... But doesn't die. We picturised the war sequences in the snows of Sonmarg, then mixed in the studio shots. Many pointed out to me later that Shakti Samanta's Aradhana could have been inspired by Shehnai.
Godhuli Belaye '64: I played a man on the run and had eight get-ups. For one of the scenes I was dressed up to resemble a fakir. The scene was to be shot at Lucknow's Imambara. By then 3-4 of my Hindi films had been released and though I was in my car I was recognised and mobbed. We had to dash and continue the shoot on a set. Once when in Agra I was requested by the management of Lawrence Hotel to check out early because they were afraid frenzied fans would break down the doors. I was also unable to shoot at Bihar Sharif...
April Fool '64: This light comedy had great songs by Shankar-Jaikishen and a very pretty Saira Banu, fresh from her Junglee success. For one particular song we had German water ballet dancers specially flown down for the shoot in Burmah Shell. Towards the end of the song Saira gives me a hard shove. The minute I fell into the pool I was surrounded by the foreign beauties. Trying to duck them I ended up swallowing some water. It was just a prank...And once I'd hauled myself out I loved them for it.

Mere Sanam '65: GP Sippy's musical hit was directed by Narendra Bedi. The assistant director was Ramesh Sippy. Mumtaz had a small negative role. I remember Pransahab telling me, "This girl will go far.” She was also very confident that woh jaldi naam kama lege. And it wasn't long before Mumtaz who had been swinging with Mehmood and Dara Singh, graduated to lead roles. She was my heroine in Shararat and Pardesi. Those days I was the campus idol and collegeians were copying my all-white look that included safed joota. Jeetendra and Govinda later carried on with the trend.
Yeh Raat Phir Na Aayegi '66: In this spooky thriller I was required to break a window and make good my escape. It was a dangerous stunt and I was advised by many to let my duplicate handle it. I opened my mouth to tell my director "No” but instead, "I'll do it” came out. I don't believe in ghosts but that day it was as as if someone inside me was goading me into taking the risk. And before I had time to think I rammed my fist into the pane. Glass splintered, shrads cutting into my hand. I was bleeding profusely. The doctor who bandaged me up told me that I was lucky I hadn't cut a vein. That would have been fatal. I've learned since not to laugh at these "urges”.
Night in London '68: When Mala Sinha and I were shooting in Beirut for this film, we had company. Shammi Kapoor and Rinku Sharmila Tagore were right opposite picturising 'Aasmaan se aaya farishtey...' for An Evening In Paris. Beirut is a very glamorous city with the best night clubs and casinos in the world. After the shows I saw there the famous Parisian Nites seemed pheeka.
Do Kaliyaan '68: AVM's biggest hits will for me be forever associated with Baby Sonia aka Neetu Singh. She would cuddle up in Mehmood or my lap and Mehmood was always reprimanding her for speaking with her nose in the air. Later, we did more films together.
Another frail little girl I remember very fondly is Mohua, the child bride of Shriman Prithviraj. During night shoots she would nod off and I would pick her up in my arms and desposit her in her car, insisting she not be woken up till morning. Later, Mohua was cast opposite me in films like Ranger Sahib, Radharani and Sonar Bangla. She died too soon...
Chowringhee '68: I took on this film to break out of the 'Suspense Hero' and 'Elvis Presley' image that jubilee hits like Bees Saal Baad, Kohra, Yeh Raat Phir Na Aayegi, Kismet and Mere Sanam had given me. Being from the stage where you're a king today and a beggar tomorrow, I've always been wary of getting stereotyped. That's why I signed socials like Do Kaliyan and Asra and even the costume drama Do Dil. For the latter I learnt sword fighting after I being told Pransahab ke samne koi khada nahin ho sakta because he was so fast. I bought two swords, enlisted the help of Ganga Jumna's action director and in the climax Pransahab ke saath lad gaya. And got a favourable mention in the review of a leading national daily for my sword fighting.

I also signed the Bengali film Chowringhee with the intention of doing something "different”. Since Shankar's novel revolved around the lives of a hotel's guests and employees, we shot the film at Grand Hotel. I was also staying there. I played the son of a billionaire who falls for an escort girl, Supriya Devi. Besides being a talented actor, she was a great cook and would feed us chingrimacher malaikari Prawn curry and shorsey ilish Hilsa in mustard sauce.
Uttam Kumar who was memorable as Satta Bose in the film, was very fond of good food and adda. We would all get together for musical parties and sing Rabindra Sangeet. Uttamda had played my elder brother in Dui Bhai. After its release people would walk up to me and enquire about dada. They actually believed we were brothers. His real brother, Tarun Kumar was a good friend of mine.
Another milestone Bengali film of mine was Nawab Sirajudullah. Being a keen student of history for me the Nawab has played a significant role in Indian history because had he not been betrayed by his batallion and commandar-in-chief Mir Zafar during the Battle of Pallasy, the British who came as traders with the East India Company might never had had the chance to invade India. Till today, I am remembered, even in Bangladesh, for my performance as this dashing nawab who was betrayed by those he had trusted. In later years, I was a part of a serial on Nawab Sirajudullah but this time I play Nawab Ali Badri Khan who was like a father to Siraj and it was after his death that the Nawab's life unravelled.
Kismat '69: 'Kajra mohabbatwala..' was a rage. Even today it's remixed version is a craze. In this song I was made up to look like a girl while Babita was dressed up like a Pathan. Director Manmohan Desai would sit in on our rehearsals with choreogrpaher PL Raj that went on for 6-7 days. The song was a trend-setter because after this several actors from Rishi Kapoor Rafoo Chakkar to Govinda Aunty No. 1, from Kamal Haasan Chachi 420 to Ritiesh Deshmukh Apna Sapna Money Money have played a woman to perfection. For me the song meant hours in make-up, elaborate wigs and a sari pallu that never stayed in place. The adas and nakhras were not so difficult because as I child I had watched the neighbourhood dadas act out female parts in pararar plays because those days respectable ladies didn't act. In theatres in Delhi and UP coins were showered when the song came on.
Rahgeer '69: The film got fantastic reviews and I was in the running for the National Award. Those days I was mostly seen with a guitar in hand and Tarun Mazumdar was surprised when I accepted this deglamorised role of a folk singer who wanders around in a dhoti and a gamcha, refusing to be confined within the four walls of a house. Rahgeer was a challenge and I juggled dates to wrap up this film in a hurry. I even painted my whole body to get the sun-burnt look right.
Main Sunder Hoon '71: Leena Chandravarkar, my heroine, was very cute. I used to call her Baby Doll.

Kehte Hain Mujhko Raja '75: I produced, directed and acted in this film. It had a star-studded cast that included Dharmendra, Hema Malini, Shatrughan Sinha and Rekha. RD Burman gave the music. However, the film was too much on the lines of Ram Aur Shyam and Seeta Aur Geeta to hold the interest of the audiences. Rekha and I go back to Anjana Safar. She had to kiss me on the first day though the kiss was meant only for the overseas print. But it made it to the Life magazine cover and created quite a furore. I liked Rekha's karke dikhaenge spirit. Like Mumtaz she too was deterimed to become a big name. And lived upto the promise.
My most commercially successful production was Rakta Tilak that was perhaps the first action film in Bengali. Uttam Kumar played a cop while I was a dacoit. My son, Prosenjit made his debut in the film as the young Biswajit. He was no more than 12 at the time and in one shot he had to run through the jungle on bare feet. After it was over, I noticed that his feet were all bloodied but while the camera was wirring not the slightest hint of pain had marred his expression. I knew instantly that this boy was going to go very far. Today, he is the numero uno star in Bengal.
The film I really enjoyed producing was Choto Jigyasha. It revolved around a motherless boy and was the official entry for the Locarno Film Festival.
More recently I produced Adurini that launched my younger daughter, Prima opposite Vikas Kalantri. She has now been christened Sambhavi and is all set to enter Hindi films with Sorry Madam.
On Ritwick Ghatak's insistance I also produced the first documentary on Bangladesh for which Nargis Dutt came out from retirement to play Mother Bengal. Rare Flows Padma The River was presented to Sheikh Mujibur Rehman at the Bongo Bhawav.

I've also made a 23-episode serial on Netaji Subhash Chandra Bose and also a half-hour documentary Amar Netaji in his centenary year that was presented to President Shankar Dayal Sharma. The film will be screened on Doordarshan this year. The projects called for a lot of research but I look on Netaji as a true patriot and the kind of leader India needs today.
I'm also planning a Bengali remake of the Hrishikesh Mukherji laugh riot Golmaal. If Amitabh Bachchan can play Gabbar Singh in Ramgopal Varma Ke Sholay, I can try to pull off Utpal Sen's role. I'm also scouting around for a boy for Amol Palekar's role. The problem is that he should not be a great looker but he should have loads of talent.
Baba Taraknath '80: This huge hit made pilgrimages to Taraknath temple popular. Before this girls didn't go there but today, even they make the ardous trek from Kolkata to Tarekeshwar with devout faith.
It is for these fans of mine that even today I'm making movies, spending hours in the editing room and working all out to learn the latest technology. Indian cinema is making a dent in the global market. Hollywood's Superman seems pale in comparison to our desi Krrish. I want to continue to be a part of the creative process more so after this honour from Screen that has shared my highs and lows through this incredible journey that's still to end.
Screen India