Sanjay Verma

Kathmandu:

Sunil Dutt is no more. The popular star of Hindi films was, in his time, as big a draw in Nepal as he was in India. The endearing actor-hero was also a great human being equally known for his work outside the range of the film cameras. His life and career spanned radio, films, social work, political activism and governmental responsibility. He died in harness as India’s minister of sports.

India has lost a patriot and actor. Even for a public figure there was a lot more to Sunil Dutt than seen. It was only incidental that he was a film actor. He was, without doubt, the finest example of a crossover from Hindi films to public life. For him, public life and its responsibilities was not another role, it was his calling.

Much of India’s contemporary history reflected in his life. Born in Pakistan, a victim of partition, he found a new life in Mumbai. From a childhood ravaged by religious politics, he chose to marry the equally well-known heroine the legendary Nargis, a Muslim, later in life. He personified syncretism. In many of his film roles he essayed roles that were commentaries on post-independence India, roles that tackled real issues — untouchability in ‘Sujata’ (1959), feudalism in ‘Mother India’ (1957), social reform in ‘Mujhe Jeene Do’ (1963), prostitution in ‘Sadhna’ (1958). At the same time there were mainstream classics to his name like ‘Padosan’ (1968), ‘Reshma aur Shera’ (1971), ‘Waqt’ (1965), ‘Mera Saaya’ (1966) and many more. Most of his films had women oriented themes. How many know, however, that he also made an experimental film ‘Yaadein’ (1964) in which he was the only character? His swansong was the very different, sidesplitting, cult classic ‘Munnabhai MBBS’ (2003).

Duttsaab went beyond films. His journey began in a fractured nation but he chose a path that consolidated the state. Whether it was entertaining Indian troops at the different borders and battlefields or taking out a shanti padyatra in the Punjab at the height of insurgency or battling communal forces, he was there without showmanship and leading from front by personal example. He did not let the bitter reality of partition dictate his politics. His dreams were Nehruvian, of building a new modern India. Remember the song he articulated — “Chhodo Kal ki Baatein Kal ki Baat Purani” — if there is a higher political ideal than secularism for a democratic and pluralistic society, then Duttsaab represented that. Dutt faced more personal adversities in a lifetime than do a colony of people — death of Nargis to cancer, the recurring delinquencies of his star son, including prison term, and periodic political battles with rightist opponents.

Many obituaries will be written about Duttsaab referring to him as a gentlemen, fine human being, endearing personality, great social worker, messiah of Mumbai, minister with a heart and a fine actor and filmmaker. Yes, he was all that and more. He was a nationbuilder.

(The author is counsellor, Press and culture, Indian Embassy)