Sharmila Reflects on ‘Nayak’ and ‘Aradhana’ returning to theatres

With two of her most iconic films, Satyajit Ray’s ‘Nayak’ and Shakti Samanta’s ‘Aradhana’, made its way back to theatres on Feb 28, veteran actress Sharmila Tagore sits down with ETimes for an exclusive conversation. She shares her thoughts on revisiting these classics, the timeless brilliance of Ray’s storytelling, and why Uttam Kumar’s portrayal in Nayak remains unforgettable.

Two of your best-known films, Satyajit Ray’s ‘Nayak’ and Shakti Samanta’s ‘Aradhana’, have reopened in theatres. How do you feel about it?

I watched both, and I absolutely loved Nayak, especially because it was a restored print—it makes all the difference. The cinematography by Subrata Mitra is simply stunning. The way black and white was used as a medium of expression, the interplay of light and shade... it was just outstanding.
More importantly, the film still feels incredibly contemporary. Nothing about it seems dated, except perhaps the idea of a film star traveling by train for relaxation. That might be a bit unlikely today! But within the context of the film, it makes complete sense, as Nayak revolves around a regional Bengali film actor.
Back then, Bengali fans weren’t as intrusive as, say, South Indian or Hindi film audiences. Of course, things have changed now, given the wider reach of Bengali cinema. But what truly stands out is how beautifully the film is written—it remains timeless.

What did you think of your performance in ‘Nayak’?

I actually liked myself! (laughs) And that’s rare because I’m usually very critical of my own work. Nayak is a 60-year-old film, yet the way it unfolds is so captivating. The ending is particularly beautiful—Uttam Kumar’s character, the superstar, gets surrounded by adoring fans as he arrives at his destination, while my character simply returns to her normal life.
What makes Ray’s storytelling remarkable is how he introduces multiple characters and sets up situations where you expect something to happen, only to defy those expectations. There’s no definitive end, and nothing feels predictable. Even if you’ve watched it before, it always feels fresh—like you’re experiencing it for the first time.

For Uttam Kumar, ‘Nayak’ was his first collaboration with Satyajit Ray. You, on the other hand, worked with Ray multiple times. How do you compare those experiences?

Of course! I initially ranked ‘Devi’, ‘Apur Sansar’, and even ‘Aranyer Din Ratri’ above Nayak. But after watching it again, I’ve completely changed my mind. Uttam Babu was absolutely brilliant in the film. And every single character was so well-etched.
Even I was quite happy with my performance! (laughs) I liked how my character’s tone and demeanor evolved in the film—it had a subtle depth.

And let’s not forget the spectacles!

Yes! Manikda (Satyajit Ray) suggested I wear spectacles to give my character a more intellectual look. It was such a small but impactful change.
Interestingly, there was a lot of debate and criticism at the time about why Ray cast a mainstream star like Uttam Kumar in the role. But I believe it worked brilliantly. Uttam Babu’s instant recognition meant that Ray didn’t have to spend time establishing his character. The way he walked, the way he lit his cigarette—everything about him exuded star power, making the audience immediately connect with him.

Uttam Kumar was a smoker in real life too, wasn’t he?

Yes, yes. Sadly, he passed away in his fifties.

‘Nayak’ also explores the loneliness of a superstar. Was this one of the first films to depict that so deeply?

Absolutely. The film delves into how stars are perceived versus who they really are. They may seem larger than life, but deep down, they have insecurities, emotions, and struggles like everyone else.
Society is often quick to judge celebrities. We idolize them when they’re successful but are just as quick to dismiss them the moment they falter. The same happens with cricketers—we celebrate them when they win, but the moment they have a bad game, we’re ready to criticize them.
‘Nayak’ beautifully portrays this transient nature of fame. The protagonist, played by Uttam Kumar, finds himself opening up to my character, Aditi, because he believes she will understand him. They share fleeting yet profound moments of connection during the train journey, but once the journey ends, everyone goes their separate ways. That’s what makes the film so fascinating—Ray creates an entire world within the confines of a train and allows us to glimpse the lives of its passengers.

I’m truly glad that a whole new generation is getting to experience Nayak. It remains a beautiful, thought-provoking film—one that stands the test of time.