{"id":6592,"date":"2016-04-15T14:19:53","date_gmt":"2016-04-15T08:49:53","guid":{"rendered":"http:\/\/13.201.39.237\/?p=6592"},"modified":"2026-07-17T22:18:32","modified_gmt":"2026-07-17T16:48:32","slug":"basu-chatterjee-the-master-who-turned-ordinary-people-into-temporary-heroes","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=6592","title":{"rendered":"Basu Chatterjee, the Master Who Turned Ordinary People Into Temporary Heroes"},"content":{"rendered":"\n<span class=\"dropcap\">B<\/span>asu Chatterjee\u2019s film <em>Chhoti Si Baat<\/em> (1976) begins with a voice-over that introduces us to some side characters in the film. All of them \u2013 ordinary people, not heroes or heroines \u2013 work at Jackson Tolaram, a fictional company in Mumbai. Some of these people we see only in that moment; their stories briskly summarised. These tiny pen portraits tell us that although cinema is the story of its protagonists, it in no way means that those who stand on the sidelines or remain hidden, haven\u2019t lived their own, remarkable stories.\n\nWe are all protagonists of stories that \u2013 before Basu Chatterjee came along \u2013 seemed unworthy of cinema. Chatterjee, who died earlier this week, proved through his filmography, especially his portrayal of the middle-class urban underdog, that not all stories have to bear the burden of heroism. Most are already burdened, and therefore heroic, in their own small way.\n\nI discovered Chhoti Si Baat by accident. So much so I had to ask my parents who the actors in the film (Amol Palekar and Vidya Sinha) even were. Even as late as the \u201990s, watching an Amol Palekar film was an act in destabilising a certain order that cable television implied. Most traditional, beefed-up, charming male leads cramped prime-time TV slots, while Palekar\u2019s timid understated protagonist was left to fill the vacuum of noon and post-lunch drowsiness.\n\n<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/13.201.39.237\/wp-content\/uploads\/2026\/07\/1591416880.png\" alt=\"chhoti_si_baat\" width=\"728\" height=\"407\" class=\"alignnone size-medium wp-image-65521\" \/>\n<figcaption>\n<p>Under the Colonel\u2019s tutelage Arun transforms into the cocky, patronising man he assumed he needed to become, but it\u2019s really his early righteous self-doubt, that ascertains Prabha\u2019s fondness for the man he always was.<\/p>\n<p>Chhoti Si Baat<\/p>\n<\/figcaption>\n<\/figure>\n\nChatterjee\u2019s film charts the story of one Arun Pradeep, an under-confident, na\u00efve man living in Mumbai. Arun likes Prabha, a colleague he also shares a travel route with. Beset by social handicaps like personality or poise, Arun paddles against the waves of one-sided love that can only ever be considered real, if expressed. Therein lies the problem \u2013 none of the \u201creal\u201d heroes faced any lack of confidence and charisma. Until then, the majority of Bollywood\u2019s heroes could sing in parks, clutch at dupattas, and stalk their love interests without the slightest bit of hesitation.\n\nTony from <em>Baton Baton Mein<\/em>, was similar. Playing him in his trademark sober style, Palekar managed to undercut a goatee, with the everyday self-doubt of a working-class man. Tony, who earns less than the woman he falls for, is crippled by hesitation, doubt that though familiar to urban India, hasn\u2019t really found its way into cinema.\n\nBasu Chatterjee\u2019s non-heroes gradually became characters I personally related to the most. Through films like <em>Rajnigandha<\/em>, <em>Baton Baton Mein<\/em> and others that he made with then untried actors, Chatterjee sought his own path, with peculiar, never-before seen focus on the minutiae of life.\n\n<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/13.201.39.237\/wp-content\/uploads\/2026\/07\/1591416883.png\" alt=\"baton_baton_mein\" width=\"728\" height=\"407\" class=\"alignnone size-medium wp-image-65522\" \/>\n<figcaption>\n<p>Tony, who earns less than the woman he falls for, is crippled by hesitation, doubt that though familiar to urban India, hasn\u2019t really found its way into cinema.<\/p>\n<p>Baton Baton Mein<\/p>\n<\/figcaption>\n<\/figure>\n\nGrowing up in a small town as a quiet, awkward introvert, I avoided social situations that mandated participation. Naturally, all my teenage love stories were scripted and concluded by my own imagination. At that time in my life, I would have loved to play anything but myself. At least that is what most cinema thought of people like me. Sometimes you are addressed, simply by not being spoken to. Arun embodied me perfectly: an unremarkable, modest man with a bottomless glass-half-empty kind of outlook. Someone who, no matter how deep he dived internally, couldn\u2019t seem to return with anything worth mentioning to the outside that wouldn\u2019t immediately drown in the noise.\n\nArun\u2019s nemesis wasn\u2019t just his incapacity, but also the living embodiment of the man he wanted to be. Nagesh (Asrani) is the self-assured, overtly masculine personality I have lived in the shadow of my entire life. Men who talk about cars and bikes, discuss their alcohol intake like it were an aesthetic in itself, and who, somehow, casually conquer that last frontier of social contact \u2013 talk to the other gender.\n\nIn the film, Arun finds a saviour, the unforgettably named \u201cColonel Julius Nagendranath Wilfred Singh\u201d (Ashok Kumar), a pipe-smoking veteran of perhaps, several wars, some of them social. Though the colonel helps groom Arun, momentarily installing the idea that it takes a form of discipline to project a certain image, Chatterjee\u2019s film concludes with the quiet realisation that all images, even those that speak the language of fists, require soul and sensitivity. Under the Colonel\u2019s tutelage Arun transforms into the cocky, patronising man he assumed he needed to become, but it\u2019s really his early righteous self-doubt, that ascertains Prabha\u2019s fondness for the man he always was.\n\nGiven cinema\u2019s cliched veneration for the hero, his proprietary ownership of the happily-ever-after, people like me have always been resigned to playing sidekicks with seemingly no \u201cever after\u201d in sight. The hero\u2019s story seemingly has an end, and because he is the hero, it\u2019s usually a happy one. Common people, like me live through everything except that socio-cultural arc of eventual, if temporary heroism. We live on either side of a hero\u2019s story, tending to the mundane, the unremarkable. Chatterjee found a language to argue that stories beyond these strict margins weren\u2019t lifeless, they were, like our own selves, underrated and overlooked.\n\n<blockquote class=\"quote--center\"><p>Through films that he made with then untried actors, Chatterjee sought his own path, with peculiar, never-before seen focus on the minutiae of life. <\/p><\/blockquote> \n\nChatterjee\u2019s films can be seen through a variety of prisms. For Mumbaikars he remains a keen chronicler of the city\u2019s urban milieu, its manifest struggles underlined by its many structural artefacts. For others, like me, he remains an acute observer of the mediocre and the ordinary.\n\nCinema creates the illusion that ordinary life requires dramatic, unanticipated twists to turn into a story worth telling. When life, really, for most of us is an undramatic serving of a sentence that occasionally flitters with low-magnitude emotions like envy, disappointment, self-doubt and struggle. Each of which Arun, dealt with and conquered. Not all of us will ever do that, or maybe even do some part of it but at least Chatterjee found in us a protagonist, a story worth telling. It\u2019s as if he wanted to tell us that though cinema did not owe us anything, we owed it to cinema \u2013 to tell our insipid, garden-variety stories.\n","protected":false},"excerpt":{"rendered":"<p>Cinema creates the illusion that ordinary life requires dramatic, unanticipated twists to turn into a story worth telling. But Basu Chatterjee found a language to argue that stories beyond the strict margins of heroism weren\u2019t lifeless. They were, like our own selves, underrated and overlooked.<\/p>\n","protected":false},"author":137,"featured_media":6596,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[7593,8895,10654,10655],"class_list":["post-6592","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood","tag-amol-palekar","tag-basu-chatterjee","tag-baton-baton-mein","tag-chhoti-si-baa"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.0 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Basu Chatterjee, the Master Who Turned Ordinary People Into Temporary Heroes<\/title>\n<meta name=\"description\" content=\"Cinema creates the illusion that ordinary life requires dramatic, unanticipated twists to turn into a story worth telling. 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