Nana Patekar first started his acting career in Marathi Drama Purush that was also a solid performance.
Nana Patekar started his film career in art films his first film was Gaman. This is an excellent art film.
The story goes in order to improve their lifestyle, Lucknow based Ghulam Hussain decides to re-locate to Bombay, leaving his ailing mother and wife.
It is slow at times and mostly deals with life of people in Bombay. however it is worth a watch cause it is very sincerely made.
After that Nana Patekar did films like Giddh, Aaj Ki Awaaz, and Dahleez but he did not get regonised as an actor.
Then came Ankush.
Storyline is simple, but told in a bold fashion.
Acting from Nana Patekar, he is just mind-boggling to watch in this film.
After that there was no looking back for Nana Patekar he did sucessful Art films like Trishnagi and Saalam Bombay finally Nana Patekar arrived as an actor.
Parinda was an excellent movie this was because of Nana Patekar portrays of psychotic don, Anna for this mind blowing performace by Nana Patekar.
He walked away with awards and praise.
This opened doors for Nana Patekar to explore as an actor in Commercial Cinema as he was already sucessful in Art Cinema.
Disha (The Uprooted).
Disha belongs to the Parallel Cinema movement of the 1970s and 80s and in the true tradition of the movement goes into painstaking depth to establish and introduce each character to us, sometimes at the cost of exposition.
Introduction is rewarding for we start empathizing for them, as we root for their aspirations and feel for their disappointments.
The typage-like feel of the characters is carefully controlled by Paranjpe who takes great care to set up conflicts of desire for issues which we in the western world would have no resource-tradeoffs for.
Yet this is what furthers our understanding of the pathos of Indian rural-existence.
Method-actors such as Om Puri, Shabana Azmi, Nana Patekar and Raghuvir Yadav, all icons in Indian Theatre and Film, lend themselves to the screen.
I would rate this as Nana Patekar's career best performance in Prahaar.
What else can I say about Nana Patekar? Excellent actor.
And the fact that he tried to make a realistic Indian commando movie is commendable.
But he takes it to one higher level and makes it into an Indian ''Death Wish''.
Coupled with the complexity of his character's background, you can't help but admire what he's done with this film.
In Raju Ban Gaya Gentleman Nana Patekar steals the show whenever he appears on screen infront of the so called King Shahrukh Khan.
Angaar is an underated action film to say the least, Nana Patekar performace stood out, he won best villain at the filmfare awards.
Tirangaa is an excellent Patriotic film.
Great Performances from the late Raj Kumar and Nana Patekar steel the show throughout the whole movie.
Nana Patekar excellent performace won the best actor awards from both Filmfare and National Award.
Krantiveer is the story of Pratap, a man without any motivation, aim or direction in life.
He is aware of the plight of society around him, but like millions of others he takes things as they are and is too lazy to fight for a cause.
He has stood up to fight for a cause.
He has become Krantiveer and millions of Indians follow him.
No actor could play the role of Pratap as well as Nana Patekar, Krantiveer was a mediocre film at best.
Nana Patekar carries the whole film on his shoulders and proved a point or two.
In Agni Sakshi Nana Patekar as always impressed the audience with his style of a very smart, but very possessive villain who loves his wife dearly.
Nana Patekar impacts the audience with his very subtle, but scary look.
Nana Patekar looks perfect for his role. Nana Patekar walks away with an another National award to his name.
In Khamoshi: The Musical I think the film belongs to (Nana Patekar) who was terrific.
It really is a heart-stopping moment, when he claps his hands at the end endeavouring to 'wake' his daughter - I suddenly remembered him doing that when she was a baby and they were afraid that she was going to be a deaf-mute too - but that time she DID respond, this time she can't.
Nana Patekar is BACK! And that, too, with a bang! Those of you who had seen Ghulam-E-Musthafa probably figured that it was yet another loud action flick with Nana playing his usual loud self.
Well, this is definitely one movie where the previews of the movie have been misleading.
If anything, the film, a remake of a South movie, walks a tightrope between action film and social family drama, and it manages to balance itself beautifully.
Nana plays ''Musthafa'', a killer/henchman for the underworld.
The don he works for (Paresh Rawal) picked him up from the streets and raised him, so Musthafa feels a strong obligation to serve the don. Nana gives an amazingly heart-breaking performance as Musthafa.
In Yugpurush Nana Patekar is absolutely phenomenal as Anirudh.
His manner, mannerisms, and tone are perfect, and he delivers one of the best performances of his career from my point of view.
Again in Wajood Nana Patekar (Malhar) is the son of a lower middle-class slum-dwelling typist, who lives under the weight of failing in his life.
The undercurrent of this father-son relationship is brilliantly essayed.
Pressurized to take up a salary-paying clerical job and forced to pursue the bookish education, Nana still looks to the artist within and seeks to make his mark on stage.
The scene where Nana explains how he was forced to books is just brilliant.
He explains how he was locked in a house and spanked because he wouldn’t get first rank.
Eventually he is driven to crime for winning a cup on stage (which his father terms a begging bowl).
The ending of the movie made me cry when Nana Patekar is shot to death by Mukul Dev and his old father claps at his son performance in the theatre.
Then Nana Patekar was sterotyped in every film shouting out crude dialogues from his past movies like a mad man.
Films like Kohram, Hu Tu Tu, Gang, Tarkeib and Vadh failed at the box office.
In Shakti Nana Patekar was excellent as the tyrannical father-in-law. Not much to say about him, besides this is a role made for him despite filthy and swear language words galore.
It took Ram Gopal Verma to bring out the actor in him. He was great in Bhoot as the wise cracking Inspector Quereshi and he was superb also in the brief episode.
In Darna Mana Hai( one of the few times when I liked Vivek Oberoi too)
Nana is more in the league of a Jack Nicholson or Gene Hackman or Morgan Freeman, or Sanjeev Kumar or Balraj Sahni in an Indian context.
An excelent character actor, and I guess he should stick to that.
In Ab Tak 56 he was just brilliant. Its a pity his memorable performance was overlooked for Shahrukh’s rather mediocre performance in Veer Zara.
I am awaiting Prakash Jha’s Apharan which has him pitted with Ajay Devgan.
