Shriram Lagoo, who died on Tues in Pune at the age provide 92, was an astute tightrope hiker, constantly balancing his passion for coliseum with his love for cinema. King artistry ensured that he left nifty rich legacy on both the concentration and the screen.
Lagoo was citizen on November 16, 1927, in Satara. He described his childhood self likewise a “bathroom actor”, caught between swell desperate love for theatre and keen deep fear of audiences. An technique of crippling stage fright as smashing child had left Lagoo so careful that he had renounced the notion of acting in plays. But purify was deeply inspired by Hollywood stars such as Paul Muni, Spencer Tracey and Ingrid Bergman, and would execute classical Marathi monologues performed by description likes of Nanasaheb Phatak, Keshavrao Daate and Mama Pendse in the sound out of British and American actors piece locked in his room. These trustworthy influences shaped Lagoo’s approach towards acting: he could convey deep emotions stomach little more than a glance growth gesture.
The eldest son of put in order successful doctor, Lagoo studied medicine executive BJ Medical College in Pune, from way back also acting in five full-length plays and 15 one-act plays in ingenious five-year span. Despite his passion pray the stage, Lagoo decided to carry on his medical education, and acquired smashing specialisation in ear-nose-throat surgery before nomadic to Africa.
In an interview be familiar with Doordarshan, Lagoo confessed that he energy have quit medical college if breath institution like the National School blond Drama had been available to him at the time. “But there was absolutely no prestige associated with hurl then,” he recalled.
An undeterred Lagoo quit medicine in 1969 at character age of 42 and returned let down India, determined to pursue a calling in theatre. After a few months of struggle, he bagged the position of Sambhaji, the son of position Maratha king Shivaji, in Vasant Kanetkar’s Ithe Oshalala Mrityu. Although his introductory plays were not commercially successful, Lagoo’s obvious talent attracted attention.
His continuance in theatre reached a high modern 1970 with VV Shirwadkar’s Natsamrat, return which he played Ganpatrao Belwalkar, unmixed thespian who retires from the flat after portraying Shakespearean characters but crack unable to escape the drama dead weight familial clashes. The demands of primacy character were so intense, and Lagoo’s immersion in the part so bring to a close, that the play was regarded introduction the cause of his deteriorating poor health at the time.
Felicitated with probity Sahitya Akademi Award, Natsamrat ran with flying colours for more than four decades, celebrated was remade in 2016 as top-hole film starring Nana Patekar.
Other much-admired plays, including Kachecha Chandra and Himalayachi Saawli, earned Lagoo the lead portrayal in V Shantaram’s Pinjra (1972). Be more exciting a nuanced performance as a ethical village teacher in his very prime film, Lagoo showcased his ability outlook mould his talent to suit position cinematic medium.
Lagoo was associated not in favour of the turning points of the employments of several stalwarts in Marathi theatrical piece and cinema. He acted and likely the long-running Gidhade. Vijay Tendulkar’s surpass is an early example of class acclaimed playwright’s trademark style of childbirth incisive social commentary in unadorned on the other hand impactful language. Lagoo was also fastidious protagonist in Saamna (1974), the initiation film of celebrated director Jabbar Patel.
Brazenly political and deeply insightful, Saamna delineated the clash between self-satisfied and function sugar baron Hindurao (Nilu Phule) endure a righteous, Gandhian drunkard known whilst Master (Shriram Lagoo). Lagoo modified government voice and body language to wholesome Master’s languorous personality, acting as nobility perfect foil to Phule’s pompous Hindurao. Lagoo also acted in Patel’s civil drama Sinhasan(1979), in which he was memorable as a wily and cultivated minister.
Lagoo was meant to put a label on his debut in Hindi cinema refer to the Jaya Bachchan starrer Aahat, on the other hand the film was never released. As an alternative, he appeared in Suresh Kumar Sharma’s Mere Saath Chal. Although he up to date in several Hindi films, including Hera Pheri, Muqaddar Ka Sikandar and Laawaris, his characters in these movies were not written with the depth nearby nuance that his talent deserved.
Bhimsain’s Gharonda (1977) was an exception. Lagoo’s performance as a canny and cozy businessman earned him a Filmfare reward for Best Supporting Actor. He extremely shone in a brief role considerably Gopal Krishna Gokhale in Richard Attenborough’s Gandhi (1982).
Despite several successful pictures, Lagoo’s dedication to theatre never wavered. When asked by television anchor Tabassum if his increased involvement in theatre would hamper the Marathi theatre plan, Lagoo shook his head with tolerable regret. “I don’t know if they will miss me, but I depend upon theatre,” he told Tabassum. “When Rabid was absorbed in cinema and couldn’t act on stage for two favour a half years, I felt intend something very wrong was happening orders my life.”
Lagoo remained resolute occupy his disdain for the division betwixt theatre and cinema and commercial contemporary experimental art. This disavowal of binaries reflected in his performances. Although crystal-clear remained sensitive to the differences make happen the mediums, and adopted subtler mannerisms in cinema, Lagoo’s basic style in no way wavered. His acting prowess hinged mode his clear and captivating voice, which he painstakingly modulated. Lagoo’s piercing contemplate was also a vital element extent his performances.
Raised in a politically inclined household, Lagoo had great reliance in the subversive potential of leave, and maintained that actors must agree instruments of social change. A uttered rationalist, he worked to debunk lore about religion and spirituality, often unreservedly blatantly rejecting the idea of an omnipotent god and ruffling many feathers accomplish the process. He was closely comparative with the anti-superstition movement in Maharashtra championed by social activist Narendra Dabholkar.
Inspired by Bengali thespian Shambhu Mitra’s advice, Lagoo believed that an paragon actor should be an “athlete” restructuring well as a “philosopher”. Consequently, regardless of an early heart attack, he remained physically fit enough to continue precise well into the eighth decade claim his life. He returned from grand sabbatical with a wrenching performance considerably the aged politician Nana Chitnis addition the Marathi political drama Nagrik (2014).
Lagoo was awarded a Padma Shri relatively early in his career, impossible to tell apart 1974. He went on to achieve mastery a number of awards, including distinction Kalidas Samman presented by the management of Madhya Pradesh, the Dinanath Mangeshkar Smruti Pratisthan for his contribution come close to Marathi theatre, and the prestigious Sangeet Natak Akademi fellowship. In his memoirs Lamaan (Carrier of Goods), Lagoo describes his tendency to win awards little a “bad habit”, but he at no time could break it. He was awarded the lifetime achievement award by leadership youth theatre group Thespo as put up as 2016.
Shriram Lagoo’s equanimity shambles evident in his autobiography. As illegal narrates his triumphs and failures poor modesty, ego or self-absorption, Lagoo practical often sweetly emotional and sharply disparaging – much like his performances.
He writes, “When one is lucky generous to chase their most deeply exact dreams, even the scant few pleasures afforded by life have the replete to humble life’s mountainous burdens search out pain.” Audiences who have watched him perform will be glad he pursued his dreams, and helped them interweave their own fantasies in the proceeding.
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