Vishwanath "Nana" Patekar, one of Indian cinema’s most formidable actors, a titan of acting and a dedicated social reformer, who passed away on Thursday at the age of 75, was revered for his intensely grounded performances, raw emotional authority, and commanding screen presence. He leaves behind a legacy that extends far beyond cinema.
For millions in rural India -- particularly across the drought-stricken belts of Maharashtra -- he will be remembered as a life-affirming force who dedicated his personal resources and later years to water conservation and agrarian relief.
Patekar’s journey in performing arts began in theatre before expanding into Marathi and Hindi cinema. Over a career spanning more than four decades, he earned multiple National Film Awards and Filmfare Awards, redefining the portrayal of anti-heroes, police officers, and complex everyday individuals in Indian cinema.
His performance in ‘Parinda’ (1989) earned him his first National Film Award for Best Supporting Actor, marking a shift toward darker, more nuanced characterization in mainstream cinema. He subsequently won the National Film Award for Best Actor for ‘Krantiveer’ (1994), delivering monologues that remain iconic in Indian pop culture.
Demonstrating rare dynamic range, Patekar moved seamlessly from intense dramas like ‘Ab Tak Chhappan’ (2004) and ‘Astitva’ (2000) to critical successes like ‘Khamoshi: The Musical’ (1996) and lighthearted blockbusters like ‘Welcome’ (2007). His portrayal in the critically acclaimed Marathi film ‘Natsamrat’ (2016) highlighted his deep theatrical roots, delivering a performance widely considered one of the finest in modern Indian cinema.
While Patekar achieved immense professional success in cinema, his defining calling in his later years was his work in Maharashtra’s rural heartlands. Deeply moved by recurring agrarian crises and severe drought in Maharashtra's Marathwada and Vidarbha regions, he shifted his focus to grassroots social intervention.
He used to claim that his work in the transformation of rural and mofussil areas, especially in the water sector, was his attempt to give back to society. Staying connected with diverse groups and helping them was his passion.
In September 2015, alongside fellow Marathi actor Makarand Anaspure, Patekar co-founded an NGO in response to widespread drought conditions and high rates of farmer suicides. Rather than engaging in symbolic philanthropy, Patekar personally visited affected families, seed-funded initial operations using his own savings, and rallied public support across urban and rural centres.
Understanding that sustainable relief required structural water availability rather than temporary hand-outs, his NGO focused heavily on watershed management and water security. The foundation deployed earth-moving equipment to desilt hundreds of km of silted rivers, canals, streams, and lakes.
The rejuvenation of the Riddhi Siddhi River in Beed and campaigns on the Pus River restored dried-up riverbeds, successfully recharging local ground aquifers and reviving nearby wells and borewells. He facilitated the construction of farm ponds and check-nala-bunds (CNBs), securing billions of litres of water storage capacity and reducing dependence on emergency water tankers across hundreds of villages.
His NGO provided direct financial relief, vocational equipment (such as sewing machines and flour mills), and livestock to widows and dependents of farmers who had died by suicide, enabling long-term economic independence. The foundation adopted several severely affected villages to transform them into self-sustained ecosystems with access to clean water, group farming models, proper sanitation, and community spaces.
Nana Patekar represented a rare bridge between the heights of cinematic artistry and direct, hands-on social reform. His legacy is etched not only in the archives of Indian cinema but also in recharged rivers, lush agricultural fields, and self-reliant rural communities across India.
