Oct 08, 2026 11:23am IST
Suresh Triveni on Directing Nana Patekar in ‘Subedaar’: ‘He Did It Only for Anil Kapoor’
Veteran actor Nana Patekar, who died at 75 on October 8, leaves behind a body of work marked by his formidable screen presence and memorable performances. Director Suresh Triveni, who directed him in a cameo for ‘Subedaar,’ recalls how Patekar came on board at Anil Kapoor’s request, delivered a scene that gave the crew goosebumps and did not charge a penny for the appearance.
You wanted an actor who could establish himself as a soldier in a single shot. Was that what led you to Nana Patekar?
Absolutely. We were looking for an actor for that part and had met a few people. I wanted someone who could establish, in a single shot, that he was a soldier… someone you could trust on sight. I felt no other actor could do that as effectively as Nana sir. His image from films like “Prahaar” also made him perfect for the role.
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Did Anil Kapoor help you approach Nana Patekar?
Yes. We were looking for someone for a special appearance, partly because of our limitations, and I wanted the role to have a certain impact. Anil Kapoor sir spoke to him. They go back a long way and are very close friends, especially since “Welcome.” I remember meeting Nana sir at the Marriott around the time the shoot for Vishal Bhardwaj’s “O’ Romeo” had begun. He was staying in a suite and eating food he had brought from home rather than ordering from the hotel. He was very particular about his food and spoke about it fondly.
I narrated the role to him, and I was a huge fanboy. He told me he would do it only for Anil sir. It had nothing to do with the script or the role. He simply wanted to do it for his friend. There was no lengthy discussion after that, and he eventually arrived on set. I clearly remember February 16, 2025. We had to shoot the scene in Film City, Mumbai, rather than in Chambal. Nana sir had to stand at a certain height on a slope, as you see in the film. Anil sir was standing below, giving him his cues. When Nana sir delivered the first line, it gave us goosebumps. We recorded the sound live, and he did not charge a single penny for the appearance. He had made it clear that he was doing it for Anil sir.
Did you get a chance to interact with Nana Patekar beyond the shoot?
I remember asking him why he didn't return to directing. He told me he had a couple of stories in mind, including one about a schoolteacher that he wanted to turn into a film. I don't know what happened to that project, but he seemed keen to pursue it. We wrapped up the shoot in about two hours. I still remember Anil sir and Nana sir walking together, with me following right behind them. For a small-town boy from Ranchi, watching these two legends, who had worked together in films like “Parinda” and later “Welcome,” walk side by side was a special moment. I think they belong to the last breed of men we have seen in the Hindi film industry. I received tremendous feedback for that one scene, and I feel honored to have had the opportunity to direct Nana sir, even if it was for a small role.
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