The filmmaker recalls Nana Patekar’s final hours, regrets missing his last chance to meet his 42-year-old friend and revisits the Tanushree Dutta controversy, saying the late actor suffered immensely.
Some friendships are so deep that even decades cannot prepare you for goodbye. Filmmaker Mahesh Manjrekar is still struggling to accept the sudden death of his close friend and longtime collaborator Nana Patekar. More than a month after the veteran actor passed away, Manjrekar has opened up about the questions that continue to haunt him, the regret of not being able to see Nana one last time and the memories of a friendship that lasted over four decades.
In a candid conversation with News18 Marathi, Manjrekar revisited the final hours of Nana’s life and expressed disbelief over why the actor did not seek immediate medical attention after experiencing discomfort. One detail particularly troubles him: Nana’s residence in Dona Paula, Goa, was reportedly just four minutes away from a major hospital.
Nana Patekar died on October 8, 2026, at the age of 75 after suffering a suspected cardiac arrest at his Goa residence. His death sent shockwaves through the Hindi and Marathi film industries, where he was admired for his intense performances, distinctive screen presence and decades-long contribution to cinema.
For Manjrekar, however, the loss is much more personal. He has lost someone who was not merely a colleague or industry friend, but a part of his life since their theatre days in the 1980s.
Mahesh Manjrekar Questions Why Nana Patekar Did Not Go to Hospital
Recalling what he had learnt about Nana’s final hours, Manjrekar said the actor began feeling uncomfortable at approximately 2.30 am. According to the filmmaker’s account, Nana informed people close to him about his condition. He reportedly contacted his elder brother again around 3.30 am, saying that he was still feeling unwell.
His brother subsequently reached the residence and suggested that Nana should be taken to a hospital. However, the actor apparently believed that his discomfort might be caused by gas and was reluctant to seek medical attention.
Manjrekar was particularly disturbed by the fact that medical assistance was reportedly available just a few minutes away. While Nana was discussing his condition, he suffered a cardiac attack.
“I keep wondering why he didn’t go to the hospital in the first place when it was so close to his house. Why didn’t he go? I am now stressing too much about these ifs and buts,” Manjrekar said.
The filmmaker admitted that he keeps going back to the same unanswered questions. The suddenness of Nana’s death has made it difficult for him to process what happened, especially because he remembered his friend as someone who was physically active and energetic.
Hospital accounts reported at the time of Nana’s death said that he had experienced discomfort and contacted a friend during the night. He was subsequently found in a critical condition and taken to Manipal Hospital, where doctors attempted to revive him. He was declared dead at around 5.20 am.
Manjrekar’s comments reflect the emotional struggle of someone trying to make sense of a loss that came without warning. His questions are expressions of grief and regret, rather than a medical explanation of what could have prevented the cardiac arrest.
‘You Had No Right to Leave’: Manjrekar’s Emotional Tribute
The most heartbreaking part of the interview came when Manjrekar spoke about their friendship. The two had known each other for approximately 42 years, beginning with their association in theatre during the 1980s.
Their bond was not the conventional, polite friendship that people might expect from two established film personalities. Manjrekar revealed that exchanging abuses was often their peculiar way of expressing affection.
Remembering Nana’s sudden departure, the filmmaker said he would have scolded his friend for leaving without giving anyone a chance to look after him.
“It was so unfair of him to leave. I would have abused him and told him that it was not fair to go like this. You had no right to leave, especially when I wasn’t around,” he said.
Manjrekar also regretted that Nana had not informed his friends that he was unwell, giving them an opportunity to reach out and take care of him.
The filmmaker was in London when Nana died in Goa. Being away from India meant he could not see his friend one last time or be present during the final moments. That absence continues to weigh heavily on him.
His emotional attachment was evident when he spoke about the possibility of life after death. “If there is life after death, the first person I would love to meet after my family is Nana,” he said.
It is a statement that captures the depth of their relationship far more powerfully than any conventional tribute.
From Theatre to ‘Natsamrat’: A Friendship That Also Created Cinema
Manjrekar and Nana’s relationship extended beyond personal affection. Their professional association produced memorable work, including the acclaimed Marathi film Natsamrat (2016), directed by Manjrekar.
Nana played Appa Belwalkar, a celebrated theatre actor whose life takes a tragic turn after retirement and family conflict. His performance was widely appreciated and remains one of the notable roles in his career.
The film also carried a special significance because theatre was where the two had first built their connection. Their shared understanding of performance and stage culture helped create a professional relationship that lasted for decades.
Nana’s career itself stretched across nearly five decades. He became known for powerful performances in films such as Parinda, Krantiveer and Salaam Bombay!, while continuing to work in Hindi and Marathi cinema. He received three National Film Awards and the Padma Shri for his contribution to Indian cinema.
For Manjrekar, the loss also means the disappearance of a creative companion with whom he had hoped to work again. Their association had given audiences memorable moments, but the filmmaker now has to live with the knowledge that some planned conversations and collaborations will never happen.
Manjrekar Revisits Tanushree Dutta’s Allegations Against Nana Patekar
The interview also brought the Tanushree Dutta controversy back into the conversation. The allegations, which became a major talking point during India’s #MeToo movement in 2018, involved an incident reported to have taken place during the 2008 filming of Horn ‘OK’ Pleassss.
Tanushree accused Nana of behaving inappropriately towards her on the film set, alleging that he touched her inappropriately under the pretext of demonstrating dance steps. Nana denied the allegations.
Manjrekar, who has consistently expressed support for his late friend, said he knew several people who were present during the shoot. According to him, people he knew from the sets had told him that nothing inappropriate had happened.
“Everyone on the set was known to me, and I also know who was present there. It was highlighted for no reason. Everyone I knew on the sets had told me that nothing had happened. Nothing at all had happened,” he said.
He further claimed that the controversy caused Nana considerable distress and expressed his belief that his friend had suffered unfairly because of the public debate.
However, the allegations and the filmmaker’s defence need to be understood separately. Tanushree made the allegations, Nana denied them, and Manjrekar has now offered his personal perspective. His account does not independently establish what happened on the set.
Mumbai Police had filed a closure report in 2019, citing insufficient evidence to substantiate the complaint. Tanushree challenged the findings and continued to maintain her allegations. The controversy therefore remains part of the public record surrounding Nana’s career, even after his death.
Manjrekar’s remarks are likely to renew discussion around the episode, particularly on social media, where opinions about the #MeToo movement and the allegations have remained divided.
The Phone Call Manjrekar Wishes He Had Made
The filmmaker’s grief is also connected to a small but painful regret: not calling Nana when he had the opportunity.
In earlier recollections following the actor’s death, Manjrekar spoke about how Nana would regularly contact his wife, Medha, to ask about her health. He remembered his friend as someone who made an effort to stay connected with the people he cared about.
Manjrekar also admitted that he sometimes took their friendship for granted because Nana was usually the one who initiated conversations and checked on him.
He had thought about calling Nana shortly before learning of his death. That missed conversation has since become another painful reminder of how abruptly life can change.
The filmmaker’s emotional tribute after the death also made it clear that he did not expect to lose someone who had been part of his life for so long.
Nana Patekar’s Death Leaves a Lasting Void
For Manjrekar, the immediate consequence of Nana’s death is deeply personal: the absence of a friend with whom he shared more than four decades of memories, arguments, jokes and creative experiences.
His latest interview also ensures that public attention remains on Nana’s final hours and the legacy he leaves behind. The renewed discussion of the Tanushree Dutta controversy may bring fresh debate, but it is the filmmaker’s memories of their friendship that form the emotional centre of his account.
There is no replacing a relationship built over 42 years. Manjrekar may continue to remember Nana through their films, theatre experiences and private conversations, but the unanswered questions surrounding that October morning are likely to remain difficult for him.
As he put it, if there is another life, Nana is among the first people he would want to meet again. For a filmmaker who has spent decades telling stories on screen, this is one goodbye he is clearly finding impossible to accept.
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