GOA / MUMBAI, October 8, 2026 — Nana Patekar, one of Indian cinema’s most distinctive and uncompromising performers, died early Thursday morning at his residence in Dona Paula, Goa. He was 75.
The actor, whose real name was Vishwanath Patekar, suffered a severe cardiac arrest in the early hours. According to doctors, he had complained of discomfort and pain on the left side of his chest around 2:30 a.m. to a friend. By the time medical help arrived, he was found unconscious. He was rushed to Manipal Hospital in Goa, where continuous cardiopulmonary resuscitation was administered for nearly 45 minutes. Despite the efforts, he could not be revived and was declared dead at approximately 5:20 a.m.
Dr Shekhar Salkar, chief of the oncology department at Manipal Hospital, confirmed the sequence of events to news agencies. Because Patekar was not a registered patient at the hospital, the death was treated as a medico-legal case. His body was shifted to Goa Medical College for a post-mortem examination to ascertain the precise medical details. His son, Malhar Patekar, confirmed the news and said his father had died of natural causes. The family is expected to take the body to Pune for the final rites, in keeping with the actor’s wishes. Maharashtra Chief Minister Devendra Fadnavis announced that the state government would accord him a state funeral with full honours in recognition of his contributions to Marathi theatre and Hindi and Marathi cinema.
Born on January 1, 1951, in Murud-Janjira in Maharashtra’s Raigad district, Patekar grew up amid financial hardship. He worked from a young age, including painting film posters in Mumbai, and studied at the Sir J.J. Institute of Applied Art. Theatre shaped his early craft. He made his film debut in the 1978 Hindi drama Gaman and appeared in Mira Nair’s acclaimed Salaam Bombay! (1988). His breakthrough arrived with Vidhu Vinod Chopra’s Parinda (1989), in which his chilling portrayal of the underworld don Anna Seth earned him the National Film Award for Best Supporting Actor and a Filmfare Award in the same category.
That intensity defined much of his career. In Krantiveer (1994) he played an angry journalist who rallies ordinary people against corruption, winning the National Film Award for Best Actor. A third National Award, again for supporting actor, followed for Agni Sakshi (1996). He directed Prahaar: The Final Attack (1991), preparing for the role with rigorous army training, and later served as an honorary lieutenant colonel in the Territorial Army, even volunteering during the 1999 Kargil War.
Patekar’s range was remarkable. He moved fluidly from the menacing crime lord of Parinda and the volatile protagonist of Krantiveer to the comic gangster Uday Shetty in Welcome (2007) and its sequel, the retired stage actor of the Marathi classic Natsamrat (2016), the tough cop of Ab Tak Chhappan, and supporting turns in films such as Khamoshi: The Musical, Raajneeti, and Apaharan. In recent years he remained active, appearing in Vanvaas (2024), Housefull 5 (2025), the series Sankalp, and O’ Romeo (2026).
Beyond the screen he was known for his outspoken nature, social work through the Naam Foundation supporting drought-affected farmers in Maharashtra, and a reputation for living simply and speaking his mind. In 2013 he received the Padma Shri for his contribution to the arts.
Tributes began pouring in within hours of the news. Prime Minister Narendra Modi praised Patekar’s “intensity, individuality and unmistakable presence,” saying he “brought remarkable versatility and creativity to every role and gave us characters that will be remembered for generations.” Maharashtra Chief Minister Devendra Fadnavis described him as “as great-hearted as he was great on screen” and recalled his work for farmers. Assam Chief Minister Himanta Biswa Sarma called him a “true nationalist.” Colleagues across the industry, from senior actors to younger performers who had worked with him, expressed shock and grief, remembering both his craft and his strong, independent personality.
Four days before his death, Patekar had made a public appearance in Goa at the installation ceremony of a theatre club. In remarks that now appear poignant, he spoke about the transient nature of life, saying, “We all have to go someday. I don’t know whether I will be here tomorrow or not.”
Patekar is survived by his wife, Neelkanti (from whom he was separated), and their son Malhar. His body of work, spanning nearly five decades of Hindi and Marathi cinema and theatre, leaves an indelible mark on Indian performing arts.