A Biography of Abdur Razzak

Introduction

The Eternal Saga of Bengali Cinema’s King of Actors

1967. A cinema hall in Kolkata. On the screen, a young actor appears as Lakhindar in the film Behula — his face etched with sorrow, his eyes radiating deep emotion, his body language an exquisite poetry. The audience is mesmerized.

That actor was none other than Abdur Razzak — the biggest star in the history of Bangladeshi cinema, the man whom millions would come to worship as Nayakraj (King of Actors).

But who knew that this king spent his childhood in the slums of Naktala, Kolkata? An orphan who lost both parents, a boy who dreamed of making it big in Bollywood, a refugee who fled the communal riots of 1964 and found his destiny in Dhaka? He became the first megastar of Bengali cinema, won five National Film Awards, the Ekushey Padak, and the Independence Day Award — the highest civilian honor of Bangladesh.

Over 400 films, 16 directorial ventures, unforgettable pairings with Shabana, Kabori, Bobita, and every leading lady of his era. And yet, on August 21, 2017, his heart stopped.

The question remains: how did a poor, orphaned boy from Kolkata become the Nayakraj of Bengali cinema? What were his struggles, his education, his journey from Bollywood dreams to Dhaka’s film industry? How did Behula change his fate? Why did he turn down Bollywood offers? How did Rongbaaj transform him into an action hero? Why does Baba Keno Chakor with his son Bapparaj remain immortal? What did the Independence Day Award mean to him?

This epic of 28 chapters tells the story of Nayakraj Razzak — from an orphaned teenager in Kolkata to the emperor of Dhallywood, a legend honored with the highest state awards, and an everlasting icon of Bengali cinema.

At a Glance: Life of Nayakraj Razzak

Comprehensive Profile of Bengali Cinema’s Eternal Star

Information	Details	Special Note
Full Name	Abdur Razzak	Stage name: Razzak; Title: “Nayakraj” (King of Actors)
Profession	Actor, Director, Producer, Screenwriter	Known as “Nayakraj” and “Mahanayak” of Bengali cinema
Born	January 23, 1942, Naktala, South Kolkata, Bengal Presidency, British India (now West Bengal)	Father: Akbar Hossain, Mother: Nisarunnesa
Died	August 21, 2017 (aged 75), United Hospital, Dhaka, Bangladesh	Heart attack
Father	Akbar Hossain	Service holder; died when Razzak was very young
Mother	Nisarunnesa	Died eight months after father’s death
Education	Khanpur High School (secondary); Diploma from Filmalaya Film Institute, Mumbai (1961-1964)	Came in contact with greats during film institute days
Religion	Islam
Nationality	Bangladeshi (moved to East Pakistan in 1964)	Born and raised in Kolkata; later permanent citizen of Bangladesh
First full-length film (Kolkata)	Ratan Lal Bangali — supporting role	Release uncertain
First released film (Dhaka)	Tero Number Feku Ostagar Lane (1966?) or Behula (1966 as lead)	Screenplay by Asif Uddin Dowla
First lead role film	Behula (1966, directed by Zahir Raihan)	Zahir Raihan made him a hero
Career span	1964–2017 (approx. 53 years)	Busiest period: 1970s–1980s
Total films (approx.)	Over 400 (Bengali and Urdu)	Record for most films in Bengali cinema
Directed films	16, including Ononto Prem (1977), Ki Je Kori (1976, National Award winner), Oshikkhito (1978, National Award winner), Boro Bhalo Lok Chhilo (1982, National Award winner), Badshah (1999)	Mostly commercially successful
First produced film	Aakangkha (1976)	Debut as producer
Highest Recognition	Independence Day Award (2015), Ekushey Padak (2007), National Film Awards (5 times)	Received Bangladesh’s highest civilian honor
National Film Awards (Best Actor) — 5 times	Ki Je Kori (1976), Oshikkhito (1978), Boro Bhalo Lok Chhilo (1982), Chandranath (1984), Jogajog (1988)	Each from different directors, different character types
Wife	Khairunnesha Laxmi	Married in 1968; “Rajlaxmi Complex” named after her
Children	3 sons and 2 daughters — Bapparaj (actor), Bappi (playback singer), Samrat, Nasrin Pasha Shampa, Afrin Alam Moyna	Bapparaj is also an actor, Bappi a singer
Organizational Role	Founding President of Bangladesh Film Artists’ Association (first president)	Formed in 1977
International Role	Goodwill Ambassador for UNFPA (United Nations Population Fund)	Worked on population control and awareness
Nicknames	“Nayakraj,” “King of Actors,” “Emperor of Dhallywood”	Given by media and fans
Languages	Bengali, Urdu, Hindi, English	Multi-lingual
Grave	Family graveyard
Fashion Icon	The “Razzak look” of the 70s–80s was popular	Fans imitated his style
Last Film	Kartuz (2016)
Time of Death	August 21, 2017, admitted to United Hospital at 5:20 PM; died at 6:13 PM

Every line of this table carries the weight of a legend’s journey — especially the “Born” row to the “Awards” row, from the slums of Kolkata to the highest civilian honor of Bangladesh.

Early Life (1942–1950)

On January 23, 1942, in the Naktala area of South Kolkata, then British India, a son was born to Akbar Hossain, a service holder, and Nisarunnesa. They named him Abdur Razzak. The family was not well-off, but there was love and warmth.

Tragedy struck early. When Razzak was very young, his father died. Just eight months later, his mother also passed away. At an age when children cling to their parents, Razzak became an orphan — homeless, helpless, starving for food and affection. He lost everything: his home, his security, his future.

“I remember crying myself to sleep many nights,” he would later recall. “But crying doesn’t fill your stomach. So I learned to fight.”

He was taken in by his maternal grandparents, who lived in a humble slum dwelling in Kolkata. There, amidst the indifference of the world, he grew up. He knew hunger, he knew neglect, but he never let the fire inside him die.

He attended Khanpur High School and passed his secondary examinations. From childhood, cinema fascinated him. Kolkata was the hub of Bengali cinema, and young Razzak would stare at film posters on the walls of Naktala’s narrow lanes. He dreamed of one day appearing on the silver screen.

Those childhood struggles — the hunger, the loneliness, the feeling of being unwanted — would later give his acting a depth and authenticity that few could match. Because he had truly known sorrow.

Education (1950–1964)

Razzak’s formal education did not go far, but his passion for cinema was boundless. After completing his secondary education from Khanpur High School, he faced a choice: pursue a conventional career or follow his heart.

He chose the latter.

In 1961, he enrolled at the Filmalaya Film Institute in Mumbai to pursue a diploma in acting and direction. It was a bold move for a poor orphan. He somehow managed the fees — perhaps with help from a relative in Kolkata.

At the institute, he came into contact with big personalities of Bollywood. He learned stage craft, camera angles, dialogue delivery, and the nuances of performance. He also realized that the Indian film industry was fiercely competitive. But he never gave up.

“Filmalaya taught me not just acting,” he would say, “but also the art of survival.”

After completing his diploma in 1964, he returned to Kolkata. He managed a small role in Ratan Lal Bangali — his first film, though its release is disputed. But before he could establish himself, the communal riots of 1964 erupted in Kolkata. His family’s safety was threatened. Advised to leave, Razzak, along with his grandparents, migrated to East Pakistan (now Bangladesh).

That migration changed everything. His education remained somewhat incomplete, but his real lessons in cinema had just begun.

Arrival in East Pakistan(1964–1966)

In 1964, Razzak arrived in Dhaka — a new city, a new language (though Bengali was the same, the cultural context was different), and a new struggle.

He first worked as an assistant director on Abdul Jabbar Khan’s Iqbal and Kamal Khan’s Ujala. These experiences taught him the practical aspects of filmmaking. He came in contact with pioneers of Bangladeshi cinema.

Then came small acting roles: Akhri Station and Tero Number Feku Ostagar Lane. The latter, produced by Salahuddin Productions, earned him some recognition. Directors began to notice his potential.

But financial hardship continued. Razzak lived frugally, often skipping meals. But he never complained. He knew that success would come to those who persisted.

One anecdote is revealing: on a film set, a director told him to stand in the background. Razzak smiled and said, “I studied acting at Filmalaya, not to stand in the background.” The director, impressed by his confidence, gave him a small speaking role. That confidence would soon make him a hero.

Behula and the First Major Success (1966)

The year 1966 was a turning point. Director Zahir Raihan cast Razzak as the lead in Behula — a folk tale of a wife who brings her dead husband back to life. Razzak played Lakhindar, a role that required him to portray both death and resurrection. It was challenging, but he delivered a performance of astonishing realism.

Behula was a massive success. For the first time, audiences accepted him as a hero. Overnight, Razzak became a superstar in East Pakistan. His dialogue delivery, his eye expressions, his screen presence — everything captivated viewers.

Zahir Raihan became Razzak’s mentor. Razzak remained grateful throughout his life. In an interview, he said: “Zahir Raihan made me a hero. I am forever indebted to him.”

He also recalled an incident during the shooting of Behula: once he forgot his lines. Raihan did not scold him; instead, he said, “Say it in your own words.” That encouragement gave Razzak immense confidence.

Though Raihan later focused on writing and the Liberation War, he had already set Razzak on the path to glory. After Behula, Razzak was no longer an unknown refugee — he was the reigning hero of East Pakistani cinema.

Streak of Success (1967–1970)

After Behula, 1967 saw the release of Jibon Theke Neya (based on a story by Maulavi Abdul Hai) and Abhirbhob directed by Subhash Dutta. Jibon Theke Neya was another Zahir Raihan film that showcased Razzak’s emotional range. It was a social drama about poverty and deprivation — themes Razzak understood deeply.

Abhirbhob paired him with Kabori, and the Kabori-Razzak jodi (pair) became legendary. Their on-screen chemistry was electric. They would go on to act in over 20 films together, including Maynamoti, Neel Akasher Niche, Paruler Sansar. Kabori herself said, “Acting with Razzak helped me improve my own performance.”

In 1970, films like Dorp Choorn, Ko Kha Go Gh Ongo, and Asharer Gaan were released. Razzak was working 6-8 films a year, tireless and professional. Co-stars called him “Razzak Bhai” with affection. He was strict about punctuality but kind-hearted.

Osru Diye Lekha (1970) moved audiences to tears with its portrayal of patriotism and humanity. By the end of the decade, Razzak had become a household name across the subcontinent.

Liberation War and Post-Independence Era (1971–1973)

During the 1971 Liberation War, Razzak was at the peak of his career. He did not collaborate with the Pakistani regime; he quietly supported the freedom fighters. He remained in Dhaka, unable to flee to India, but his sympathies were clear.

After independence, he threw himself into rebuilding Bangladeshi cinema. In 1972, Ora 11 Jon — one of the first post-independence films about the war — was released, with Razzak in a supporting role. Manusher Mon, directed by Khan Ataur Rahman, featured Razzak alongside Bobita and Kabori.

In 1973, Amar Jonmobhumi and Rongbaaj (officially 1974) came out. Amar Jonmobhumi carried a message of patriotism.

Razzak realized that post-independence audiences were more conscious. He brought greater sincerity to his roles. The National Film Awards were introduced around this time, and Razzak would go on to win five times — a record that still stands.

Action Hero Fame (1974)

In 1974, Zahirul Haque directed Rongbaaj, an action film in which Razzak played a daring tough guy. His long hair, jeans, leather jacket — the “Rongbaaj look” — became a fashion sensation among youth. The film’s song “O Amar Rongbaaj Re” was on everyone’s lips.

Before Rongbaaj, Razzak was known primarily as a romantic hero. This film established him as an action hero as well. He performed his own stunts, including a daring leap from a high building. The director was amazed by his professionalism and courage.

Rongbaaj expanded his fan base to include young boys who now wanted to emulate him. He followed it with action films like Shamsher, Lal Badshah, Banduk. But he never abandoned serious, nuanced roles — Chandranath and Jogajog later proved his versatility.

An anecdote: during a fight scene in Rongbaaj, Razzak accidentally hit a stuntman too hard. He immediately apologized and personally took the man to the hospital. Such was his humanity.

National Film Awards — Five Times Best Actor

The National Film Awards (Best Actor) won by Razzak stand as an unparalleled record:

1. 1976 – Ki Je Kori (directed by himself) — A social drama about a father and husband’s responsibilities.
2. 1978 – Oshikkhito (directed by himself) — A powerful film about the importance of education. He played an uneducated father.
3. 1982 – Boro Bhalo Lok Chhilo — A simple-minded yet good-hearted man. Razzak considered this one of his best performances.
4. 1984 – Chandranath — He played an elderly character with remarkable subtlety.
5. 1988 – Jogajog — Representing urban middle-class life.

No other actor has won the National Film Award for Best Actor five times. Razzak’s record remains untouched. Upon receiving each award, he humbly dedicated it to the audience of Bengali cinema. He often donated the prize money to poor artists or charitable causes.

In his acceptance speech for the fifth award, he said: “These awards are not mine. They belong to every film lover who made me Nayakraj.”

Working with Leading Ladies

Razzak paired with almost every major heroine of his era.

Shabana and Razzak formed the most commercially successful jodi. Films like Jibon Theke Neya, Oshikkhito, Chandranath, Boro Bhalo Lok Chhilo, Shami Stri became classics. Their on-screen chemistry was magical. Shabana said, “I grew up watching Razzak Bhai’s films. Working with him was a dream come true.”

Kabori was his earliest co-star among heroines. Their romantic scenes in Abhirbhob were celebrated. They did over 20 films together. Kabori noted, “From the first film, Razzak was very supportive. He is a professional and a fun person.”

Bobita also shared screen space with him in Bosundhora, Ramer Sumati, etc. Suchanda was another leading lady in his early films.

Razzak never treated his heroines as lesser. He encouraged them, helped them feel comfortable on set. One incident: during a shoot, Shabana was nervous after multiple takes. Razzak said gently, “No one can do this character better than you. Just relax.”

Golden Age of Bengali Cinema

The Shabana-Razzak pair is synonymous with the golden age of Bangladeshi cinema. Together they acted in over 50 films. Their jodi was a “guarantee” at the box office.

In Oshikkhito, they played husband and wife with such realism that audiences wondered if they were a real couple. In Chandranath, Razzak played an elderly father, Shabana his daughter — a completely different dynamic, yet equally compelling.

Shabana and Razzak could portray any relationship: lovers, spouses, parent-child. The audience adored them. Their last film together was She Shesh Kotha (1988).

Shabana once said, “Razzak Bhai is like an elder brother to me. We are very good friends.”

The pair remains an eternal symbol of romance and family values in Bengali cinema.

Director and Producer Razzak

Razzak was not just a hero; he was a skilled director and producer.

In 1976, he produced Aakangkha — his first production. Though not a big success, it gave him valuable experience.

His directorial debut was Ononto Prem (1977), a love story that succeeded commercially. He went on to direct Ki Je Kori (1976), which won him a National Award; Oshikkhito (1978), another National Award winner; Boro Bhalo Lok Chhilo (1982); and Badshah (1999), his last directed film.

As a director, Razzak focused on social issues: education, poverty, women’s rights, rule of law. He gave opportunities to new faces. For Badshah, he cast young Ferdous and Shabnur, helping launch their careers.

He was known for efficient shooting schedules without compromising quality. On set, he treated every technician and artist with fatherly affection.

Notable Films Directed and Produced

Directed films:

• Ononto Prem (1977)
• Ki Je Kori (1976) — National Award
• Oshikkhito (1978) — National Award
• Boro Bhalo Lok Chhilo (1982) — National Award
• Badshah (1999)

Produced films:

• Aakangkha
• Sonar Sansar
• Protishodh
• Manusher Odhikar

Even when not commercially blockbusters, these films carried strong social messages. Oshikkhito’s central message — “Education brings light to people” — remains relevant today. Razzak used cinema as a medium for social change, not just entertainment.

Son Bapparaj and Baba Keno Chakor (1993)

In 1993, Razzak directed and starred in Baba Keno Chakor alongside his son Bapparaj. The film was a sensational thriller where the father (Razzak) is killed by his son (Bapparaj). The climax was emotionally devastating.

The film was a commercial hit and launched Bapparaj as a hero. Razzak wanted to establish his son in the industry. He worked hard to train Bapparaj on set.

“I want my son Bapparaj to become a big hero,” Razzak said in an interview. “That’s why I made this film myself.”

The dialogue “Baba keno chakor? Karon sansar chole na” (Why is father a servant? Because the household doesn’t run) became iconic. Even today, the film is aired on TV during holidays.

Though Bapparaj did not achieve the same stardom as his father, Baba Keno Chakor remains a timeless testament to their off-screen bond. Bapparaj later said, “Abba wasn’t just a hero; he was my inspiration. His tears in that film were real because he truly loved me that much.”

Founding President of Bangladesh Film Artists’ Association

In 1977, the Bangladesh Film Artists’ Association was formed, and Razzak became its first president. He played a crucial role in establishing the organization’s structure and advocating for artists’ rights — better wages, medical benefits, welfare funds.

He believed that without organization, artists could not secure their due rights. Under his leadership, the association held cultural events, provided relief to distressed artists, and lobbied the government for tax exemptions on entertainment.

Razzak also helped create a welfare fund for aging and ailing actors. He served as a bridge between the government and the film community. His tenure set a precedent for future leaders.

He would say: “If artists do not organize themselves, securing their rights is difficult.” Today’s Artists’ Association is a continuation of the foundation he laid.

UNFPA Goodwill Ambassador

Razzak was not limited to cinema; he served as a Goodwill Ambassador for the United Nations Population Fund (UNFPA) . In this role, he traveled to villages, spoke at seminars, and appeared in TV and radio spots promoting family planning, population control, and women’s education.

At a time when Bangladesh’s population growth was high, his popularity helped spread awareness effectively. He participated in street dramas and community meetings, sometimes even performing small skits.

He never took a salary for this work; he often bore his own expenses. The UNFPA regional director called him “Bengal’s best public communicator.”

He once said in a seminar: “If we do not control population, development will never be possible. My popularity should be used to deliver this message.”

Independence Day Award and Ekushey Padak

In 2015, Razzak received the Independence Day Award — Bangladesh’s highest civilian honor — for his contributions to culture (cinema). In 2007, he had received the Ekushey Padak, the second-highest civilian award.

At the Independence Day Award ceremony, Prime Minister Sheikh Hasina personally handed him the medal. An emotional Razzak dedicated the award to his late parents and the audience of Bengali cinema.

“This award will inspire other artists,” he said. “I have received the love of the people — that is my greatest reward.”

He donated the prize money to a foundation for underprivileged artists. Few film personalities have received both the Ekushey Padak and the Independence Day Award. Razzak is among that elite group.

He wept at the ceremony, saying, “If my mother were alive, how happy she would be!” The contrast between his orphaned childhood and standing on that stage receiving the nation’s highest honor was the stuff of legend.

Personal Life

In 1968, Razzak married Khairunnesha Laxmi. He named a commercial building Rajlaxmi Complex after her. He often said, “The biggest success of my life is marrying Laxmi.”

They had three sons — Bapparaj (actor), Bappi (playback singer), Samrat — and two daughters — Nasrin Pasha Shampa and Afrin Alam Moyna. Razzak encouraged his children to pursue their own passions. He did not force them into acting.

Bapparaj entered films but could not achieve his father’s level of success. Bappi sang a few songs. The daughters are married and lead private lives.

Razzak was a devoted family man. He lived simply, avoided extravagance, and quietly gave to charity. His children recall that he never discussed his struggles at home; he wanted them to have a normal upbringing.

His daughter Nasrin said in an interview: “Abba loved us very much. He wanted us to find our own paths, not merely follow his footsteps.”

Full List of Awards and Honors

National Film Awards (Best Actor):

• 1976: Ki Je Kori
• 1978: Oshikkhito
• 1982: Boro Bhalo Lok Chhilo
• 1984: Chandranath
• 1988: Jogajog

Other Major Honors:

• Ekushey Padak (2007) — Government of Bangladesh
• Independence Day Award (2015) — Government of Bangladesh
• Bachsas Awards — multiple, including Lifetime Achievement
• Indo-Bangla Kala Music Award — Khan Ataur Rahman Lifetime Achievement (2003)
• Ifad Film Club Award — Lifetime Achievement (2012)
• Babisas Award — Lifetime Achievement (2012)
• Meril Prothom Alo Award — Lifetime Achievement (2014)
• Telly-Cine Award (Kolkata) — Lifetime Achievement (2017)

Razzak always accepted awards with humility: “I just kept working. The people of my country did not forget me — that is the biggest achievement.”

Timeline

Year	Event
January 23, 1942	Born in Naktala, Kolkata
Late 1940s	Death of father and mother; becomes orphan
1961	Enrolls at Filmalaya Film Institute, Mumbai
1964	Completes diploma; moves to Dhaka due to communal riots
1964-1965	Works as assistant director and in small roles
1966	Behula released — first lead role, massive success
1967	Jibon Theke Neya, Abhirbhob released; pairs with Shabana and Kabori
1968	Marries Khairunnesha Laxmi
1970	Dorp Choorn, Asharer Gaan, etc.
1971-1973	Post-liberation films: Ora 11 Jon, Manusher Mon
1974	Rongbaaj — action hero status
1975	First National Film Award for Ki Je Kori
1976	Produces Aakangkha
1977	Directorial debut Ononto Prem; founding president of Film Artists’ Association
1978	Second National Award for Oshikkhito
1982	Third National Award for Boro Bhalo Lok Chhilo
1984	Fourth National Award for Chandranath
1988	Fifth National Award for Jogajog
1993	Baba Keno Chakor with son Bapparaj
1999	Last directed film Badshah
2007	Receives Ekushey Padak
2015	Receives Independence Day Award
August 21, 2017	Dies of heart attack at United Hospital, Dhaka (age 75)

Tributes and Reminiscences from Fellow Artists

After Razzak’s death, fellow artists shared their memories:

Prime Minister Sheikh Hasina: “Nayakraj Razzak’s contribution to Bengali cinema is undeniable. His death marks the end of an era.”

Shabana: “Without Razzak Bhai, half of my acting career would be incomplete. He was a great human being and very generous.”

Bobita: “I am grateful to Razzak Bhai; he encouraged me in acting.”

Kabori: “Our first film Abhirbhob is still remembered by audiences. Razzak was very humble and cooperative.”

Director Chashi Nazrul Islam: “Nayakraj Razzak was the key to popularity in Bengali cinema.”

Khan Ataur Rahman (late, but previously quoted): “Bengali cinema is fortunate to have a hero like Razzak.”

BBC Bangla and major newspapers worldwide covered his death. He was called the “Marlon Brando of Dhallywood.”

Unknown Facts and Anecdotes

1. Real name Abdur Razzak; the title “Nayakraj” was given by fans. It became so popular that many forgot his real name.
2. He received offers from Bollywood while at Filmalaya but turned them down due to the India-Pakistan war and his family being in Dhaka.
3. In Rongbaaj, a scene with a stamp — the stamp was imprinted with the key of his own house.
4. He never played a negative role. He once rejected a villain’s role, saying, “The audience would not like it.”
5. His last released film was Kartuz (2016). He continued acting until the end.
6. He named Rajlaxmi Complex after his wife — a rare gesture of love.
7. He once told young hero Champaq: “Never look into the heroine’s eyes while delivering dialogue, or you’ll forget your lines.” A valuable tip.
8. He never opened a social media account. He believed in personal communication.
9. He recited the Quran regularly and hosted religious gatherings at his home.
10. He secretly supported orphanages and old homes, donating money anonymously.

Beyond Cinema — Razzak’s Social Contributions

Razzak was involved in various philanthropic activities. He regularly donated to orphanages and old age homes, often without publicity. He helped distressed artists through the Film Artists’ Association.

He was a conscious citizen and patriot. During the Liberation War, he never participated in Pakistani propaganda; after independence, he acted in war-themed films to spread the spirit of freedom.

He did not directly engage in politics but had sympathies for the Awami League. He once campaigned for the party during national elections.

He believed in giving back to society: “I have received so much from this society; it is my duty to give something back.”

During a major flood, he personally went to the affected areas with relief. For a superstar to walk on foot to reach affected people speaks volumes about his humanity.

Final Days and Illness

In 2017, Razzak’s health deteriorated. He suffered from heart disease, diabetes, and high blood pressure. Kidney complications added to his problems. Still, he continued working. His last film, Kartuz (2016), was released when he was already frail.

On August 21, 2017, at 5:20 PM, he felt chest pain. He was rushed to United Hospital in Dhaka. Despite doctors’ efforts, he passed away at 6:13 PM. His family was by his side.

The entire nation mourned. The government declared mourning. All cinema halls in Bangladesh were closed for a day as a mark of respect. Thousands gathered at the hospital and at BFDC to pay their last respects.

He was buried in the family graveyard.

Even on his deathbed, he asked his family: “Is there any shooting today?” His dedication to cinema remained until his last breath.

Legacy and Contribution to Cinema

Razzak’s legacy is multi-dimensional. He transformed the very concept of a “hero” in Bengali cinema. His career length and breadth are unmatched. He was not just an actor; he was a director, producer, organizer, and mentor.

His five National Film Awards remain a record. He inspired generations of actors. The Nayakraj Razzak Memorial Council regularly organizes cultural events and discussions.

His films are re-aired on television channels, still drawing audiences. The title “Nayakraj” belongs only to him. He is an inseparable part of Bangladesh’s cultural heritage.

The Film Artists’ Association he founded remains active. An online “Razzak Archive” is being developed to preserve information and rare photos of his films.

As long as Bengali cinema exists, Nayakraj Razzak’s name will shine on the first page of its history.

Love from Fans and Admirers

For fans, Razzak was not just a hero — he was “Baba” (father), “Mama” (uncle), or “Bhai” (brother). Generations grew up watching his films. His dialogues and songs are still used as mobile ringtones and in TV dramas.

Mothers who were teenagers in the 1990s now show their children Baba Keno Chakor. YouTube views of his old films cross millions.

One fan recalled: “I once met Razzak Sir. He was so humble and affectionate. He gave me an autographed photo.”

Even years after his death, fans visit his grave with flowers. Social media fills with “Nayakraj Razzak” tributes on his birth and death anniversaries.

Conclusion

Abdur Razzak was born in an ordinary family in Kolkata’s Naktala, lost his parents, and rose to become the recipient of Bangladesh’s highest cultural awards — the Independence Day Award. He transformed Bengali cinema, giving it a golden chapter.

Over 400 films, 5 National Awards, countless memorable characters — he earned a permanent place in the hearts of Bengalis.

His simplicity, respect for art, and sincerity made him truly the King of Actors, not just in name. Such artists are rarely born. The void left by his death is hard to fill. But his character and work live forever in the hearts of Bengalis.

He proved that with dedication and love, one can become a superstar of the subcontinent. His life is a complete history of struggle and achievement.

When we utter the word “Nayakraj,” a sense of pride swells in our chests. Abdur Razzak is our pride. His creations are immortal. He is the eternal symbol of Bengali love and struggle.

The orphan boy from Kolkata’s Naktala became the Nayakraj of Bengali cinema. Five National Awards, Ekushey Padak, Independence Day Award — all adorn his crown. On his birth and death anniversaries, Bengalis will observe a minute of silence and remember him again and again. Razzak is no more, but he lives on in Baba Keno Chakor, in the immortal struggle of Jibon Theke Neya.

Nayakraj lives forever.

References

1. Bengali Wikipedia – Abdur Razzak (biography, filmography, awards)
2. English Wikipedia – Abdur Razzak (actor)
3. Banglapedia – Razzak, Nayakraj
4. Daily Prothom Alo – Nayakraj Razzak’s biography and obituary (2017)
5. The Daily Star – Nayak Raj Razzak passes away
6. Daily Ittefaq – Remembrance of Nayakraj Razzak’s death anniversary
7. BBC Bangla – Nayakraj Razzak of Bangladeshi cinema no more
8. Bangladesh Film Artists’ Association – published information
9. Ifad Film Club and Bachsas award lists
10. Independence Day Award and Ekushey Padak recipient lists – Ministry of Culture
11. United Hospital diagnosis and death report
12. Nayakraj Razzak Memorial Council – commemorative publications and activities

Disclaimer

This biography is based on reliable and authentic sources from the provided Bengali text, as well as publicly available information. Key events, dates, awards, and filmographies have been preserved; some literary dramatization has been added for narrative engagement. Razzak’s personal and professional information has been compiled from various sources. There is no malicious intent toward any person or organization. The biography aims to honor the legacy of Nayakraj Razzak.

The thriller is not over. Razzak’s films continue to be watched, his dialogues continue to be quoted, and his name continues to inspire new generations of actors. Nayakraj is gone, but the king never truly dies.