The passing of Pritish Nandy: A media stalwart departs

In 2017, Pritish Nandy interviewed Harshad Mehta, the man dubbed the “Big Bull” of the Indian stock market. Mehta’s financial manipulations in the early 1990s shook India’s economic foundations, eventually leading to regulatory reforms by SEBI.

Nandy’s interview, conducted after Mehta’s release on bail, was one of the few conversations the enigmatic figure granted the media. His pointed questions about the securities scandal—estimated by the Janakiraman Committee to involve Rs 4,024 crore—reflected a journalist’s tenacity to probe uncomfortable truths. This exclusive encounter was emblematic of Nandy’s career-long pursuit of hard-hitting journalism, a trait that set him apart from his peers.

Over his career, Nandy also interviewed power players like former prime minister Manmohan Singh, Uttar Pradesh chief minister Mulayam Singh Yadav and Maharashtra’s iconic Bal Thackeray, exploring the complexities of their political lives. These moments underscored his ability to navigate volatile personalities and contentious topics without flinching, making him a rare breed in the Indian media landscape.

Nandy, the multihyphenate personality who wore the hats of journalist, poet, parliamentarian, and film producer, passed away on 8 January 2025, following a cardiac arrest at his South Mumbai residence. He was 73. His demise marks the end of an era characterised by a unique blend of cultural inquiry and entrepreneurial experimentation.

Early life and literary beginnings

Born on 15 January 1951 in Bhagalpur, Bihar, to Satish Chandra and Prafulla Nalini Nandy, Pritish spent his formative years oscillating between tradition and modernity. A student of La Martiniere and later Presidency College in Kolkata, he displayed an early penchant for literature, publishing his first book of poems, Of Gods and Olives, in 1967.

His poetic output during the 1960s and 70s resulted in 14 volumes and earned him a Poet Laureate nomination by the World Academy of Arts and Culture. His poem Calcutta If You Must Exile Me remains a standout in Indian literature, epitomising his evocative voice.

However, Nandy’s reputation as a poet was often overshadowed by his later exploits in journalism and media, despite accolades such as the Padma Shri in 1977. His literary work, while innovative, also drew criticism for being overly indulgent and inaccessible to broader audiences. This critique didn’t deter his ambitions, as he transitioned seamlessly into journalism.

Journalism: The Illustrated Weekly and beyond

Nandy’s tenure as the editor of The Illustrated Weekly of India from 1982 to 1991 is remembered as one of the publication’s most provocative periods. Under his stewardship, the magazine tackled taboo subjects and provided a platform for emerging voices. His time at The Illustrated Weekly was defined as much by fearless commentary as by a propensity for courting polarisation.

Yet, detractors accused him of sensationalism, alleging that his approach prioritised controversy over substance. During this period, he also served as editor of The Times of India, The Independent, and Filmfare, showcasing his versatility across genres.

Raj Nayak, founder of House of Cheer Networks, recalled Nandy’s uncompromising ethos. “‘There are no favours among friends,’ he told me. It reflected his essence: a true friend, straightforward, and dependable,” he mentioned in a LinkedIn post.

In 1996, Nandy launched India’s first cybercafé, a move ahead of its time but ultimately unsustainable due to market constraints. The venture reflected his entrepreneurial spirit, which often outpaced the realities of execution.

Politics and activism

Nandy’s political career was a detour that surprised many. Elected to the Rajya Sabha on a Shiv Sena ticket, he served Maharashtra for six years, participating in committees on defence, communications, and foreign affairs.

Critics argued that his ideological alignment with the Sena was incongruous, given his liberal credentials in journalism and literature. Nandy, however, framed it as a pragmatic decision, choosing to engage rather than critique from the sidelines.

Simultaneously, he founded People for Animals, India’s largest animal protection NGO. While his activism was widely appreciated, it was sometimes overshadowed by his other ventures, particularly his foray into filmmaking.

Pritish Nandy (in center) launched Pritish Nandy Communications in 1993.

Nandy’s transition to film and television saw him founding Pritish Nandy Communications (PNC). The company’s first offering, The Pritish Nandy Show, aired on Doordarshan in the early 2000s, bringing a new kind of candid, conversational TV to Indian audiences. The follow-up, Fiscal Fitness: The Pritish Nandy Business Show, was India’s first weekly business programme, targeting an emerging class of urban professionals.

PNC’s filmography includes commercial successes and critical failures alike. While movies like Pyaar Ke Side Effects and Shaadi Ke Side Effects resonated with urban audiences, others like Mastizaade drew criticism for being formulaic.

More recently, PNC ventured into streaming, producing Amazon Prime’s Four More Shots Please! and Modern Love Mumbai. These projects showcased a company capable of evolving with shifting consumer preferences, even as its creative output remained divisive.

In 2014, Nandy attempted to disrupt the streaming market with Ogle, a proprietary platform aimed at providing affordable access to high-quality content. While the technology promised innovation, the venture failed to capture significant market share, hindered by limited content partnerships and intense competition. Nandy’s ambitions for Ogle, like many of his projects, were bold but ultimately fell short of their transformative potential.

Legacy of contradictions

Nandy’s multifaceted career—spanning poetry, journalism, politics, and media—is a study in contradictions. His fearless editorial style earned him both acclaim and criticism. While his ability to navigate India’s cultural and political landscape was unparalleled, it often came at the cost of polarising audiences. His entrepreneurial ventures reflected a visionary outlook but frequently struggled with execution.

Despite his contributions to multiple fields, Nandy remained an enigmatic figure, admired by some and dismissed by others. His interviews with figures like Harshad Mehta and Bal Thackeray revealed a journalist unafraid to challenge power, but his political affiliations raised questions about his ideological consistency.

An industry person captured this duality aptly, “He was definitely a fearless journalist, ahead of his times. But more than that, he always had his sights trained on the future, with an eye for bold ideas and the guts to see it through.” Yet, Nandy’s legacy will likely be debated for years to come, as critics and admirers grapple with the complexities of his life and career.

Nandy’s passing leaves a void in Indian media and culture. His ability to straddle multiple domains—from poetry to politics, journalism to cinema—made him a unique figure in the country’s cultural tapestry. Yet, his career is also a cautionary tale about the perils of spreading oneself too thin.