320:) to audition successfully as a singer in a Bombay studio: the first step in a process, watched approvingly by Usha's doting grandmother and with horror by her mother, that will eventually carry her to on-camera adolescent stardom, and to an ill-starred love marriage with Keshav. Usha's motives for stubbornly pursuing this relationship (culminating in a pre-marital pregnancy) with the unattractive and much older Keshav — who appears to have lusted after her since childhood — are not spelled out. Presumably, she either feels indebted to him for his loyalty to her family (of which he frequently reminds her) and for her own worldly success; or simply views him as a means to escape her abusive home. She is also a headstrong girl who clearly enjoys her acting career and is bent on challenging her uptight mother (who opposes the match because Keshav does not belong to their caste, just as she opposes cinema itself because of its presumed disreputability).
327:), who is himself in (unrequited) love with her. Since Keshav's own business is unsuccessful, the family remains entirely dependent on Usha's earnings – a fact that Keshav clearly resents. He thus becomes both a jealous husband with a fragile ego and nasty temper, as well as (in effect) a greedy pimp who compels his wife to take risqué work despite her dislike of her co-star and her protests that she "only wants to be a housewife" now that their daughter has been born. Not surprisingly, the relationship becomes increasingly poisoned, particularly by Keshav's suspicion (fed by star-magazine gossip) that she is having an affair with Rajan, which is partly true. Verbally and physically abused by her husband and periodically obliged to live in a hotel, separated from her daughter and mother, the desperately unhappy actress eventually instigates two unsatisfying liaisons: with the nihilistic and self-centered director Sunil Verma (
882:
do?”" He suggested, “Go to a beauty parlour and get some facial done.” I said, “But the face would remain the same.” He said, “No, no, the softness would come.” So, I was sent to Taj Mahal Hotel for about ten sessions of facials, which were naturally paid for and it did make a difference; for I noticed that the face indeed looked much softer. Here is a strong character of a zamindar, who marries this girl and takes her to his village in Goa. She lives over there till the time she wants her freedom and claims that she could go anywhere and how any restrictions could be imposed on her within those four walls? She retaliates and nonchalantly defies my orders. That is when I was to slap her saying, “No, I brought you with a condition. I told you how you would have to be staying here and you are trying to go against that condition. I won’t allow it. You don’t want to live here, I’ll send you back even now.”
339:), son, and bedridden first wife — but (as she learns one day when she tries to take the boy to a nearby fair) at the cost of even the most rudimentary freedom. Unable to abide by Kale's feudal patriarchal rules, she finds her only hope of escape in the intervention of her still-legitimate husband, the hated Keshav, who promptly brings her back to a Bombay festooned with billboards of her own face, and to the same drab hotel and lonely prospects. As Kale's bitter wife remarks to Usha as the latter prepares to leave, "The beds change, the kitchens change. Men's masks change, but men don't change." Usha's daughter, now grown-up, invites Usha to live with her and her husband, but Usha refuses. The movie ends with Usha, alone in her hotel room, receiving a phone call from Rajan.
889:. Normally, we slap in such a way that without hitting the other actor, you have to react. I discussed with Shyam that by giving a real slap we would get the right reaction. He approved of the idea but warned me not to slap her forcefully. I rehearsed the scene without hitting her, but slapped her in the final shot not realising the impact. It had the desired effect and what a fantastic reaction came on her face, as she looked daggers at me. It conveyed, “How dare you slap me?” But Smita was a natural actress and very professional. Her performance was always acclaimed. As the shot ended she ran after me to hit me. The whole unit was enjoying the incident."
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Lead actress, a 22-year-old Smita Patil still new to the medium, found the role daunting initially, yet as the filming progress, playing the multi-layered character, she found not only her space the industry and went to win the Best
Actress Award for her performance, and today it is considered one of
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he recounts "As for
Bhumika, it was an absolutely different role, wherein I played a landlord from Goa. Interestingly, during the making of this film, Shyam told me, “Your face is very hard for this role and I cannot take anybody else either. So, I want you to look a bit softer.” I said, “What can I
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The film was based on autobiography of the doyenne of
Marathi theatre and cinema Hansa Wadkar during the 1940s and 50s. The biography was told to journalist Arun Sadhu, who used the title of the hit musical,
335:), who keeps her as a pampered mistress on his palatial estate. Here Usha briefly finds a kind of "respectability" as a de facto second wife, earning a measure of love and admiration from Kale's mother (
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The song 'Baju re Mondar' is sung by two stalwart vocalists of
Hindustani classical music, Saraswati Rane daughter of Ustad Abdul Karim Khan of Kirana gharana and Meena Fatherpekar her grand daughter.
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The film was set in
Maharashtra region. Benegal's previous films were based in Hyderabad region, and since he was unfamiliar with the region, he roped in screenwriter and playwright
316:) is married to an abusive and alcoholic man. Following his early death, and over her mother's objections, Usha is taken to Bombay by family hanger-on Keshav Dalvi (
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wrote the dialogues. The story moves back and forth across flashbacks to the early life of Wadkar. Apart from the non-linear narrative, the film also employed the
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427:Mohan Agashe
423:Sushma Dalvi
380:Vinayak Kale
365:Keshav Dalvi
360:Amol Palekar
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318:Amol Palekar
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272:Hansa Wadkar
268:Sangtye Aika
267:
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249:Amol Palekar
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206:Running time
178:Release date
143:Ramnik Patel
114:Amol Palekar
88:Sangtye Aika
87:
78:Hansa Wadkar
15:
1334:Rajnigandha
1286:Brahmachari
1174:Boot Polish
1072:15 November
1003:India Today
887:Smita Patil
875:Amrish Puri
846:Smita Patil
792:Smita Patil
393:Dina Pathak
389:Sunil Verma
375:Amrish Puri
351:Smita Patil
337:Dina Pathak
333:Amrish Puri
306:Smita Patil
276:Smita Patil
261:Amrish Puri
245:Smita Patil
122:Amrish Puri
110:Smita Patil
96:Produced by
41:Directed by
2005:1977 films
1999:Categories
1942:Hari-Bhari
1580:Veer-Zaara
1417:Ardh Satya
1393:Khubsoorat
1037:1 December
1032:Rediff.com
917:5 December
893:References
855:Nominated
747:Vasant Dev
705:Vasant Dev
686:Vasant Dev
667:Vasant Dev
646:Vasant Dev
546:Screenplay
485:Production
189:1977-11-11
160:Vasant Dev
68:(dialogue)
51:Written by
1894:Antarnaad
1838:Anugraham
1732:12th Fail
1716:Shershaah
1700:Gully Boy
1345:1976–2000
1206:Madhumati
1158:1954–1975
1151:Best Film
977:The Hindu
631:Singer(s)
563:Dialogues
369:Anant Nag
325:Anant Nag
253:Anant Nag
138:Edited by
118:Anant Nag
1950:Zubeidaa
1620:3 Idiots
1318:Be-Imaan
1294:Aradhana
589: :
574: :
565: :
548: :
534:Producer
527: :
525:Director
511:device.
371:as Rajan
310:Devadasi
223:Language
210:142 min.
163:(lyrics)
148:Music by
106:Starring
84:Based on
74:Story by
1832:Kondura
1816:Manthan
1808:Nishant
1708:Thappad
1628:Dabangg
1369:Bhumika
1353:Deewaar
1326:Anuraag
1302:Khilona
1246:Bandini
1182:Jagriti
1111:YouTube
1104:Bhumika
1092:Bhumika
781:Result
475:Om Puri
438:Abishek
302:Bhumika
236:Bhumika
215:Country
187: (
24:Bhumika
1985:(2022)
1977:(2010)
1969:(2008)
1961:(2005)
1953:(2001)
1945:(2000)
1937:(1999)
1929:(1996)
1921:(1996)
1913:(1994)
1905:(1993)
1897:(1991)
1889:(1987)
1886:Susman
1881:(1985)
1878:Trikal
1873:(1983)
1865:(1982)
1862:Arohan
1857:(1980)
1854:Kalyug
1849:(1978)
1846:Junoon
1841:(1978)
1827:(1977)
1819:(1976)
1811:(1975)
1803:(1975)
1795:(1974)
1735:(2024)
1727:(2023)
1719:(2022)
1711:(2021)
1703:(2020)
1695:(2019)
1687:(2018)
1679:(2017)
1676:Dangal
1671:(2016)
1663:(2015)
1655:(2014)
1647:(2013)
1644:Barfi!
1639:(2012)
1631:(2011)
1623:(2010)
1615:(2009)
1607:(2008)
1599:(2007)
1591:(2006)
1583:(2005)
1575:(2004)
1567:(2003)
1564:Devdas
1559:(2002)
1556:Lagaan
1551:(2001)
1532:(2000)
1524:(1999)
1516:(1998)
1508:(1997)
1500:(1996)
1492:(1995)
1484:(1994)
1476:(1993)
1468:(1992)
1460:(1991)
1457:Ghayal
1452:(1990)
1444:(1989)
1436:(1986)
1428:(1985)
1425:Sparsh
1420:(1984)
1412:(1983)
1409:Shakti
1404:(1982)
1401:Kalyug
1396:(1981)
1388:(1980)
1385:Junoon
1380:(1979)
1372:(1978)
1364:(1977)
1361:Mausam
1356:(1976)
1337:(1975)
1329:(1974)
1321:(1973)
1313:(1972)
1305:(1971)
1297:(1970)
1289:(1969)
1281:(1968)
1273:(1967)
1265:(1966)
1257:(1965)
1249:(1964)
1241:(1963)
1233:(1962)
1225:(1961)
1217:(1960)
1214:Sujata
1209:(1959)
1201:(1958)
1193:(1957)
1185:(1956)
1177:(1955)
1169:(1954)
862:Trivia
778:Award
755:
736:
711:
694:
675:
656:
634:Length
628:Lyrics
581:Editor
540:Writer
416:Shanta
193: (
1934:Samar
1910:Mammo
1870:Mandi
1792:Ankur
1692:Raazi
1660:Queen
1588:Black
1465:Lamhe
1310:Anand
1278:Upkar
1270:Guide
1254:Dosti
1066:(PDF)
1059:(PDF)
829:1978
772:Year
625:Title
603:Music
227:Hindi
218:India
195:India
1149:for
1097:IMDb
1074:2012
1039:2012
1010:2014
984:2014
955:2014
919:2007
840:Won
824:Won
801:Won
787:1977
519:Crew
345:Cast
297:Plot
285:and
259:and
1109:on
1095:at
873:In
621:No.
2001::
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1076:.
1041:.
1012:.
986:.
957:.
921:.
197:)
191:)
62:,
57:,
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
