When Smita Patil created space for female actors in films
When Smita Patil created space for female actors in films
Legendary actress Smita Patil’s name will perpetually be associated with courage, grace, and authenticity. One of the predominant sctress of India’s parallel cinema movement, she cleared a space for women who wouldn’t be decorative ornamentation. Her career in the 1970s and 1980s showcased not only the evolution of Hindi cinema but also the struggle of an artist committed to staying true to her art.
The 1970s marked a major dividing line in Indian cinema: the commercial mainstream filled with glamour and formula; the parallel movement committed to truth and realism. Those women who were considered at all were often reduced to decorative objects. Smita Patil cut across that false decorum and showed a voice of conviction. In major performances in ‘Nishant’, ‘Manthan’ and ‘Bhumika’, she emerged as a public face of meaningful cinema – earthy, introspective, and, above all, human.
Smita often stood astride both worlds alongside Shabana Azmi, who as a member of the more-commercial world, was seen in some very mainstream blockbusters like ‘Amar Akbar Anthony’ and ‘Parvarish’, whereas Smita was more cautious about venturing into commercial cinema. She thought maybe, once in a while, a commercial film would be nice, but it is hard not to be sucked into commercial cinema once you are in the Hindi film industry,” Amidst an interview Smita’s fear of being sucked into the same system she resisted turned a reality.
In the end, Smita’s idealism and the industry and the harsh realities converged. She said that It’s hard to find good directors, everyone wanted a new face. She just hoped she doesn’t get used in commercial films because that would be the end of Smita Patil. Ultimately, practicality pushed Smita onto more commercial films such as ‘Shakti’ and ‘Namak Halaal,’ in which she frequently said she felt out of her depth.
One of the more acclaimed sequences in the Prakash Mehra directorial ‘Namak Halaal’ occurred when the song Aaj Rapat Jaaye was shot. Amitabh Bachchan shared that Smita was obviously distressed amidst the filming because she felt the scene was contrary to her artistic principles. That kind of cinema, she said, did not reflect her spirit,” Amitabh said, reflecting on that day many years later, at the launch of her biography, Smita Patil: A Brief Incandescence (2015). Smita herself said that when she was recognised amidst her travels by a fan for ‘Namak Halaal’ instead of for her highly lauded performances, she felt disconsolate.
Regardless of the best concerted efforts of the commercial film industry, the late actress upheld her belief in meaningful cinema. Her body of work demonstrates a woman pursuing and realizing her vision, working at her own price dictated neither by beauty nor commercial success. Many years after her tragic death, she remains commemorated not solely for her success as an actress, but as an artist pursuing and testing the very boundaries of cinema.
News Edit KV Raman
