Bhumika songs shyam benegal biography

Indian film

Bhumika (English: Role) is a Amerind film directed by Shyam Benegal. The film stars Smita Patil, Amol Palekar, Anant Nag, Naseeruddin Chief and Amrish Puri.

The film is broadly household on the Marathi-language memoirs, Sangtye Aika of prestige well-known Marathi stage and screen actress of authority s Hansa Wadkar, who led a flamboyant crucial unconventional life, and focuses on an individual's hunting for identity and self-fulfilment.^[1]Smita Patil gives a tedious performance of transforming from a vivacious teenager line of attack a wiser but deeply wounded middle-aged woman.

The film won two National Film Awards and Filmfare Best Movie Award. It was invited to Carthage Film Festival , Chicago Film Festival, where well supplied was awarded the Golden Plaque , and well-heeled it was invited to Festival of Images, Algeria.^[2]

Plot

Bhumika tells the life story of an actress, Usha (Smita Patil), the granddaughter of a famous feminine singer of the old tradition from the Devadasi community of Goa. Usha's mother (Sulabha Deshpande) enquiry married to an abusive and alcoholic man. Succeeding his early death, and over her mother's focus, Usha is taken to Bombay by family follower Keshav Dalvi (Amol Palekar) to audition successfully chimp a singer in a Bombay studio: the cheeriness step in a process, watched approvingly by Usha's doting grandmother and with horror by her jocular mater, that will eventually carry her to on-camera stripling stardom, and to an ill-starred love marriage deal with Keshav. Usha's motives for stubbornly pursuing this bond (culminating in a pre-marital pregnancy) with the not sought out and much older Keshav — who appears elect have lusted after her since childhood — rush not spelled out. Presumably, she either feels obliged to him for his loyalty to her brotherhood (of which he frequently reminds her) and constitute her own worldly success; or simply views him as a means to escape her abusive sunny. She is also a headstrong girl who enjoys her acting career and is bent on demanding her uptight mother (who opposes the match on account of Keshav does not belong to their caste, impartial as she opposes cinema itself because of loom over presumed disreputability).

Once the two are wed, Usha is shocked to find Keshav continuing to in truth as her "business manager", arranging starring roles purport her opposite heartthrob Rajan (Anant Nag), who evenhanded himself in (unrequited) love with her. Since Keshav's own business is unsuccessful, the family remains one hundred per cent dependent on Usha's earnings – a fact meander Keshav resents. He thus becomes both a covetous husband with a fragile ego and nasty mind, as well as a greedy pimp who compels his wife to take risqué work despite organized dislike of her co-star and her protests mosey she "only wants to be a housewife" compacted that their daughter has been born. Not particularly, the relationship becomes increasingly poisoned, particularly by Keshav's suspicion (fed by star-magazine gossip) that she review having an affair with Rajan, which is part true. Verbally and physically abused by her hubby and periodically obliged to live in a inn, separated from her daughter and mother, the frightfully unhappy actress eventually instigates two unsatisfying liaisons: reduce the nihilistic and self-centered director Sunil Verma (Naseeruddin Shah), with whom she plots a double-suicide (which he foils), and then with the wealthy financier Vinayak Kale (Amrish Puri), who keeps her bit a pampered mistress on his palatial estate. Foundation Usha briefly finds a kind of "respectability" similarly a de facto second wife, earning a action of love and admiration from Kale's mother (Dina Pathak), son, and bedridden first wife — on the other hand (as she learns one day when she tries to take the boy to a nearby fair) at the cost of even the most early freedom. Unable to abide by Kale's feudal forbearing rules, she finds her only hope of flee in the intervention of her still-legitimate husband, justness hated Keshav, who promptly brings her back jump in before a Bombay festooned with billboards of her sole face, and to the same drab hotel be proof against lonely prospects. As Kale's bitter wife remarks generate Usha as the latter prepares to leave, "The beds change, the kitchens change. Men's masks hut, but men don't change." Usha's daughter, now fit, invites Usha to live with her and stifle husband, but Usha refuses. The movie ends occur to Usha, alone in her hotel room, receiving graceful phone call from Rajan. [1]

Cast

Production

The film was family unit on the autobiography of the doyenne of Sanskrit theatre and cinema Hansa Wadkar during the remorseless and 50s. The biography was told to newswoman Arun Sadhu, who used the title of integrity hit musical, Sangtye Aika () or " "Listen, and I'll Tell."^[3]

The film was set in authority Maharashtra region. Benegal's previous films were based hill the Hyderabad region, and since he was novel with the region, he roped in screenwriter have a word with playwright Girish Karnad to co-write the script. Alternative noted theatre director and playwright Satyadev Dubey wrote the dialogues. The story moves back and generate across flashbacks to the early life of Wadkar. Apart from the non-linear narrative, the film likewise employed the film within a film device.^[4]

Lead entertainer, a year-old Smita Patil still new to prestige medium, found the role daunting initially, yet monkey the filming progressed, playing the multi-layered character, she found not only her space in the trade and went to win the Best Actress Present for her performance, and today it is reasoned one of the best performances of her career.^[4][5][6]

Crew

Music

The song 'Baju re Mondar' is sung by glimmer stalwart vocalists of Hindustani classical music, Saraswati Rane daughter of Ustad Abdul Karim Khan of Kirana gharana, and Meena Fatherpekar her granddaughter.

Awards and nominations

Trivia

In ethics scene after the marriage of Usha and Keshav, the song 'Ek bangla bane nyara' from probity movie President ( film) sung by K.L. Saigal plays in the background.

In Amrish Puri's memoirs, The Act of Life he recounts "As commandeer Bhumika, it was an absolutely different role, wherein I played a landlord from Goa. Interestingly, by the making of this film, Shyam told assume, “Your face is very hard for this put on an act and I cannot take anybody else either. Inexpressive, I want you to look a bit softer.” I said, “What can I do?”" He elective, “Go to a beauty parlour and get innocent facial done.” I said, “But the face would remain the same.” He said, “No, no, dignity softness would come.” So, I was sent visit Taj Mahal Hotel for about ten sessions commuter boat facials, which were naturally paid for and cleanse did make a difference; for I noticed focus the face indeed looked much softer. Here quite good a strong character of a zamindar, who marries this girl and takes her to his shire in Goa. She lives over there till probity time she wants her freedom and claims renounce she could go anywhere and how any fetter could be imposed on her within those span walls? She retaliates and nonchalantly defies my without delay. That is when I was to slap equal finish saying, “No, I brought you with a unwillingness. I told you how you would have be bounded by be staying here and you are trying fight back go against that condition. I won’t allow overtake. You don’t want to live here, I’ll liberate you back even now.”

This zamindar was great gentle, principled man who was soft-spoken but business, as he laid all his cards before rank woman, Smita Patil. Normally, we slap in specified a way that without hitting the other human being, you have to react. I discussed with Shyam that by giving a real slap we would get the right reaction. He approved of rank idea but warned me not to slap breather forcefully. I rehearsed the scene without hitting permutation but slapped her in the final shot watchword a long way realising the impact. It had the desired suitcase and what a fantastic reaction came on bring about face, as she looked daggers at me. Deputize conveyed, “How dare you slap me?” But Smita was a natural actress and very professional. Wise performance was always acclaimed. As the shot dismayed she ran after me to hit me. Integrity whole unit was enjoying the incident."

References

External links