अमिताभ बच्चन की हीरोइन, 40 साल पहले जिसने रचा था इतिहास, राजेश खन्ना संग भी दे चुकी ब्लॉकबस्टर
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The actress who set an example in Hindi cinema, was fond of acting and drama since childhood. She was a famous theater artist and started her acting career in 1975 with famous filmmaker Shyam Benegal’s film ‘Charandas Chor’. But 40 years ago, history was created with a role.
New Delhi. If that amazing actress, powerful dialogues and powerful characters are imprinted in the memory, the film will never be forgotten. And one such film was released exactly forty years ago, on 7 October 1985, and became popular, the name was ‘Aakhir Kyun?’. In which the talented actress had created history.
That actress was none other than Smita Patil. This was not a drama film of his but it was a film that introduced a new language of women empowerment and emotions in the Bollywood films of that time. The role played by Smita Patil in this film not only erases the line between art and mainstream but can also enrich each other. Smita worked with every big star in her career. Worked with Amitabh Bachchan in Namak Halal and in 1987 with Rajesh Khanna in Nazrana.
On hearing the name of Smita Patil, a picture of serious, strong and real cinema emerges. She started her career with parallel films and remained engaged in them for about five years. Although his transition towards mainstream films was not easy, but ‘Aakhir Kyun’ proved that his acting could fit into any popular film with depth and ease. In this film, he worked with Rajesh Khanna, Rakesh Roshan and showed so much ease in his character that no one else was noticed.
The story of the film revolves around Nisha Sharma (Smita Patil). Nisha is married and gets trapped in circumstances and sets out in search of herself. Quiet and polite Nisha often sheds tears, begging her husband Kabir (Rakesh Roshan) to change her behaviour, but this becomes her real strength.
The first half of ‘Aakhir Kyun’ is spent in Nisha crying. In the second part he meets himself. Even during this time, she is always surrounded by men, who want to take decisions for her. But Nisha shows the strength to take her own decisions not by shouting or making noise, but by being clear and firm and this is where her feminism is visible. Something different but not like a speech.
Watching the film, it seems that it is like every other film of that era, where the wife begs and when the husband does not agree, she does not waste time in standing up against him but stands up. But this is what makes this ‘why’ fit into a different template. Nisha tries till the last moment, pleading her husband to change, but when he does not change, she is forced to go in search of her existence. She struggles, she cries, and these flowing tears are not a proof of her weakness, but of her strength. This is an important part of the character’s development and self-change.
There comes a moment when Kabir is surprised and says that he never heard Nisha saying any word. Nisha replies that she was busy fulfilling her responsibilities as a wife. Actually, this is a shock, because in reality she is saying that she never tested him. Being shy and quiet is not synonymous with being weak. She wants to show that Kabir, due to his narrow views, could not understand that women are not limited to his definition only.
The character named Nisha does not make noise, does not seek to prove her point through dominance, but believes in expressing her views with simplicity and simplicity. This is the feminism which is not forceful or has an agitating heroine, but is equally powerful and effective in its strong and sensitive form.
