Filmmaker And Friend Aruna Raje About Late Smita Patil:
Smita Patil was a contradiction in terms. It’s both terrifying and terrible. Despite not being a graduate of the FTII, she was at the forefront of the parallel movement alongside FTII graduates. She was the first living Asian actor to have a retrospective of her films broadcast in Paris, hosted by Greek filmmaker Costa-Gavras, in a career that spanned only a decade.
Her characters, browbeaten and harassed in picture after the film, even in commercial ventures, expressed their anguish. She was also a crusader for women’s empowerment off-screen. Her personal destiny, on the other hand, perplexed her fans. Someone who spelled freedom became a slave to his options.
The curtains were drawn prematurely just as she was about to give birth to a ‘dream’ she’d nourished for a long time. Unfulfilled dreams, unfulfilled plans, whispered regret… Smita, Patil. There is still unfinished business… leaving behind a brilliant yet unfinished body of work…
Filmmaker and close friend Raje, Aruna.
In an exclusive interview,, who was privy to the actress’s private life, reveals previously unknown aspects of the trailblazer: Smita and you had an uncanny resemblance… We had a peculiar spiritual connection, as if we were soulmates, despite the fact that I was nine years her senior. Surprisingly, there were a lot of similarities in our backgrounds.
We were both born on Pune’s Laxmi Road. We both had the same last name, Patil, and the same birthday, October 17. That adds up to the number 8 – a number that mystically conjures up extreme highs and lows, which we both experienced in our lives. In addition, the numerals 8 and 4 appear frequently in our lives.
On the 13th, she left us. December, bringing the total to four. Both of us had a sallow complexion. My mother Puttamma, better known in Karnataka as Mummy Patil, and Smita’s mother Vidyatai were strong women who advocated for women’s rights. Our fathers were both political activists and liberation fighters.
They were both ministers. In the ancient Bombay State and afterward in Karnataka, my father was a member of the Moraraji Desai administration. Shivaji Rao Patil, Smita’s father, was a Maharashtra minister. When Arun Khopkar, who was assisting us on the set of ‘Shaque’ (the 1976 film directed by Aruna and ex-husband Vikas Desai), brought Smita home, we met for the first time.
She was a Doordarshan newsreader at the time. He asked for our input before casting her in his FTII diploma film. Smita and I, of course, hit it off right away. Over time, our friendship got stronger.
I believe our shared love of liberty brought us together.
Another thing Smita and I had in common was that we both had the same desire.
My dream since I was a little girl was to be a mother with many children and a happy household.
Smita, too, aspired to be a member of the middle class, even as an adult.
We didn’t want to give up on the person we cared about.
In my case, I’d assured my mum that I wouldn’t marry anybody other than Vikas.
I wasn’t going to marry anyone else if she didn’t approve.
In Smita’s situation, however, her mother would not give her permission because Raj Babbar was married.
Smita made the decision to stay with him regardless of what happened because Raj had promised her marriage.
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