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Radha in 'Mother India' to Ketaki in 'Mrityudand': Bollywood's top 10 women characters

Movies | IBNLive | March 8, 2014, 4:57 pm
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 <b>Meena Kumari's Choti Bahu in Guru Dutt's 'Sahib Bibi Aur Ghulam' (1962):</b> In the feudal household where women were content wearing expensive sarees and jewellery and never mind what their husbands did with other women, this wife dared to raise her voice. If her husband liked to drink, no problem. Choti Bahu hit the bottle to have him stay at home. The portrait of a woman as the rebellious seductress opened up new doors in the way the woman was portrayed in our cinema. (IANS)

Meena Kumari's Choti Bahu in Guru Dutt's 'Sahib Bibi Aur Ghulam' (1962): In the feudal household where women were content wearing expensive sarees and jewellery and never mind what their husbands did with other women, this wife dared to raise her voice. If her husband liked to drink, no problem. Choti Bahu hit the bottle to have him stay at home. The portrait of a woman as the rebellious seductress opened up new doors in the way the woman was portrayed in our cinema. (IANS)

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 <b>Madhuri Dixit's Ketaki in Prakash Jha's 'Mrityudand' (1997):</b> Quickly she gets sucked into the patriarchal tyranny of her newly married husband%u2019s village. And when he is killed, she takes to the gun to avenge his death. Madhuri as 'Murder India' set the screen on fire.(IANS)

Madhuri Dixit's Ketaki in Prakash Jha's 'Mrityudand' (1997): Quickly she gets sucked into the patriarchal tyranny of her newly married husband%u2019s village. And when he is killed, she takes to the gun to avenge his death. Madhuri as 'Murder India' set the screen on fire.(IANS)

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 <b>Mala Sinha's Meena in Yash Chopra's 'Dhool Ka Phool' (1959):</b> The 'unwed mother' was an unsung entity until this film came along to shatter every myth about ideal motherhood. Mala Sinha, who was scared of what the film would do to her career, became a counsellor and guide to hundreds of girl students who wanted to know more about pre-marital sex. (IANS)

Mala Sinha's Meena in Yash Chopra's 'Dhool Ka Phool' (1959): The 'unwed mother' was an unsung entity until this film came along to shatter every myth about ideal motherhood. Mala Sinha, who was scared of what the film would do to her career, became a counsellor and guide to hundreds of girl students who wanted to know more about pre-marital sex. (IANS)

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 <b>Durga Khote's Parvati in L.V. Prasad's 'Bidaai' (1974):</b> One after the other she sees her sons migrating to the city leaving her alone and defenceless to die in the village. The portrait of the matriarch as an undefeated figure of strength and sustenance was indomitably inspiring. At 65, Durga Khote was cast as the central character.

Durga Khote's Parvati in L.V. Prasad's 'Bidaai' (1974): One after the other she sees her sons migrating to the city leaving her alone and defenceless to die in the village. The portrait of the matriarch as an undefeated figure of strength and sustenance was indomitably inspiring. At 65, Durga Khote was cast as the central character.

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 Be it Meena Kumari in 'Sahib Bibi Aur Ghulam' or Tabu in 'Astitva' - the Hindi film industry has witnessed a range of actresses essaying women-oriented roles powerfully. Here's a look at the top 10 such portrayals, on the occasion of International Women's Day.<br><br><b>Nargis' Radha in Mehboob Khan's 'Mother India' (1957):</b> Nargis played Radha, the deserted wife who brings up her two sons on her own and kills one of them when he turns into an outlaw. For the first time in a Hindi film, the female protagonist was portrayed as strong and resilient, conscientious and doughty without losing her femininity.(IANS)

Be it Meena Kumari in 'Sahib Bibi Aur Ghulam' or Tabu in 'Astitva' - the Hindi film industry has witnessed a range of actresses essaying women-oriented roles powerfully. Here's a look at the top 10 such portrayals, on the occasion of International Women's Day.

Nargis' Radha in Mehboob Khan's 'Mother India' (1957): Nargis played Radha, the deserted wife who brings up her two sons on her own and kills one of them when he turns into an outlaw. For the first time in a Hindi film, the female protagonist was portrayed as strong and resilient, conscientious and doughty without losing her femininity.(IANS)

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 <b>Nutan's Kalyani in Bimal Roy's 'Bandini' (1963):</b> She can do anything for love. Even kill her beloved%u2019s nagging wife and go to jail. And when a chance to rebuild her life offers itself to Kalyani, she shuns it and runs back to the same man who unintentionally ruined her life. Love has never been blinder and the on-screen heroine never more resolute and passionate.(IANS)

Nutan's Kalyani in Bimal Roy's 'Bandini' (1963): She can do anything for love. Even kill her beloved%u2019s nagging wife and go to jail. And when a chance to rebuild her life offers itself to Kalyani, she shuns it and runs back to the same man who unintentionally ruined her life. Love has never been blinder and the on-screen heroine never more resolute and passionate.(IANS)

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 <b>Waheeda Rehman's Rosy in Vijay Anand's 'Guide' (1965):</b> Rosy is so seductive in her whimsicality, such a non-conformist that she dumps her husband for the love of dancing and then dumps her lover when he turns out less than what she had hoped. This film gave the Indian heroine the right to defy stereotypical gender rules. (IANS)

Waheeda Rehman's Rosy in Vijay Anand's 'Guide' (1965): Rosy is so seductive in her whimsicality, such a non-conformist that she dumps her husband for the love of dancing and then dumps her lover when he turns out less than what she had hoped. This film gave the Indian heroine the right to defy stereotypical gender rules. (IANS)

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8/ 10
 <b>Tabu’s Aditi in Mahesh Manjrekar’s 'Astitva'(2000):</b> She dared to tell her husband that she had an affair in his absence and was willing to suffer the consequences. Tabu’s performance as the repressed Maharashtrian housewife who finds her identity after being ostracized by her son and family, was a dazzling display of femininity.

Tabu’s Aditi in Mahesh Manjrekar’s 'Astitva'(2000): She dared to tell her husband that she had an affair in his absence and was willing to suffer the consequences. Tabu’s performance as the repressed Maharashtrian housewife who finds her identity after being ostracized by her son and family, was a dazzling display of femininity.

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 <b>Smita Patil's Sonbai in Ketan Mehta's 'Mirch Masala' (1987):</b> The 'woman as prey' when under attack had no choice but to pray - until Smita Patil in this film, who refuses to give in to the powerful subedar%u2019s lurid leering advances. The metaphor of the chilli factory as the fortress for female protection showcased Patil%u2019s powerful performance.

Smita Patil's Sonbai in Ketan Mehta's 'Mirch Masala' (1987): The 'woman as prey' when under attack had no choice but to pray - until Smita Patil in this film, who refuses to give in to the powerful subedar%u2019s lurid leering advances. The metaphor of the chilli factory as the fortress for female protection showcased Patil%u2019s powerful performance.

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 <b>Shabana Azmi's Pooja in Mahesh Bhatt's 'Arth' (1982):</b> Another turning point for the heroine...Mahesh Bhatt%u2019s

Shabana Azmi's Pooja in Mahesh Bhatt's 'Arth' (1982): Another turning point for the heroine...Mahesh Bhatt%u2019s "Arth" gave us a deserted wife who rebuilds her life piece by piece. Finally at the end she says no to the man who wants to support her. This was the heroine%u2019s first chance to say no to love when it knocked on her door.

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