Which Smita Patil film is your favourite?

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Smita Patil started as a Marathi newsreader on Mumbai Doorsarshan (Television) and entered films.

Smita Patil, who passed away on December 13, 1986, will always be remembered as one of Indian cinema’s finest actresses. She was just 31 when she succumbed to post-childbirth complications.

Her powerhouse performance in films like Arth, Mandi, Mirch Masala and Namak Halal – to name just a few – is still talked about in awe, her rare appeal continuing to haunt even 20 years after her untimely death.

Galiyon Ka Badshah (1989) … Tulsi
Waaris (1988) … Paramjit (Paro)
… aka Waris (India: Hindi title: alternative transliteration)
Hum Farishte Nahin (1988) … Roma (special appearance)
Akarshan (1988) … Special Appearance
Thikana (1987) … Shashi Goel
… aka Address
Ahsaan (1987)
Rahi (1987)
Insaniyat Ke Dushman (1987) … Mrs. Laxmi Kailash Nath
Avam (1987)
… aka People
Dance Dance (1987)
Nazrana (1987) … Mukta Verma
Sher Shivaji (1987) (Marathi)
Sutradhar (1987) (as Late Smita Patil) … Prerna
Anokha Rishta (1986)
Teesra Kinara (1986)
Aap Ke Saath (1986) … Ganga
Dilwala (1986) … Soumitra Devi
Kaanch Ki Deewar (1986)
Amrit (1986) … Kamla
Angaarey (1986)
Dahleez (1986) … Deepa
… aka The Frontier
Mera Ghar Mere Bachche (1985) … Geeta Mathur/Bhargav
Jawaab (1985) … Rajni/Radha Gupta/Fredi Martis/Salma Hussain
Aakhir Kyon? (1985) … Mrs. Kabir Suri/Nisha Sharma/Asha Shri
Chidambaram (1985) … Shivagami
Debshishu (1985) … Seeta
… aka The Child God
Ghulami (1985) … Sumitra
Mirch Masala (1985) … Sonbai
… aka A Touch of Spice (International: English title: informal title)
… aka Spices
Kasam Paida Karne Wale Ki (1984) … Aarti
Raavan (1984) … Ganga
Hum Do Hamare Do (1984)
Farishta (1984) … Kashibai
Aaj Ki Awaaz (1984) … Advocate Rajani
… aka Today’s Voice
Anand Aur Anand (1984) … Kiran, Arun’s Secretary
… aka Anand and Anand
Giddh: The Vulture (1984) … Ahnami
Kanoon Meri Mutthi Mein (1984)
Meraa Dost Meraa Dushman (1984) … Lali
Pet Pyaar Aur Paap (1984)
Shapath (1984) … Shanti
Sharaabi (1984) … Guest Appearance in Song “Jahan Char Yaar Mil Jaye”
Tarang (1984) … Janki
… aka The Wave
… aka Wages and Profits
Qayamat (1983)
Ghungroo (1983) … Kesarbai
Chatpati (1983)
… aka Chatpatee (India: Hindi title: alternative transliteration)
Ardh Satya (1983) … Jyotsna Gokhale
… aka Half Truth
Haadsa (1983)
Mandi (1983) … Zeenat
… aka Market Place
Arth (1982) … Kavita Sanyal
… aka The Meaning
Shakti (1982) … Roma Devi
Badle Ki Aag (1982) … Bijli
Bazaar (1982) … Najma
Bheegi Palken (1982)
Dard Ka Rishta (1982)
Dil-E-Nadaan (1982) … Asha
Namak Halaal (1982) … Poonam
Situm (1982) … Meenakshi
Umbartha (1982) … Savitri Mahajan (Marathi)
… aka Dawn
… aka Subah
… aka Threshold
Tajurba (1981)
Chakra (1981) … Amma
… aka The Vicious Circle
Sadgati (1981) (TV) … Jhuria
… aka Deliverance
Aakrosh (1980) … Nagi
… aka Cry of the Wounded
Albert Pinto Ko Gussa Kyon Ata Hai (1980) … Joan
… aka What Makes Albert Pinto Angry?
Anveshane (1980)
Bhavni Bhavai (1980) … Ujaan (Gujarati)
… aka A Folk Tale
… aka Andher Nagari (India: Hindi title: dubbed version)
The Naxalites (1980) … Ajitha
Anugraham (1978)
Gaman (1978) … Khairun Hussain
… aka Going
… aka The Passing
Kondura (1978) Telugu
… aka Manas Ka Maharshi
… aka Sage from the Sea
… aka The Boon
Sarvasakshi (1978) … Sujatha (Marathi)
… aka The Omniscient (India: English title)
Bhumika: The Role (1977) … Usha (Urvashi) Dalvi (Marathi Film Actress Hansa Wadkar)
… aka Bhumika (India: Hindi title: short title)
… aka The Role
Jait Re Jait , Marathi(1977)
Saal Solvan Chadya (1977) (as Smita) … Pinky
Manthan (1976) … Bindu
… aka The Churning (UK)
Nishaant (1975) (as Smita) … Rukmani (Vishwam’s wife)
… aka Night’s End (UK: subtitle)
Charandas Chor
Mere Saath Chal
Akaler Sandhane (Bengali)

http://www.dishant.com/cast/Smita-Patil.html

20 yrs on, Smita’s eyes still light up memories

Shabana Azmi on Smita Patil, life and movies

Smita Patil, a forgotten bollywood actress

http://www.dailyindia.com/show/92194.php/Smita-Patil-a-forgotten-bollywood-actress

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Re: Which Smita Patil film is your favourite?

Mrinal Sen

Smita (Patil) knew she wanted to do the role. And Shabana (Azmi) knew she wanted to, too. They knew that I was working on this film. They were then acting in Mandi. Shabana was the landlady. Smita was the prostitute. And Sreela (Majumdar)was in it too. Both of them called me up and said that they wanted to act in my new film. And Sreela too, following their example, pitched in with her request. I told her to calm down. ‘You are practically family. Stop worrying.’ I sat down and wrote to both Shabana and Smita. ‘You are definitely acting in my next film. But unlike Shyam (Benegal), I cannot move about with a harem, like a Mughal Emperor. He can take plenty of women at a time, but I can’t take more than one woman at a time. I start with you. After you, I’ll take on another actress. You are a great actress. So is the other one.’

I wrote ‘Dear Shabana’ on one and ‘Dear Smita’ on the other. I deliberately interchanged the envelopes and sent them off. I got to hear of the end result much later, from Shyam (Benegal). They were at the dinner table. It was during the filming of Aarohan (produced by West Bengal Film Development Corporation). (They had exposed 10,000 feet in order to shoot some lightning. I was told by the best laboratory of West Europe that they had never seen lightning shot this way before. I had borrowed some of that for Genesis.) Shabana came to dinner, wearing a long face. And told Smita, ‘This is a letter for you.’ And Smita too, pulling out a letter from her wallet, said, ‘Here, this one’s yours.’ (Laughs.) They confessed that they’d had a big laugh about it.

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Shabana could really put one on the spot. One couldn’t say no. One never had a chance to do so. I was visiting Shabana once at her father’s place in Juhu. As I got up to leave, she gave me a rose. We exchanged kisses and left. This was before Khandahar (1983). The moment I stepped out, I met Smita who had come to collect her parents. They were on the way to Prithvi Theatre to watch a play. There I was, outside Shabana’s house, clutching a rose to my breast. Like a Mughal Emperor on his way to war! ‘Mrinalda, I’ve caught you at it!’ she exclaimed and hugged me. I didn’t know what to say. ‘I’m sorry. Do forgive me.’ ‘No. I’ve caught you this time. There is only one way you can atone for your sins. You must watch my film Umbartha tomorrow.’ ‘But my plane leaves at noon tomorrow.’

She was not to be swayed and fixed it up so that I could watch it at the laboratory itself. Somewhere near the Film City. It took an age to get hold of a print and by the time we began watching it, it was almost ten thirty. The film was a long one, and Smita’s parents were there too. I sent off a young man who was with me, to the airport, to check in. The moment the film ended, I ran to the car. ‘I cannot speak with you now. I must be off or else I’ll miss my flight. Well done.’ I patted her on the back and was off. ‘Next time I come I’ll have puran polis with you,’ I told her parents, her mother in particular.

She used to make them for me especially and send them over. Smita’s mother used to tell me about how she had spent a lot of time traveling with her husband, on political work for the Congress. She said to me, ‘I would like to be with your team when you work. I can cook. I have heard so much from Smita. All of you become like one big family. I would like to be a part of it.’ I promised Smita that I would call her when I reached home. But she called me first. ‘How did you like it?’ ‘I thought you did very well, although I have my reservations about the film as a whole,’ I said. ‘I forgive you then, since you did make time to watch the film,’ she replied.

After that, when I completed Khandahar, I received a long fax from Cannes. My faxes would come to the Grand Hotel, in those days. They had written that although they had seen Khandahar, they could not accept two films from the same country. They had heard of Ray’s Ghare Bairey. And wee convinced that this was his last film because he had fallen sick while filming. They had started this festival with Pather Panchali. Let the Cannes festival end with Ghare Bairey, they requested. No one had seen his film yet. And everyone was worried – if my film won an award and his didn’t, then that itself would perhaps kill him off. They said they would extend every support to me and my film but that I must concede to this one request. They screened it, but out of the competitive section. I had nothing to say.

The people at Venice were enraged. ‘Why didn’t you give it to us?’ Anyway, then it went to Montreal. Where it got the Second Prize. And to Chicago where it got the Best Film Award. Then, it was also included in the Film Guide – where the five best films from all over the world are chosen every year.

Gilles Jacob, director of the Cannes Festival, was present at the Montreal Festival. It is a French-speaking region and Smita was part of the jury too. Gilles called me up one morning: ‘Mrinal, though I am leaving this morning, and a friend of mine from India is also leaving, can we meet over breakfast? We perhaps have no time for lunch.’ I agreed. I also knew that the friend she wanted to bring for lunch would be none other than Smita. She congratulated me warmly, and said, ‘Mrinalda, I simply have to tell you this. I have never seen Shabana look so beautiful before.’ It was such a compliment and such an honest confession. Although there were undercurrents of tension between those two leading ladies. Just before that, referring to Smita, Shabana had told me, ‘Mrinalda, this woman is sick in the head.’ That was the difference between the two. Geeta was very fond of Smita.

Gilles Jacob said, ‘You’ve taken her for one film which won an award at Berlin. I want you to make another film with her, which you must give to me. To my festival.’ I agreed. Smita quickly picked up a paper napkin and wrote down this decision. And I signed it, putting down the place and the date. Gilles signed it too and so did Smita. And I remember absolutely clearly, how lovingly and gently she folded it and put it away in her handbag. Three months later she was dead. I was getting hourly updates on her condition. The moment I heard about her death, I sent off a fax to Jacob. And he called me back immediately. ‘Whom can I call up, to pay my condolences?’ I gave him Smita’s husband’s number. It was very sad.

(
It was so unexpected, so unnecessary…)

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Re: Which Smita Patil film is your favourite?

Sorry, I never liked her. She was too roti dhoti for an actress.

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Re: Which Smita Patil film is your favourite?

Check her film 'Umbartha' (Threshold)- Brilliant Performance. Film is in Marathi her mother tongue with English subtitles.

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Re: Which Smita Patil film is your favourite?

i was abt 8 yrs old, vacationing with my family in Mahabaleshwar when the news spread like a forestfire that she'd passed away.. i didn't know who she was then.. but i remember the shock that hung in the air in that lovely place. I guess she was the marathi ppl's sweetheart.

I feel fat
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Re: Which Smita Patil film is your favourite?

Check this video, she is a Adivasi in this Marathi film

http://www.youtube.com/watch?v=gTkt5BO5XOk

http://www.youtube.com/watch?v=ZsvfFniNrUY

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Re: Which Smita Patil film is your favourite?

i remember her special appearance in dat SHARAABI film - was gud!

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Re: Which Smita Patil film is your favourite?

she was infact very talented n garceful actress ,i likeher role in waris,shakti

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Re: Which Smita Patil film is your favourite?

I dint knew she was in Sharaabi. She was dead when Sharaabi was released.

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Re: Which Smita Patil film is your favourite?

Sharaabi (1984) .... Guest Appearance in Song "Jahan Char Yaar Mil Jaye"

^^^
was taken from ur list above...

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Re: Which Smita Patil film is your favourite?

I remember her in Namak Halaal and yeh she did do a guest appearance in Sharaabi.

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Re: Which Smita Patil film is your favourite?

^^
C, i wer'ent imaging it,,,it was like a comedy role in a song i vaguely remember...

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Re: Which Smita Patil film is your favourite?

Mw ur right...she was in it...just very briefly but she was:)