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By:

Quaid Najmi

4 January 2025 at 3:26:24 pm

Curtains down on legendary actress Vijaya Mehta

She mentored actors like Nana Patekar, Anupam Kher Mumbai: The curtains fell for the last time on the Grand Dame of acting, Vijaya Mehta - one of India’s most acclaimed actresses, director, producer, writer and visionary – whose immense contributions to mainstream and parallel cinema and theatre influenced generations of actors and filmmakers. The National Award-winning actress passed away at her Mumbai residence late on Tuesday at 91. Her last rites were performed at the Shipdham...

Curtains down on legendary actress Vijaya Mehta

She mentored actors like Nana Patekar, Anupam Kher Mumbai: The curtains fell for the last time on the Grand Dame of acting, Vijaya Mehta - one of India’s most acclaimed actresses, director, producer, writer and visionary – whose immense contributions to mainstream and parallel cinema and theatre influenced generations of actors and filmmakers. The National Award-winning actress passed away at her Mumbai residence late on Tuesday at 91. Her last rites were performed at the Shipdham Crematorium in Goregaon east this afternoon in the presence of her family, a large number of film personalities and her admirers. Prime Minister Narendra Modi, Congress Leaders of Opposition Rahul Gandhi and Mallikarjun Kharge, CM Devendra Fadnavis and many other dignitaries paid rich tributes to Vijaya Mehta. Acting Institution Considered an institution in acting in her own right, Vijaya Mehta was a quiet but stern perfectionist who mentored some of the top actors like Nana Patekar, Anupam Kher, Neena Kulkarni and many others over decades. Fondly addressed as ‘Bai’ by her students and upcoming actors, Vijaya Mehta seamlessly combined intellectual rigours of a scholar and a sensitive artist, firmly believing that acting was not about applause but of truth, discipline and honesty before the audiences. Belonging to a bygone era when plays served as a vehicle to educate, provoke and transform society through stories, and over six decades, she came to be regarded as the ‘conscience keeper’ of serious theatre, long before ‘experimental theatre’ became a vogue. She constantly breathed new life into Marathi theatre in different ways that influenced new actors, directors and earned public approval. Born in Baroda State in 1934 at Vijaya Jaywant, she came to Mumbai at a young age and graduated from the University of Mumbai, with acting remaining her passion during her college days. She performed as Desdemona in a production of William Shakespeare’s 1604 classic play, “Othello” and her acting caught the eye of the renowned theatre guru, Ebrahim Alkazi, who trained and guided her. Rangayan Launched In 1960, Vijaya Mehta, along with other stalwarts like Adi Marzban, Vijay Tendulkar, Dr Shriram Lagoo and Arvind Deshpande, founded a theatre group, Rangayan. Meanwhile, in the mid-1950s she married Harin Khote, the son of the veteran actress Durga Khote, but after his sudden passing in 1964, she married theatre personality Farrokh Mehta a few years later. Jostling for space with the prosperous commercial theatre, over the years, it went onto produce many pioneering and influential plays earning itself a formidable reputation in ‘parallel theatre’ with bold themes, grandiose productions and exemplary performances that catapulted Marathi theatre to national repute. Several of her productions and directions became legendary – Ek Shunya Bajirao, Ajab Nyay Vartulacha, Hayavadana, Mudrarakshasa, Shakuntal, and Hamidabaichi Kothi, Mahasagar, Chairs – besides adaptation of several international classics, and each bearing her signature of meticulous preparations, sensitive performances and artistic excellence from all. Theatre to Cinema The full-house responses to her productions drew the attention of cinema and she ventured both in front of and behind the camera, in various capacities. Vijaya Mehta’s films ‘Rao Saheb’ (1986) for which she won the National Award for Supporting Actress that year, and ‘Pestonjee’ (1988) rank among the landmarks of parallel cinema for their subtle story-telling along with deep characterisation. As an actor, she gave some memorable performances in the much-applauded Govind Nihalani’s film ‘Kalyug’ (1981), “Mohan Joshi Hazir Ho!”, “Akriet”, “The Mist”, and a Mahesh Eklunchwar’s famed play “Wada Chirebandi” (1985), which she made into a television film, “Haveli Buland Thi” (1987). She also acted in the film “Party” (1984), also penned by Mahesh Eklunchwar. Over the years, she was decorated with many honours and awards, including the Padma Shri, Padma Bhushan, the Sangeet Natak Akademi Award, Sangeet Natak Akademi Fellowship, Kalidas Samman, Maharashtra’s highest cultural honours and numerous lifetime achievement awards. Vijaya Mehta: A taskmaster Film industry circles credit Vijaya Mehta not only for her own achievements, but also shaping generations of actors and film-makers to make them masters in the trade. Some of those whose skills she honed include: Nana Patekar, Anupam Kher, Neena Kulkarni, Mohan Agashe, Bharti Achrekar, Sonali Kulkarni, and in his early years, even Akshay Kumar benefited from her guidance and even from her autobiography, “Zimma: A Memoir” (2012). As news of her passing spread today, her disciples, Bollywood and Marathi film industry actors and legions of fans poured their emotions for Vijaya Mehta today on social media.

Annasaheb Patil: A Lifelong Advocate for Workers’ Rights

Updated: Oct 21, 2024

Annasaheb Patil

Annasaheb Pandurang Patil, a member of the Maharashtra Legislative Council, made significant contributions to the uplifting of scattered workers in Mumbai. For this reason, he is regarded as the architect of the progress of the Maratha and Mathadi workers in Maharashtra. Annasaheb Patil proposed a simple yet broad definition of a `Maratha,’ stating that every person residing in Maharashtra and standing for its defence is a Maratha. With this ideology, he established the Mathadi Workers Union and the All India Maratha Federation.

When Annasaheb Patil arrived in Mumbai from his native village, Mandrulkole in Patan Taluka, he began his career as a worker. At that time, workers in Mumbai were facing dire conditions, and a majority of them were Marathas. Annasaheb Patil believed that workers needed to experience both economic and social progress. He deeply studied their issues and began organising them, forming the Mathadi Workers Union, formally known as the Maharashtra State Mathadi Transport and General Workers Union. This became one of the largest labour unions in the state.

At the time, most labour unions were led by communists, but Annasaheb Patil rejected their ideologies, instead building a union based on Indigenous principles. He organised protests and movements, putting forward workers’ demands for better wages, healthcare, and basic rights for workers before the government. His relentless work eventually bore fruit, and he became the guiding force for workers.

Annasaheb Patil’s efforts resonated with the government. The then-Chief Minister, Yashwantrao Chavan, addressed the demands put forth by Patil, and on June 5, 1969, the Mathadi Workers Act was enacted in Maharashtra. This legislation brought joy and relief to the workers, improving their quality of life. Due to this act, facilities such as hospitals, consumer societies, housing through CIDCO, and educational and medical services were made available to Mathadi workers. Patil’s contribution to their welfare was pivotal.

Today, the issue of Maratha reservation is a significant topic in Maharashtra. Annasaheb Patil, the father of the Maratha reservation movement, made sure that his demands were reasonable and did not disturb social unity. His image is revered across Maharashtra for this reason.

Annasaheb Patil worked tirelessly for the welfare of Mathadi workers, most of whom were Marathas. He united the 12 Balutedars and 18 Pagadi communities, forming various organisations under the All India Maratha Federation. His leadership earned him widespread respect, and on July 8, 1980, he became a member of the Legislative Council.

During this time, the demand for Maratha reservations based on economic criteria was gaining traction. Annasaheb Patil toured Maharashtra while advocating for this cause. He resolved to lead a protest march to the Legislative Assembly. As an MLA in the Congress government, Patil, along with Advocate Shashikant Pawar, led a massive procession from Azad Maidan, Mumbai, on March 22, 1982. The sight of the marchers carrying Shivaji Maharaj’s saffron flag caught the attention of the citizens of Mumbai.

Annasaheb Patil submitted a list of nine demands to the then Chief Minister, Babasaheb Bhosale. Realising that the demand for reservation would not be considered, he declared that if justice were not served to the Maratha community, he would not live to see the next sunrise. True to his word, he ended his life on March 23, 1982, leaving an indelible mark on the state.

Annasaheb Patil devoted his life to the progress of Mathadi workers, raising their issues before the government and improving their living conditions. His efforts for the Maratha reservation and social justice brought attention to the problems faced by the community. His life was a testament to the struggle for the welfare of society. Rightfully, he is remembered as the father of the Maratha reservation movement and the architect of Maratha upliftment.

On his birth anniversary, we humbly pay tribute to the sacred memory of Annasaheb Patil.

(The writer is a BJP member of Maharashtra Legislative Council. Views personal.)

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