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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.

Lingua Pragmatica

Updated: Mar 20, 2025

As Southern leaders like M.K. Stalin rage against Hindi, Andhra Pradesh’s Chief Minister Chandrababu Naidu offers a model of pragmatism over parochialism.

Chandrababu Naidu
Andhra Pradesh

Amid the cacophony of opposition in southern states to Hindi, Andhra Pradesh CM N. Chandrababu Naidu has taken a markedly pragmatic stance by remarking recently in the state Assembly that there was no harm in learning other languages. Hindi, Naidu noted, was useful for communication across India, particularly in political and commercial hubs like Delhi. His remarks, though avoiding explicit mention of the NEP, were widely seen as an endorsement of multilingualism and a rebuke to the linguistic chauvinism that has gripped parts of the South.


Few issues in India stir political passions quite like language. It is not merely a means of communication but a marker of identity, a relic of colonial resistance, and a source of political mobilization. In the southern states, where anti-Hindi sentiment has long been entrenched, the National Education Policy (NEP) 2020 and its three-language formula have reignited old tensions. No state embodies this defiance more than Tamil Nadu, where the ruling Dravida Munnetra Kazhagam (DMK) led by M.K. Stalin has framed the policy as an assault on its linguistic autonomy.


Naidu’s words, welcomed by his ally and Deputy Chief Minister Pawan Kalyan, mark a sharp contrast with the DMK’s position. Tamil Nadu’s hostility towards Hindi dates back to the 1930s, when C. Rajagopalachari’s attempt to introduce it in schools met with fierce resistance. The anti-Hindi agitations of the 1960s cemented the DMK’s ideological stance, with its first Chief Minister, C.N. Annadurai, famously warning that Hindi imposition could push Tamil Nadu towards secession.


The question, however, is whether this rigid opposition serves Tamil Nadu’s interests. While Stalin, with an eye to the upcoming Tamil Nadu Assembly polls, has been relentlessly portraying Hindi as a threat to his state’s regional identity, Naidu, a partner of the BJP-led Centre, is framing it as a tool for economic mobility. His argument is not that Hindi should replace Telugu or English but that it offers a competitive advantage.


The economic case for multilingualism is compelling. Indians who speak multiple languages tend to have better job prospects, higher earnings and greater geographic mobility. Andhra Pradesh’s Telugu-speaking diaspora is a case in point. Telugus make up a significant proportion of Indian-origin professionals in the United States, the Gulf, and Southeast Asia as Naidu pointed out, hinting that this success story was built not on linguistic rigidity but on adaptability.


In a country where inter-state migration is rising and where Hindi remains the most widely spoken language, refusing to learn it amounts to self-imposed isolation. Tamil Nadu’s approach, by contrast, risks limiting its youth. The DMK government has refused to implement the three-language policy, keeping schools strictly bilingual with Tamil and English. Its justification that Hindi is not necessary for global success could be true in a narrow sense but ignores the domestic context. If Tamil filmmakers can dub their movies into Hindi to expand their audience, why should Tamil students be denied access to the language that could open more doors for them within India?


The DMK has accused successive central governments, particularly under the Bharatiya Janata Party (BJP), of pushing Hindi at the expense of regional languages. Yet, rejecting Hindi outright is an overcorrection. The reality is that Hindi is an important language in India’s economic and political landscape. Naidu’s position, one of accommodation rather than confrontation, offers a middle ground that other Southern leaders would do well to consider.


Some states already recognize this. Karnataka, despite its own history of linguistic pride, has allowed Hindi to be taught as an optional language. Kerala, whose migrants work in Hindi-speaking regions and the Gulf, has been less hostile to Hindi education. Naidu’s model, balancing regional identity with practical necessity, offers a way forward. Languages should be embraced, not politicized. Southern leaders would do well to listen to him.

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