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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.

Bad Roads, Ugly Politics


The pathetic state of roads in Mumbai city as well as its suburbs has made daily commute a dangerous affair. The residents are miffed with the BMC over its lackadaisical attitude. Mumbaikars tweet photos, post videos to grab attention, but everything is in vain. Who cares for the common people. Backbreaking journeys have become part and parcel of life. Political leaders are busy mud-slinging.


This year the monsoon took a break after almost four and half months. During this time some of the roads virtually became non commutable. It may be recalled that the Chief Minister Eknath Shinde first announced to make Mumbai roads pothole free.


Its almost two years now the BMC has concretised only 9 percent of roads it planned to concretise. This decision was taken when it came to light that due to the properties of bitumen in asphalt roads, potholes are a regular occurrence due to contact with water during monsoons.


Hence, to solve the problem of potholes, the corporation has adopted a policy of cement concreting of 6-meter-wide roads in phases. The decision was taken but the dilly-dallying affair made things more difficult.


Mumbai’s traffic does put a lot of strain on roads which is not the case in the other developed countries. Second most important aspect is concretisation of roads is done partly and in phases.


The worst problem which is faced is repeated digging for cables and drainage, which weakens the roads. Above all corruption in BMC makes matters worse as a result everything comes to grinding halt.


According to experts, repairing potholes is a reaction with symptomatic treatment. By and large we are dispensing superficial treatment without addressing the root cause. The long-term solution will be to have roads with no potholes but what we need is the means and technology to achieve this. But for this political will is necessary which we lack on every step.


Mumbaikar’s are convience that corruption in the municipal corporation is the main reason. Contractors have had a monopoly over the last 20 years and this is the reason why reputed companies never come ahead for these projects.


As a result, in the name of attendance and repair, the BMC does shoddy work. Crores are spent but the end result is nothing. The BMC is not paying attention to the crust. If the crust is weak, potholes will see an increase. Without any thought or technical know-how, potholes are filled with cold mix.


This is the reason why the city and suburbs continue to have craters on the roads.


Craters, a serious threat to the safety and security of people. Mumbaikars fade up from their repeated visits to orthopedic surgeons.


They are in a mood to teach a proper lesson to those who were at the helm of the affairs.

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