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Smita Patil Movies

Smita Patil was a major player in the development of India's alternative cinema during the '70s and early '80s. A devoted feminist outspoken about the ways in which traditional systems continue to oppress women, she was a model for the "new Indian woman" who was independent, sexually confident, and concerned about the world. In college, she began working in student films and as a TV newscaster. Her first major film role was in Shyam Benegal's 1975 film Manthan, but she did not become a major artist until she appeared in his 1977 film Bhumika. Many offers for films rolled in after that, but she refused any that did not support her political and feminist agendas. She held her high standard until the early '80s when she finally realized that by only accepting the few roles that fell into the category of alternative cinema that she could not have much affect on the mainstream women she'd hoped to reach. She then reluctantly began accepting mainstream roles, some of which she felt were exploitative and undignified. When not acting, she kept herself active in women's issues; she even set up a women's refuge in Bombay. With her two commercial films, Ardh Satya and Umbartha, she was finally able to bring notions of alternative cinema to the general public. On December 13, 1986, 17 days after giving birth to a son, Patil died of a brain hemorrhage in Bombay's Jaslok Hospital. She was only 31 years old. ~ Sandra Brennan, Rovi
 
1987  
 
 
1986  
 
Life on an animal farm in Southern India is depicted in this romantic Indian melodrama. The story centers upon the farm supervisor, a gentle, intelligent man who does not fit in well with country life. He finds himself bored without a constant intellectual challenge. The brutish other supervisor likes the life and spends his time riding upon his motorcycle intimidating the workers. Most of the simple workers prefer and respect the gentler supervisor. He finds conflict though, when a worker brings his new bride to the farm and he finds himself falling in love. ~ Sandra Brennan, Rovi

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Starring:
GopiSmita Patil, (more)
 
1986  
 
In a conventional Indian melodrama that underscores political ills such as corruption and social problems such as runaway popular beliefs, director Uptlendu Chakraborty wraps a larger picture around the long-suffering parents of a supposed "child-god." A woman named Sita gives birth to a three-headed baby, and her peasant husband immediately adopts the child out to the first taker. He later finds out that the "taker" is getting rich off the baby because he is touting him as the incarnation of a god. So the peasant comes home and after physically abusing his wife, he demands that she produce another such progeny so they can get rich too. The misery of their lives is told in flashbacks, and after awhile, it becomes apparent why the father reacted so severely. ~ Eleanor Mannikka, Rovi

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Starring:
Smita PatilSadhu Meher, (more)
 
1985  
 
 
1985  
 
This routine drama of romance and intrigue, with only two songs (unusual for any Indian commercial film!), focuses on Rahul (Amol Palekar), a sleazy, self-promoting industrialist, his affair with his son's nurse, and the workers that the nurse champions. Rahul intends to take over the company when his elderly father-in-law dies, but his ambitions find an obstacle in his wife's shady cousin (Girish Karnad), who has his own designs on the business. In the meantime, Rahul's employee's are rebelling -- they want better working conditions and a decent wage. Sooner or later, something will have to give. Rahul just does not want to be that something.
~ Eleanor Mannikka, Rovi

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Starring:
Smita Patil
 
1985  
 
A landmark work of Indian feminism, Spices was made by famed filmmaker Ketan Mehta, featuring Smita Patel in the leading role. Patel, possibly the greatest actress of her generation, plays a woman who faces the oppressive realities of life as a woman in India. Spurning the advance of a corrupt tax collector, the heroine is forced to take refuge in a pepper factory. Spices is a Hindi film with English subtitles. ~ Sean Hurley, Rovi

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Starring:
Naseeruddin ShahSmita Patil, (more)
 
1983  
 
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With songs and musical numbers that are woven through the storyline, this unevenly-paced drama is about a brothel that has been an institution in a small town for a very long time. The women entertain the local clients with suggestive songs and dances and are not the type of prostitutes that ply their trade in New York City, for example. Unfortunately for the business of the brothel, a developer wants to schedule some new buildings for the town, so the madam is forced to move her women to the outskirts, and things will just never be the same again. ~ Eleanor Mannikka, Rovi

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Starring:
Shabana AzmiSmita Patil, (more)
 
1983  
 
A police drama is a rare film for 1980s Indian cinema, and a successful police drama with a bit of a moral is even rarer -- which makes this film by Govind Nihalani an unusual item. Anant Welankar (Om Puri) is an ethically strait-laced Bombay police officer who reluctantly joined the force at his father's instigation -- his father had been a career policeman. Once working in the precinct, Anant learns about bribery -- it seems that Rama Shetty (Sadashiv Amrapurkar), a well-known political aspirant known to be involved in a murder, has several of the police officers in his back pocket. Anant finds himself caught between the police violence and bribery on the one hand, and his desire to fulfill his duties to the letter on the other. In one unhappy moment, he is carried away by his fury against immorality during an interrogation and beats a prisoner so badly that the man dies. Stricken and yet unwilling to simply accept his suspension, Anant has to either hew to his own conscience and face the consequences, or ask for help from the notorious Rama Shetty -- a difficult decision when one's future hangs in the balance. ~ Eleanor Mannikka, Rovi

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Starring:
Om PuriSmita Patil, (more)
 
 
1981  
 
Noted Indian director Satyajit Ray scripted and arranged the music, as well as directed this brief look into one moment in the caste system in India. When an untouchable (an out-caste, played by Om Puri) approaches the ranking village Brahman (the highest caste, known for learning and wisdom) to request him to set an auspicious date for his daughter's upcoming wedding the Brahman is willing to perform that astrological task in exchange for some labor on the part of the untouchable. Already ailing, the old man agrees and starts to work cleaning the Brahman's house and stables. When he is set the task of chopping a nearly petrified block of wood, his fury (at his fate? at the Brahman? at the caste system itself?) increases with each blow, and in the end, the battle is too much - he succumbs to his severe physical debilities and dies. Because his body is lying in a place where Brahmans go to get water, the Brahman uses a forked stick to pick up one leg of the corpse, ties a rope around it, and hauls the body off to a spot where untouchables and animals are cremated. There is no more concern for this human being than for a bag of garbage that has to be taken out before the smell becomes offensive. And for most viewers, there could be no more eloquent an indictment against the caste system itself. ~ Eleanor Mannikka, Rovi

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Starring:
Om PuriSmita Patil, (more)
 
1981  
 
Released in India as Aakrosh, Cry of the Wounded is reportedly based on an actual government coverup. Idealistic attorney Naseeruddin Shah takes as his first client a man accused of murdering his wife. The accused is a political activist, and after a while it seems apparent that the prosecution is pursuing the case at the command of the Indian government. Shah himself falls victim to coercion and outright threats while preparing his defense. The political issue becomes a moral one when the accused, on furlough from jail to attend the death of his father, kills his own sister for complex reasons of honor. Now Shah must ponder whether it's worth getting his client off from the first murder charge when he will obviously be condemned for the second killing. ~ Hal Erickson, Rovi

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Starring:
Naseeruddin ShahSmita Patil, (more)
 
1981  
 
A young auto mechanic named Albert Pinto (Naseeruddin Shah), enjoys an insulated life of semi-privilege in India where his wealthy customers will sometimes let him use their luxury cars, and his charming girlfriend stays in her desired place. All this changes as Pinto is suddenly face-to-face with the injustices of an imbalanced social system. His father (Arvind Deshpande) is badly beaten as he joins a strike at work, and his brother (Dilip Dhawan) ends up in jail for trying to steal food because he has been out of work so long he has no resources left. Rudely awakened by the suffering of his father and brother, Pinto begins to seriously look around him. His change from passive ignorance to active resistance evolves through to the end of the film. ~ Eleanor Mannikka, Rovi

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Starring:
Naseeruddin ShahShabana Azmi, (more)
 
1980  
 
A schoolteacher incurs the wrath of a local witchdoctor when he tries to get his students inoculated to prevent an epidemic in this moral melodrama. Superstitions of the old India collide with the medical advancements of the modern world. The teacher's wife goes to the witchdoctor after the death of the couple's child. When the witchdoctor demands a human sacrifice, the crusading teacher is accused of providing him with a victim and becomes ostracized by the villagers. ~ Dan Pavlides, Rovi

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Starring:
Smita Patil
 
1980  
R  
Amma (Smita Patil) is a woman who has been raped and then forced to flee her home with her husband and child after her husband kills the rapist. Her life plunges even lower in the overwhelming and crowded city when her husband, in turn, is killed by smugglers. Left alone to fend for herself and her little boy, she desperately tries to instill moral values in her son in spite of the immorality of life all around them. She is indirectly aided in this effort by a dubious hero-type, but there does not seem to be much hope for her future and that of her son. ~ Eleanor Mannikka, Rovi

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Starring:
Smita PatilNaseeruddin Shah, (more)
 
1980  
 
This charming fable in the genre of New Indian Cinema brings up the issue of the Indian caste system and its entrenched beliefs from several different perspectives. Once upon a time, the story begins, there was a prince who was taken out of the palace at birth by his evil aunt and thought to have died. Instead, he is adopted and raised by a low-caste couple. His lot in life is one with theirs and when he grows up, he champions his family to stop the suffering they have endured because of their particular caste status -- an action of a true prince. There are two versions of the ending of the Folk Tale with the audience welcome to choose their favorite. Enhanced by interesting costumes and incisive dialogue, the fable combines comedy and social commentary as it moves through its classic tale. ~ Eleanor Mannikka, Rovi

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Starring:
Naseeruddin ShahSmita Patil, (more)
 
1980  
 
A moving film about the relationship between art and reality from well-known Bengali director Mrinal Sen, In Search of Famine is a movie about making a movie. A young, idealistic director arrives in a village to make a picture set during the Great Bengal Famine. It's a film that he hopes will reveal the problems and privations still current in rural India. Once in the town everything begins to go wrong. An actress walks off the set and a local girl quits when the film's subject becomes to personal, forestalling production. Most ironically however, the presence of the film crew begins to drive up the price of food in the village, leaving the residents angry and fearful of another famine. The tension increases and finally the film crew is driven from the town. In Search of Famine makes an important point: good intentions are not enough to overcome the demands of reality upon works of art. ~ Brian Whitener, Rovi

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Starring:
Dhritiman ChatterjeeSmita Patil, (more)