Suchitra sen rejected Raj Kapoor’s offer. How exactly did she turn it down?” скачать в хорошем качестве

Suchitra sen rejected Raj Kapoor’s offer. How exactly did she turn it down?”

She was born on 6 April 1931 in a small town called Pabna, in what was then undivided Bengal and is now Bangladesh. Her real name was Roma Dasgupta. The youngest of eight siblings, she grew up in a middle-class household where her father Karunamoy was a school headmaster and her mother Indira a quiet homemaker. Even as a child, Roma felt her beauty was a curse. Neighbours stared, boys teased, girls envied. She would lock herself in the bathroom and whisper to the mirror, “This face will either take me somewhere or destroy me completely.” In 1947, when India was torn apart, the family fled to Kolkata. At sixteen, Roma was married off to Dibanath Sen, son of a wealthy zamindar family, a man twice her age. Overnight, Roma Dasgupta became Suchitra Sen. The marriage was never love; it was possession. Dibanath paraded her like a rare diamond at parties: “Look at my wife, isn’t she the most beautiful woman alive?” Suchitra smiled for the guests, but inside she was breaking, piece by piece. One evening in 1952, Dibanath took her to New Theatres studio “just for fun”. Bimal Roy was auditioning for Do Bigha Zamin. He took one look at Suchitra and said, “This face belongs to the camera.” Her first film Shesh Kotha (1952) sank without a trace, but she refused to give up. The following year she played a tiny role in Bhagaban Srikrishna Chaitanya. Then came the earthquake: Bimal Roy’s Devdas (1955) opposite Dilip Kumar. She became Paro on screen while trying to become Chaitanya in real life. The film was a colossal hit. Overnight, the girl from Pabna became the uncrowned queen of both Bengali and Hindi cinema. And then came the partnership that immortalised her: Uttam Kumar. Between 1953 and 1977 they acted in thirty films together – Harano Sur, Saptapadi, Pothe Holo Deri, Deep Jwele Jaai, Uttar Falguni, Grihadaha… Bengal had never seen anything like it. People said, “If Uttam-Suchitra are in a film, the hall will burn from the crowd.” Rumours of an affair flew like monsoon clouds. Both were married, both had children, both stayed silent. Yet the way they looked at each other on screen still makes grown men and women cry in dark cinema halls even today. In Bombay she created storms too. Musafir (1957), Bombai Ka Babu (1960), and above all Mamta (1966) – a film in which she played triple role: the abandoned wife Devi, the fallen tawaif Panna Bai, and the modern lawyer Suparna. Mamta became India’s official entry to the Oscars and won her the Silver Prize for Best Actress at the Moscow International Film Festival in 1963 – the first Indian actress ever to receive an international acting award. But the higher she rose, the deeper the loneliness grew. Her marriage had turned into a cold formality. Her only child, daughter Moon Moon (born 1955), later admitted, “Ma and I were never close. She never knew how to be a mother.” Suchitra herself once whispered to a friend, “I was never ready to be anyone’s wife or anyone’s mother. I was only ready to be only an actress… and even that began to feel like a trap.” “Rajji, I have only one problem. I do not like your style of working. I have heard how you rehearse one shot fifty times, how you make actresses cry for real tears, how you keep the unit waiting for hours for ‘the right light’. I cannot surrender like that. My heart will break. Please forgive me, I cannot do this film.” That refusal became legend. People said, “The only woman who said no to Raj Kapoor – and lived to become a bigger mystery than Garbo of India.” After Mamta (1966) she did only four more films. The last one was Pronoy Pasha (1978) – a mediocre love story. On the morning of the premiere she looked at herself in the mirror, took off her make-up, wore a plain white sari, and never faced a camera again. She was forty-seven. From 1979 till her death on 17 January 2014, for thirty-five long years, Suchitra Sen became a complete recluse. She locked herself in her flat on Ballygunge Circular Road, drew all curtains, dismissed most servants, stopped meeting only her daughter Moon Moon and two-three old friends. When she died at eighty-two, the entire city of Kolkata wept like someone had switched off the moon. Her funeral procession was ten kilometres long. Grown men who had never met her sobbed openly on the streets. Bengal declared a state holiday. Yet even in death she maintained her mystique: the family allowed no cameras inside the crematorium. The last glimpse the world had of Suchitra Sen was a closed coffin covered in white rajnigandha flowers. SPECIAL THANKS TO DHEERAJ BHARDWAJ JEE (DRAMA SERIES INDIAN), THANKS FOR WATCHIN GOLDEN MOMENTS WITH VIJAY PANDEY https://podcasters.spotify.com/pod/da... https://www.facebook.com/profile.php?...   / actorvijaypandey     / panvijay