BIRTHDAY SPECIAL CELEBRATING THE MOVIE ICON’S TOP 12 PERFORMANCES
Legendary Bollywood actress Hema Malini turns a year older this week and celebrates her 74th birthday.
The movie icon, affectionately known as Dream Girl, will receive warm wishes from all her fans.
Eastern Eye decided to join the celebrations by going through her fabulous body of film work to select her top 12 performances, listed in chronological order.
Andaz (1971): This was the first movie to demonstrate that Malini could back up her glamorous dream girl image with an impressive acting ability. Despite just being 22 years old, she took on a challenging role in the story of two widowed parents finding love. The young actress held her own against established hero Shammi Kapoor, in his last great lead role, and reigning superstar Rajesh Khanna in the blockbuster hit.
Seeta Aur Geeta (1972): The young actress was elevated into the A-list category by playing the title role of twins with contrasting personalities. The year’s biggest Bollywood hit would earn her a Filmfare Award for Best Actress. It was particularly special because the tougher twin introduced the kind of raw girl power that had been missing in Hindi cinema. She outshone her established leading men (Sanjeev Kumar and Dharmendra), which would become a common occurrence throughout her career.
Khushboo (1975): By the mid-1970s, Malini was the undisputed queen of Bollywood. She regularly lit up commercial blockbusters opposite A-list leading men but surprised everyone by agreeing to star in this artistic gem from writer-director Gulzar, who gave her a performance-driven role. The actress, who was known for fiery characters, delivers a beautifully restrained performance as a village girl, who is reconnected with a man she was made to marry as a child bride.
Sholay (1975): Although she had a prolific career, this will always be her career-defining role. Her portrayal of fast-talking carriage driver Basanti has gone down in history as one of the most memorable female characters. She is electrifying in every scene and was the most important female presence in the record-breaking curry western. It remains associated with her almost 50 years later.
Kinara (1977): The in-demand actress once again stepped away from commercial blockbusters like Pratigya (1975), Dharmatama (1975) and Dus Numbri (1976), by teaming up with Gulzar again for this relatively low budget romantic drama. She sank her teeth into the strongly written role of a woman who loses everything, including her sight, and her journey back towards some semblance of inner peace. She was able to show off her impressive classical dancing skills and would earn a Filmfare Best Actress nomination.
Meera (1979): Like Kinara, this critically acclaimed film was another special collaboration between the actress and writer-director Gulzar. She takes on the title role in this historical based on the life of a saint. The versatile performer portrays a woman, who has such absolute devotion to a higher spiritual power that she is willing to die for her beliefs. It was another film that was a massive departure from commercial Hindi cinema and driven by her strong central performance.
Jyoti (1981): Another power-packed role from the actress saw her portray a feisty village girl, who has an arranged marriage to a man who has been mentally, emotionally, and physically beaten down by his family. She has a transformative effect on him and takes on the dark forces in the family. Her electric turn became another strong symbol of girl power in her glittering career.
Satte Pe Satta (1982): Only Malini could have played the role of a nurse who ends up living with seven rowdy brothers, after marrying one of them, and being a positive influence on their lives. She shows magnificent comic timing in the Bollywood remake of Seven Brides For Seven Brothers, but backs it up with real power and holds her own against male cast members. The cult classic was another example of a male-dominated movie where she shone.
Razia Sultan (1983): The movie from legendary writer-director Kamal Amrohi features a phenomenal lead performance from the actress in the title role. The beautifully shot historical based on real events was another boundary-breaking role and saw her portray a woman ruler, who develops a relationship with a dark-skinned Abyssinian slave. Malini wonderfully mixes up a regal presence with a deeply romantic side in the superbly written story.
Aandhi-Toofan (1985): The actress had bigger commercial hits in the 1980s like Do Aur Do Panch (1980), Naseeb (1981), Kranti (1981) and Farz Aur Kanoon (1983), but there were more powerful performances in often forgotten gems like this. She delivers an incendiary portrayal of a woman who hires two mercenaries to capture a dreaded villain, who had brutally destroyed her life. The movie had echoes of her all-time classic Sholay and gave her a powerful role.
Ek Chadar Maili Si (1986): The Bollywood adaptation of the classic novel of the same name has become iconic largely thanks to the brilliant lead performances. She portrays a feisty village woman who must endure an abusive marriage and patriarchy. Despite facing more of the same after her husband dies, she has a never-say-die spirit and tries to maintain some semblance of dignity. The multi-layered role enabled her to show deep emotions.
Baghban (2003): The actress reunited with Amitabh Bachchan in this family drama about an elderly couple who struggle to receive support from their children. The film really connected with the older generation and was another one where she showed real presence on screen. She had lost none of the chemistry with co-star Bachchan and their scenes together are a delight.
‘She created a benchmark by doing progressive roles’
Hema Malini with Ram Kamal Mukherjee
Few people know Hema Malini better than Ram Kamal Mukherjee. He is not only friends with the legendary actress, but also wrote a beautiful book on her life titled Beyond The Dream Girl.
The acclaimed writer and filmmaker told Eastern Eye why he thinks the cinema icon is such a special talent.
In the beginning, many industry critics thought that Malini was just a pretty face and a great dancer, but she proved them all wrong by taking on diverse acting challenges. These special roles started very early on in films like 1971 classic Lal Patthar, where she competed with co-stars Rakhee and Raaj Kumar with elan.
While some felt she was a glamour quotient for heroes, Malini proved them wrong with author backed roles in films across her career like Khushboo, Kinara and Ek Chaadar Maili Si. Her performance in Aruna Raje’s Rihayee dealt with women’s freedom of choice in a relationship.
Even in films like Tere Mere Sapne, Sunhera Sansar and Dharmatma, which were headlined by major stars, and she wasn’t the lead, the amazing actress left her mark.
Malini demanded equal and at times double roles with established mega stars like Rajesh Khanna, Dharmendra, Manoj Kumar, and Dev Anand. With undivided attention and a massive fan following, I truly feel she was the first female superstar who played the maximum title roles.
Yes, she was often nominated at the Filmfare Awards, but won only once for her stellar role in Seeta Aur Geeta.
From playing an unwed mother in Andaz to a headstrong grandmother in Baghban, Malini always portrayed women as symbols of strength on-screen. That was her biggest award.
The great acting talent never really indulged in films where she is dancing around trees. Even lesser-known films Paraya Dhan and Anjaam saw her work on progressive characters.
In fact, Malini was probably the first heroine to have a full-blown action sequence with Amitabh Bachchan (in Naseeb), at a time when no heroine got a chance to do that with him during his early superstardom.
And I guess, Malini is the only heroine who had a prefix which no heroine had before her. She will remain India’s only Dream Girl, who created a benchmark with blockbusters and progressive movies.
I also feel that her contemporaries like Rekha, Jaya Bhadhuri, Rakhee, Parveen Babi, Shabana Azmi, Smita Patil and Zeenat Aman admired Malini for her courage, honesty, and hard work. She has also been greatly admired for her dedication to Indian classical dance and traditional upbringing. She never took part in any rat race, and that’s probably the reason why audiences kept her as the longest reigning number one heroine in the history of Hindi cinema.
For the first time, London’s Mall Galleries will host a major exhibition dedicated entirely to Pichvai paintings, an intricate devotional textile tradition from Rajasthan. Titled Feast, Melody and Adornment (2–6 July 2025), the show brings over 350 artworks to a British audience, highlighting the evolution and global revival of this 400-year-old art form.
Curated by Pooja Singhal, founder of Udaipur-based atelier Pichvai Tradition and Beyond, the exhibition is being hailed as the most ambitious contemporary presentation of Pichvai to date. In fact, it marks a powerful shift in how Indian temple art is being experienced: not in hushed museum archives, but as a vibrant, living tradition reaching new audiences.
Pichvai, meaning “behind the idol”, originated in the 17th century in Nathdwara, a temple town near Udaipur. Artists created these large-format cloth paintings for daily darshans (ritual viewings) of Srinathji, a baby Krishna deity. These works captured moments of shringar (adornment), bhog (feasting) and raag (devotional music), and were displayed behind the idol in the sanctum.
Deccan Miniature Images - Gold Cows on red getty images
Over time, these temple painters formed a tight-knit community. “My mother collected Pichvais, and my grandfather sold them,” says Singhal, whose childhood was steeped in this visual tradition. “I literally grew up surrounded by them.”
Layers of meaning, scale and detail
Though often mistaken for simple Krishna depictions, Pichvais are complex, layered artworks. They can include over 100 miniature elements like cows, lotuses, chariots and gopis, often spanning six to eight feet in height. Some motifs, like lotus blooms, are symbolic too, evoking cooling relief during Rajasthan’s scorching summers.
Pastel Lotus getty images
“Pichvai is unique because it marries the scale of a textile with the detailing of miniature painting,” explains Singhal. “Every inch has a hundred layers. You can stand there for hours and keep discovering new stories.”
Krishna as Govindagetty image
Schools of miniature painting from Nathdwara, Bundi, Jaipur and Kishangarh influence the styles on display. Some resemble aerial maps of temple festivals; others evoke the rhythm of music or the warmth of food being served to devotees.
Reimagining tradition for a global audience
Singhal’s goal since launching Pichvai Tradition and Beyond in 2010 has been to preserve traditional methods while adapting them for modern collectors. Her key innovations include:
Grayscale reinterpretations for minimal, contemporary homes
Greyscale Pichvais
Restored sketchbook folios, recreating daily temple scenes from archival fragments
Sketches
Pastel colour palettes and geometric cow motifs to appeal to wider interiors
Modern Cow Pastel
Framing artworks individually, allowing Pichvai sketches to stand as contemporary works in their own right
Sketches
These modern adaptations haven’t diluted the tradition; they’ve helped it grow. One of the atelier’s works was even selected by Prime Minister Narendra Modi as a diplomatic gift to a foreign leader, an unexpected milestone that, according to Singhal, affirmed the relevance and stature of this centuries-old tradition in the modern world. “When a Swedish collector bought a grayscale Pichvai at the India Art Fair, I realised the form can travel,” she says.
Pichvai gifted to Narendra Modi
A new system for old skills
Breaking away from the age-old guru–shishya (teacher–disciple) model, Singhal’s atelier now works more like a studio collective. A team of 10–12 artists from different miniature schools collaborate on large and small format works.
“Many painters had no work,” she says. “We started smaller Pichvais and even Deccan-style gold miniatures. It gave artists a viable livelihood.”
Black and gold Gopis
Bringing Pichvai to Britain
Shipping 350 works across continents has taken six months of preparation. The Victorian-era Mall Galleries, located near Trafalgar Square, has never hosted an Indian temple art show of this magnitude.
The artworks are split across three interconnected rooms, themed around Raag, Bhog and Shringar. Alongside the art, there will be over 15 events including artist walkthroughs, collector previews, academic panels, and auctions benefiting Rajasthan’s artisans.
The Haveli of Shrinathji
“I’ve never worked at this scale before,” Singhal admits. “But if every visitor leaves feeling connected to the art, it’ll be worth it.”
What it means for British-Indian audiences
This is the first exhibition in the UK to exclusively showcase newly created Pichvais, not just preserved artefacts. For British-Asian families who’ve seen such works in temples or family homes, it’s a rare chance to see them celebrated on an international platform.
“Many have never seen this tradition at such scale or detail,” says Singhal. “And now, these living artists, whose families have painted for generations, get their moment.”
📍 Mall Galleries, The Mall, London SW1Y 5BD 📅 2–6 July 2025 🕙 10:00–18:00 daily (until 19:00 on 4 July) 🎟️ Admission: £12 (₹1,280), £8 (₹850), Free for Under 12s 🔗 More info: mallgalleries.org.uk
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The strike highlights long-standing concerns among Louvre staff
The Louvre Museum in Paris, the world’s most-visited art institution, was forced to shut its doors to the public for most of Monday, 17 June, as workers staged a spontaneous strike in protest over chronic overcrowding and deteriorating working conditions.
Thousands of ticket-holding visitors were left waiting in long queues beneath the museum’s iconic glass pyramid, with no clear explanation provided on-site. Many expressed frustration over the lack of communication and the disruption to their plans.
Staff protest against 'untenable' conditions
The walkout took place during a scheduled internal meeting, during which gallery attendants, security staff and ticket agents decided to withdraw their services. According to the CGT-Culture union, the protest was triggered by “unmanageable crowds”, insufficient staffing and unsafe working conditions.
Sarah Sefian of CGT-Culture said, “We can’t wait six years for help. Our teams are under pressure now. It’s not just about the art – it’s about the people protecting it.”
The strike highlights long-standing concerns among Louvre staff, including inadequate facilities for both visitors and employees. These include limited restrooms, a shortage of rest areas, and extreme temperature swings within the museum that also pose a risk to the artworks.
Louvre’s overtourism problem
Over 8.7 million people visited the Louvre in 2023 – more than double the capacity the building was designed to handle. Despite a daily visitor cap of 30,000, staff say that the volume, combined with inadequate infrastructure, turns the museum experience into a daily “physical ordeal”.
Central to the issue is the popularity of the Mona Lisa, which draws around 20,000 people a day to the Salle des États. The crowding in this room often prevents visitors from appreciating the surrounding Renaissance masterpieces. Some tourists describe the experience as overwhelming, with little chance to enjoy the art amid the noise, heat, and crowding.
Renovation plans and funding concerns
In January 2025, President Emmanuel Macron unveiled a €700–800 million “Louvre New Renaissance” plan to address the museum’s pressing issues. Under the plan, the Mona Lisa will be relocated to a purpose-built gallery with timed entry. A new entrance near the Seine River is also expected to be completed by 2031 to alleviate congestion at the existing pyramid entrance.
However, Louvre staff remain sceptical about the project’s impact. While the plan promises improved display conditions and a modernised visitor experience, unions have criticised the government for allowing annual state subsidies to fall by over 20 per cent in the past decade, despite increasing footfall.
“We take it very badly that Monsieur Le President makes his speeches here in our museum,” said Sefian. “But when you scratch the surface, the financial investment of the state is getting worse with each passing year.”
A leaked internal memo from Louvre President Laurence des Cars echoed many of these concerns. The document described failing infrastructure, including leaks and temperature fluctuations, as well as poor basic visitor services such as signage, food and restrooms.
Limited reopening possible, full closure expected Tuesday
Some striking staff indicated they might briefly reopen a limited “masterpiece route” on Monday evening to allow access to key artworks, including the Mona Lisa and Venus de Milo. However, the museum is officially closed on Tuesdays and is expected to resume normal operations on Wednesday.
Visitors affected by the strike may be allowed to reuse Monday’s tickets on another day, subject to availability.
Financial outlook and restoration timeline
The Louvre’s full renovation is expected to be financed through a mix of ticket revenue, government contributions, private donations, and proceeds from international partnerships, including licensing from the Louvre Abu Dhabi. Ticket prices for non-EU visitors are expected to increase later in 2025.
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Unlike other major Parisian sites, such as Notre Dame Cathedral and the Centre Pompidou – both of which are undergoing state-funded restorations – the Louvre remains underfunded and overstretched. Staff argue that without immediate action, both the museum’s collection and its workforce are at risk.
President Macron, who delivered his 2017 election victory speech at the Louvre and used it prominently during the 2024 Paris Olympics, has promised a revitalised museum by the end of the decade.
For now, however, the Louvre remains emblematic of the broader overtourism challenges facing cultural landmarks across Europe. With no short-term solutions in place, both staff and visitors remain caught between ambition and reality.
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Father’s Day reflects a wide range of traditions shaped by history, culture and emotion
Father’s Day is often seen as a time for cards, tools or a family lunch, but across the globe, it carries a much deeper significance. Beyond the commercial promotions, Father’s Day reflects a wide range of traditions shaped by history, culture and emotion. While some mark the occasion with grand gestures, others focus on quiet reflection, respect and the bonds that define fatherhood.
Thailand’s day of respect
In Thailand, Father’s Day is celebrated on 5 December, the birthday of the late King Bhumibol Adulyadej. The day is as much about honouring the nation’s former monarch as it is about celebrating fatherhood. Citizens wear yellow, the king’s birth colour, and present canna lilies to their fathers as a symbol of gratitude and respect. It’s a cultural blend of familial and national reverence.
Germany’s tradition of brotherhood
Germany takes a different approach. Known as Vatertag, or Father’s Day, it coincides with Ascension Day and is often marked by groups of men going on hiking trips, pulling wagons of food and drink. While it may appear more social than family-oriented, the tradition is rooted in camaraderie and shared responsibility among men and father figures.
Remembering fathers in Mexico
In Mexico and across parts of Latin America, Father’s Day is a time to honour both the living and the departed. Families often visit cemeteries to pay tribute to late fathers and gather to share stories and memories. It’s a day that highlights legacy over materialism, where the emotional role of a father is celebrated beyond life itself.
The expanding meaning in India
In India, Father’s Day doesn’t have deep historical roots, but its popularity is growing among urban families. Influenced by Western customs, it is increasingly used to recognise not only biological fathers, but also mentors, guardians and elders who provide support and guidance. The day is evolving into a broader celebration of male role models across generations.
A shared message worldwide
Though celebrated in different ways, Father’s Day across cultures shares a central idea: appreciation. Whether through a gift, a walk, a meal or a memory, the day is about acknowledging the role fathers and father figures play in shaping lives. In a time when traditional family structures are changing, this occasion also highlights that fatherhood is defined not just by biology, but by love, responsibility and care.
A thoughtful reminder
Rather than focus on finding the perfect present, Father’s Day offers an opportunity to be present. A simple message, a phone call or a shared moment can mean more than any physical gift. In a fast-moving world, slowing down to recognise those who’ve quietly supported us is perhaps the most meaningful tribute we can give.
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Drawings by Victor Hugo on display include Ecce Lex
The moment I walked into the Royal Academy to see Astonishing Things: The Drawings of Victor Hugo, I thought of Rabindranath Tagore.
Both men were giants of literature, but they were visual artists as well.
Victor-Marie Hugo (February 26, 1802- May 22, 1885) is best known for his novels The Hunchback ofNotre-Dame (1831) – many will have seen the 1939 film adaptation starring Charles Laughton and Maureen O’Hara – and Les Misérables (1862), which BBC TV adapted in 2018, with a starring role for Adeel Akhtar.
The Cheerful CastleParis Musees
Rabindranath Tagore (May 7, 1861-August 7, 1941) was a Bengali poet, writer, playwright, composer, philosopher, social reformer and painter. He was the first non-European to win the Nobel Prize for Literature in 1913, for the poetry of Gitanjali.
Gallery owner Sundaram Tagore, who had flown over from New York to attend Eastern Eye’s Arts, Culture & Theatre Awards (ACTAs) at the May Fair Hotel on May 23, said: “Before leaving London, I managed to visit the Victor Hugo exhibition, which moved me deeply.”
Sundaram’s father, Subhogendranath Tagore (1912-1985), was the grandson of Hemendranath Tagore, the third son of Debendranath Tagore and the elder brother of Rabindranath Tagore.
The Victor Hugo exhibition is definitely worth seeing before it ends on June 29.
Giving a tour of the exhibition, Andrea Tarsia, director of exhibitions at the Royal Academy, said Hugo left behind some 4,000 works on paper, of which 70 were chosen for display.
“But they really are 70 of his most remarkable drawings,” commented Tarsia. Hugo often used brown ink and wash and graphite on paper.
OctopusParis Musees
Notable works include The Town of Vianden Seen Through a Spider’s Web, 1871; Mushroom, 1850; Lace and Spectres, 1855-56; The Cheerful Castle, 1847; The Town of Vianden, with Stone Cross, 1871; Mirror with Birds, 1870; Chain, 1864; Octopus, 1866–69; and The Lighthouse at Casquets, Guernsey, 1866.
There is also Ecce Lex (Latin for “Behold the Law”), 1854, done after the hanging of John Tapner in Guernsey; and The Shade of the Manchineel Tree (notes from a trip to the Pyrenees and Spain), 1856, where the shade is made to resemble a skull to denote the poisonous qualities of the fruit.
The Shade of the Manchineel TreeParis Musees
There is a photograph of Hugo seated on the Rocher des Proscrits (Exile’s Rock), Jersey, 1853, which was taken by his son, Charles Hugo.
“Hopefully, together, they will give you an intimate sense of Hugo’s remarkable, multifaceted imagination. Perhaps people are less familiar with his work as a visual artist. The exhibition is the first to be held in the UK with Hugo’s drawings in just over half a century.”
MushroomParis Musees
He explained it was “a rare chance to see these works because the inks and the paper are so fragile that once exhibited, even at these very low lighting levels, they then need to be kept in the dark for an extended period of time”.
The exhibition’s curator, Sarah Lea, said: “We made a decision to arrange these spectacular works in a thematic structure, because although Hugo drew across his lifetime, he often returns to similar motifs. And it’s really interesting to be able to see, for example, the collections of the castles, one of his great passions. Despite writing so much, he doesn’t leave us very much direct commentary on the drawings themselves. He was inspired by the way ink moves on paper. He was never intending to be an artist.”
She referred to his “mysterious” drawing of a mushroom: “Who knows what was really meant by the mushroom? It appears to us as a total enigma.”
“We have him exploring nature on the monumental level with mountains, and a minute level with spiders’ webs and birds’ nests,” she went on. “The drawings were largely private during his lifetime. Sometimes he made works that he would send to friends. But the drawings themselves weren’t exhibited until three years after his death. They’re first shown in a public exhibition in Paris in 1888.”
A photograph of Hugo taken by his son, CharlesParis Musees
Hugo lived in exile from 1856 to 1870 on the island of Guernsey, where he bought a house. “He redecorated it from bottom to top in a most extraordinary manner of eclectic collecting and reassembling different pieces of furniture and decorative arts. And it was from the lookout, which was a vast conservatory that he constructed at the top of this house, that he would be able, on a clear day, to see the coastline of France. And it was there that he completed some of his most important literary works. A profound source of inspiration for Hugo was the ocean.”
He strongly opposed the death penalty. After the execution by hanging of convicted murderer John Tapner in Guernsey in 1854, Hugo made many drawings of a hanged man, including Ecce Lex.
He also appealed – unsuccessfully – to the US to pardon John Brown, an abolitionist who had been sentenced to death in Virginia on charges of treason, murder and conspiracy to incite a slave insurrection. Hugo appeared to be an early supporter of Black Lives Matter.
Hugo’s brother-in-law, Paul Chenay, made print reproductions of his earlier Ecce drawings, which were published with a new title, John Brown, and circulated in protest at Brown’s execution.
In a letter to Chenay in 1861, Hugo said: “John Brown is a hero and a martyr. His death was a crime. His gallows is a cross. Let us therefore once again draw the attention of all to the lessons of the gallows of Charlestown. My drawing, which through your fine talent has been reproduced with striking fidelity, has no other value than this name: John Brown – a name that must be repeated unceasingly, to the supporters of the American republic, so that it reminds them of their duty to the slaves: to call them forth to freedom. I shake your hand.”
When Hugo died in 1885, aged 83, over two million people lined the streets of Paris to see his funeral procession. But many of Hugo’s admirers wouldn’t have been aware of his private love of drawing.
Incidentally, the Royal Academy last week announced that Simon Wallis, currently the director of The Hepworth Wakefield, will take over in September as its new secretary and chief executive. In his earlier career, he held curatorial positions at Kettle’s Yard, Cambridge, and Tate Liverpool. He was the director of Chisenhale Gallery, London.
Wallis, who succeeds Axel Rüger, said: “The Royal Academy of Arts is at a pivotal moment of development and positive change. The RA is the central London home for artists, art and art lovers, generating powerful experiences and innovative teaching about art in a rapidly changing society. As the UK’s oldest and foremost artist-led organisation, the extraordinary talent and vision of the Royal Academicians and their team lead the creative conversation on a national and international stage.”
Now that Hugo has been featured at the Royal Academy, maybe Tagore, too, will merit an exhibition one day under Wallis’s leadership.
The Royal Academy won the ACTA for community engagement last year. It was collected by Tarsia.
In Astonishing Things: The Drawings of Victor Hugo, at the Jillian and Arthur M Sackler Wing of Galleries at the Royal Academy, ends on June 29.
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The year 1975 was significant in Indian cinema for newly crowned superstar Amitabh Bachchan
The year 1975 was significant in Indian cinema for newly crowned superstar Amitabh Bachchan, as he starred in the two biggest films of that year, and also his career, Deewaar and Sholay.
These blockbusters cemented his position at the top. In between their releases came Mili, Hrishikesh Mukherjee’s decidedly different tearjerker.
Known for his non-starry social dramas, the acclaimed producer-director delivered a message-driven story about Mili (Jaya Bhaduri), a terminally ill but bubbly young woman, and the profound impact she has on those around her – including depressed alcoholic Shekhar, played by Bachchan. The real-life couple headlined a multi-layered film anchored by subtle, deeply emotive performances.
Eastern Eye marks 50 years of the underrated classic on June 20 by presenting the 10 best scenes from this story of hope, anguish and learning how to live.
Enter the grouch: Known for her pranks and cheerful attitude, Mili is taken aback by new neighbour Shekhar’s aloofness. His introduction, during the haunting Badi Sooni Sooni Hai song, shows him as a tormented alcoholic. It establishes the contrast between the two main characters – she smiles through life’s challenges, while he seeks refuge in alcohol.
Visual highlights from MiliRotten Tomatoes
Confrontation: Unable to understand Shekhar’s solitude and unfriendliness, Mili ropes in the children from their building to disturb his peace in protest. What begins as an immature territorial clash soon reveals Mili’s intuitive response to the darkness surrounding him. Her inner child recognises and challenges the negativity threatening their otherwise pleasant environment.
Their innocence and kindness melt his hardened exteriorIMDb
Compassion: After provoking Shekhar, the children apologise sincerely. Their innocence and kindness melt his hardened exterior, and he invites them, along with Mili, to play on his terrace. In the song Maine Kaha Phoolon Se, Shekhar, glass still in hand, watches them dance and smiles for the first time. The warmth of this moment even leads him to request tea instead of whisky in the next scene, to his servant’s delight.
Visual highlights from Mili
In the song Maine Kaha Phoolon SeIMDb
Crossroads: In a drunken breakdown, Shekhar slashes his wrist and is saved by Mili. For the first time, she shows visible anger and tears. Her outburst marks a new level of closeness in their friendship and signals the beginning of something deeper. In his vulnerable state, Shekhar is moved by Mili’s scolding – a sign of care he desperately craves.
The raw emotions of every characterInstagram/ hindifilimography
Romance: Shekhar’s growing vulnerability draws him closer to Mili. He begins confiding in her about childhood trauma, his mother, and the root of his pain. He is receptive of her solace and outlook on life. Their bond strengthens as they exchange notes when Mili falls ill. He experiences joy for the first time, unaware of the seriousness of her condition.
The heart-rending scene between father and daughterInstagram/ hindifilimography
Tragedy: The film reaches its most emotional point when Mili’s father (Ashok Kumar) learns that she has only days to live. The harrowing scenes that follow reveal the raw emotions of every character, from shock to grief to quiet acceptance. The heart-rending scene between father and daughter, with Kumar and Bhaduri in each other’s arms, delivers an emotional poignancy audiences can relate to.
The woman who taught him how to liveRotten Tomatoes
Role reversal: Initially unable to process the truth about Mili’s illness, Shekhar has a change of heart about leaving after confronting some hard realities. The woman who taught him how to live is dying, and he feels betrayed by fate. Determined not to give up, he sets out to explore every possible option that might offer her a chance of recovery.
He sets out to explore every possible option Rotten Tomatoes
Selfless love: Unaware that Shekhar already knows the truth, Mili urges her father not to tell him about her illness. Having changed him for the better, she fears that the news will undo his progress and send him back into despair. In that moment, she puts his well-being above her own.
Having changed him for the betterInstagram/ hindifilimography
Proposal: In the film’s penultimate scene, its message becomes clear – the purpose of life is happiness. Shekhar realises he can fulfil one of Mili’s dreams by marrying her. He proposes not out of pity or obligation, but love. Their decision to embrace a short but meaningful life together speaks volumes.
Fifty years later, those sentiments still ring trueInstagram/ hindifilimography
Farewell: The story, told in flashback, returns to its starting point as the newlyweds leave for Switzerland in search of a cure. Mili’s father waves to their aircraft, perhaps knowing she may never return. As the plane takes off, the audience is left with a lasting message – that hope should never die. Fifty years later, those sentiments still ring true.