{"id":2656,"date":"2016-02-20T18:33:54","date_gmt":"2016-02-20T13:03:54","guid":{"rendered":"http:\/\/learningandcreativity.com\/silhouette\/?p=2656"},"modified":"2019-04-09T14:11:00","modified_gmt":"2019-04-09T08:41:00","slug":"jaya-bachchan","status":"publish","type":"post","link":"https:\/\/learningandcreativity.com\/silhouette\/jaya-bachchan\/","title":{"rendered":"Jaya Bachchan: A Slot-less Act"},"content":{"rendered":"

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\"Jaya

Jaya Bachchan entered the hearts and minds of the audiences with her very convincing, innocent and charming turn as and in Guddi<\/em> (1971).<\/p><\/div>\n

It was the best of times. It was the worst of times.<\/p>\n

The commercial Hindi film industry or Bombay Cinema was fast becoming a haven receiving love, innocent dreams and the only place that could change fortunes. Socialist streak in the most successful films was now making way for more personal stories, of love, life and relationships. Color had infused black and white, taking away a lot of the poetry, mystique and grandeur that the former brought. Films were now not critiquing dreams of modern India, but fuelling them further. Glamour had begun to infect the storytelling. The likes of Guru Dutt, Bimal Roy, Raj Kapoor, Chetan Anand had brought stellar films, superlative stories, and great talent into the industry and for the audience. But the appetite\u00a0of audiences was changing. And so was the way films were thought of, created and served.<\/p>\n

It was the time of contradictions. Films were larger, but not as large as the personas they gave birth to. The original superstars were seeing unprecedented fan following. Never before had India witnessed a phenomenon that had the country\u2019s hearts beating as one. Rajesh Khanna had arrived, and with him stardom. It had been two years since Aradhana (1969)<\/em>, a story of a strong woman going through life basis the choices she made. Khanna was unstoppable or so it seemed. Women were still instrumental to stories. Think Kati Patang (1970), Aradhana (1969), Safar (1970), Anupama (1966), Khamoshi (1969), Satyakam(1969). <\/em>Each of these you will remember to still have a soul.<\/p>\n

What is also common to these, is that many of the films listed above are directed by the great, Late Hrishikesh Mukherjee, well titled as the filmmaker everyone loves, by Jai Arjun Singh in his recent book on the maestro. And that is where Jaya Bhaduri\u2019s journey in Bombay cinema begins. Jaya Bhaduri boasted of credentials well before this beginning. Having worked in Satyajit Ray\u2019s Mahanagar<\/em>, she entered the hearts and minds of the audiences with her very convincing, innocent and charming turn as and in Guddi (1971)<\/em>.<\/p>\n

Playing the title role of Guddi as the innocent and charming Kusum<\/em><\/span><\/strong><\/p>\n