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  1. Manthan: Smita Patil manages to stand out in a supporting turn in Shyam Benegal's Manthan, amid a host of ensemble actors.As the fiesty Bindu, she is a ball of fire: unafraid to talk truth to ...

  2. 9. Manthan. 1976 2h 14m. 7.7 (796) Rate. A young veterinary surgeon, Dr. Rao, who makes a visit to a village, where he intends to commence a co-operative society dairy for the betterment of the rural people. Director Shyam Benegal Stars Girish Karnad Smita Patil Naseeruddin Shah. 10.

  3. Dec 13, 2019 · When Smita Patil breathed her last on the midnight of December 13, 1986, the world of cinema in general and Indian Cinema in particular, lost a unique talent. Starting out in the early seventies (1974) with Shyam Benegal’s Charandas Chor – a first for both – Smita soon developed into an actress of great intuitive talent and artistic worth.

  4. southasia.ucla.edu › culture › cinemaSmita Patil | MANAS

    Smita Patil was a woman of exceptionally striking beauty, though scarcely of the type that predominates in the commercial cinema, and she displayed an equally extraordinary maturity in every performance she ever gave. Though she was to appear in some commerical releases, she was clearly out of place in those roles.

  5. Smita Patil. Smita Patil was widely regarded as one of the best actresses of her generation and was equally at ease in mainstream commercial Bollywood films as well as the parallel cinema movement of the 1970s and 80s. Her untimely death at the age of 31 years left the whole industry in a shock. Early Life Smita was born on 17th October 1955 in ...

  6. www.rottentomatoes.com › celebrity › smita_patilSmita Patil | Rotten Tomatoes

    Smita Patil was an actress who had a successful Hollywood career. Patil started her acting career landing roles in such films as the drama "Manthan" (1976) with Girish Karnad, "Bhumika" (1977) and ...

  7. Oct 17, 2023 · Actress Smita Patil in Film Manthan. (Express archive photo) In an era where cinematic narratives invariably confined women’s characters to either god-like paragons of virtue or maleficent agents of matrimonial discord, vilified for their independence, modernity, and progressiveness, the two-times National Award winner’s filmography defied convention.

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