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This is an archive article published on November 26, 1997

Jaya: no silent rebel

November 25: Brief, yet unmistakable glimpses of the bubbly teenager in Guddi still surface occasionally -- years of strain and the lines o...

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November 25: Brief, yet unmistakable glimpses of the bubbly teenager in Guddi still surface occasionally — years of strain and the lines on her face notwithstanding. But Jaya Bachchan prefers to be reserved when facing the spotlight.

Fielding questions about her role in Govind Nihalani’s Hazar Chaurasi Ki Ma, which was screened at the NCPA this evening as part of the ongoing Mumbai Film Festival, the actress even betrayed signs of nervousness, rubbing her hands on the table frequently. “90 per cent of Indian women in the age group of 40 to 50 are like Sujata,” she said, referring to her character in the film. “They think they know their children, but they don’t.”

Bachchan plays the part of an anguished mother who rediscovers her son Brati after his death in the Naxalite movement in Calcutta in the early ’70s.About her self-imposed exile from the big screen for 17 years, she said, “I was offered a few films before this one, but I didn’t identify with the characters and didn’t feel close and comfortable with them.”

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But she insists that Sujata is not like her. “I don’t rebel silently. She is a person who doesn’t react physically, she shrinks in and covers herself,” she said.

Though she absorbed the finest details of her character’s background, both from Mahasweta Devi’s novel on which the film is based and from director Nihalani, she said she didn’t really prepare for the role.

“If you are doing a serious role and spend too much time over it, you tend to go overboard. It’s a great help to have a well-defined role like Sujata’s.”

Working with newcomers like Joy Sengupta and Nandita Das has been an enjoyable experience for her. “I was always curious about the new generation of actors and the minds of youngsters: the way they walk, talk and communicate. I experienced a lot of frustration in my youth. We were post-independent India’s neglected children. These youngsters are modern,” she said.

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Defending her director for changing the end of the film, she said, “I liked the end because it was more positive. If it had ended like the book, it would have been a suspended end without a hint of hope,” she said. The book ends when Sujata dies of a burst appendix in a party. But in the film, she lives on to re-educate herself and becomes a human rights activist.

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