Two years after her acting debut in the 1968 film Sapno Ka Saudagar, Hema Malini starred in Subodh Mukherjee’s Abhinetri alongside Shashi Kapoor. In many ways, the movie was ahead of its time.
Malini’s character Anjana is a professional dancer—an independent woman who takes pride in her profession. She is far removed from the stereotype of the docile woman who needed rescuing or one who propels a revenge plot. Tropes that Bollywood relied on at the time. Anjana meets a scientist, Shekhar (Kapoor), marries him, gives up her stage career, only to resume after he starts spending more time in the lab.
What should have followed is a debate on careers. Should women only have ‘respectable’ careers once they get married? And who gets to decide this? Who should compromise on their dreams and ambitions for the sake of the relationship? But Abhinetri fails to ask these questions. It begins with a bang but ends with a whimper.
The tragedy of the movie lies in its squandered potential. Both Malini and Kapoor would go on to become heavyweights in the film industry, but as young actors, their performances lacked emotional depth. Malini was still learning the ropes. And Mukherjee—and the script—failed to tap into her raw talent. The irony is that two years later, Malini stole the show in Seeta Aur Geeta (1972) and won the hearts of the nation.
Perhaps Abhinetri relied a little too much on the good looks of its stars to hide a weak plot. “Kapoor and Malini were the Barbie and Ken of the ’70s,” read one comment on a YouTube video of the movie.
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Mother’s solution
When the movie begins, Anjana is a relatively popular stage dancer, a single woman building her life in a big city. One stormy night, she finds Shekhar taking refuge from the rain under her porch. The chemistry between the two actors, and the fact that they start arguing almost immediately, make their first meeting entertaining and memorable.
But it’s all downhill after that. There is no concrete reason for Anjana giving up a thriving career after marriage. Shekhar’s disapproval of his wife’s profession is not as impactful as it should have been. The movie also stretches endlessly trying to establish the conflict, but then resolves it in the blink of an eye.
Anjana’s friend Ratna (Nazima) calls Shekhar’s mother (Nirupa Roy) to help the couple, without them knowing. Shekhar’s mother, who likes and ‘approves of’ Anjana, steps in to restore domestic harmony. If anything, a mother coming in to save her son’s marriage is boring —it adheres to the mama’s boy trope. When the two finally reconcile in the end, there is no clarity over whether Shekhar is finally ready to accept his wife for the talented dancer she is, or if Anjana will continue working.
The plot is riddled with holes. When the couple fights for the first time over her plan to return to the stage, Shekhar says that he does not like certain aspects of her career. Anjana replies, “Mujhe bhi kuch cheezein pasand nai, but chacha ji ke liye kar rahi hoon.” (I too do not like some aspects, but I am doing it for my uncle). There is no explanation about what aspects she does not like.
The characterisation of her uncle in this dialogue also stands in contrast to how he’s otherwise portrayed in the film. Anjana’s uncle, who is also her manager, is shown as a father figure to her. There is no exploitation, and Anjana is even selective about whom she works for. When a producer offers one lakh for a role in a movie, her uncle refuses it, citing the man’s transactional personality.
“Anju kala ki pujaran hai, sirf paison ke liye kaam nahi karegi” (Anju respects art, she won’t work for money alone),” says her uncle.
Shekhar’s character, on the other hand, takes pride in the fact that his mother had to give up her professional career as a singer because of him. He does not see why his wife can’t do the same. However, the conflict between the two never really feels heartbreaking, as Mukherjee quickly offers a solution for his audience.
This theme was also later explored in Abhimaan (1973) with more impact. Amitabh Bachchan and Jaya Bachchan play a married couple who are both singers. But Uma (Jaya Bachchan) ends up becoming more popular after Subir (Amitabh Bachchan) ‘discovers’ her talent and marries her.
The movie skillfully explores the impact of a wife’s professional life, especially if it revolves around arts or entertainment, on a married couple’s domestic harmony. The conflict between the two is played out in a more nuanced manner, as we watch the transformation of Subir from a supportive husband to an egotistical competitor.
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Highlights of the film
The movie’s lack of a well-rounded plot with nuance is made up for by the costumes and music. The costumes were designed by the Oscar-winning designer Bhanu Athaiya. In the opening sequence of the film, Malini wears an Amrapali outfit—a bustier paired with a draped dhoti. The silhouette was popularised by Athaiya, who first designed it for Vyjayanthimala in the 1966 film Amrapali.
Athaiya drapes her in stylish outfits, ranging from embroidered sarees to summer dresses. The flawless winged eyeliner and elaborate hairdos complement them.
After she starts dating Shekhar and post her marriage, Anjana mostly wears sarees. When she starts performing again, her costumes are fusion or western.
The movie’s songs help where the plot does not. The ever dependable Laxmikant-Pyarelal’s songs were tailor-made for the various moments in the film.
O Ghata Sanwari and Sajna O Sajna, two solos by Lata Mangeshkar, are a treat to hear even today. Sa Re Ga Ma Pa by Mangeshkar highlights the two lovers constantly rediscovering the giddiness of first love and marital bliss. When Shekhar gets upset that Anjana pulls him out of work just to spend a day with him, she sings Khiche Humse Sawre, to wheedle him.
With Milte Hi Rahenge Hum, sung by Mangeshkar and Mahendra Kapoor, Anjana reminds Shekhar of their own love story, while performing on stage. When the two actors are romancing each other, the movie feels impeccable. Otherwise, it does not warrant a re-watch.
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(Edited by Theres Sudeep)