Married at 12, became a mother at 17, Bollywood's beloved ‘mausi' refused heroine roles; continued acting even after paralysis

Time of India

a day ago

Behind the scenes of any commercial movie, hundreds of people work. It is evident that in the case of a Saiyaara, actors and directors are the first to reap the rewards of their labor, and in the case of a Loveyapa, they are the first to be held accountable (Aamir Khan must have felt that one).
At one point, the crew also receive their due, but some faces aren't discussed all that much even though they appear on screen. Certain actors portray highly specialized character roles, but the demand for these roles is constantly evolving.
By the 2000s, for instance, the comedic best friend role had become extinct since the main actors wanted to try their hand at all aspects of the work, including comedy. However, some roles are so deeply rooted in Indian people's minds that they are impossible to break. This is most likely highlighted by the caring, largely vulnerable, "just wants her kids to be married" mother figure, and its best vessel is
Leela Mishra
, who portrayed Mausi (aunt) in Sholay.
Before we analyze some of Mishra's greatest roles, let's take a moment to give some background information about her. Her father was a successful landowner, and she was born into a wealthy family. When she was twelve, she got married. She had no formal education as a child, and by the time she was seventeen, she had already given birth to two children. Interestingly, because her husband, Ram Prasad Mishra, was an actor, this marriage—which was clearly a result of what society at the time considered to be the status quo—gave her the opportunity to enter the film industry.
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Chance at Cinema Through Family Ties
She met Mama Shinde, a worker at Dadasaheb Phalke's film company, through Ram Prasad Mishra, and Shinde advised Mishra to pursue acting herself. Mishra began her cinematic career gradually, but in an old interview, she stated that she had no desire to be the "heroine" of any movie.
On her YouTube channel, actor and host Tabassum once recalled an interview she had done with Mishra in the 1970s, during which the actor admitted to her that she had a very hard time portraying the leading lady.
"Because of the way I have been brought up and due to the values that have been instilled in me, I could never romance a stranger and confess my love for him," Tabassum recalled. "These things just don't sit well with me, and that's why I decided that I will only do character roles.
" This revelation completely changes the plot because, despite the fact that many actors aspire to play larger and more significant roles, Mishra declined to be the lead actress because she didn't feel comfortable doing so.
The story then shifts from one of carelessness to one of a decision and how it impacted her career, turning her into Bollywood's most adored mausi, dadi, and nani.
'Sholay': The Defining Role as 'Mausi'
Mishra acknowledged in the same interview that 'Sholay' (1975) altered the rules for her. Mishra appeared in the water tank scene, which is among the most famous scenes from the Ramesh Sippy movie. However, it was Dharmendra's moment to shine, and he did a fantastic job portraying the drunk, fascinated, and, to be honest, self-flammable Veeru. In spite of all the warning signs, Mishra chose to approve of Basanti and Veeru's union, just as Preeti's father had done with
Kabir Singh
.
She really shines, though, in the scene where she and Jai (Amitabh Bachchan) are discussing Basanti and Veeru. The two start a conversation that gradually presents Veeru in a severe and troublesome light. This particular scene is the ideal comic relief amid the action, drama, songs, and Thakur showing off his cloak that permeates the entire movie.
A Memorable Grandmother in 'Chashme Buddoor'
Mishra gives another outstanding performance as Deepti Naval's grandmother in the Sai Paranjpye movie 'Chashme Buddoor' (1981).
In addition to being one of the greatest ways to relive the New Delhi of the 1980s, the film achieves this goal with the assistance of three outstanding actors who portray some of the most unacceptable characters you will ever see on screen. Siddharth, Omi, and Jai are the names of the three roommates that Farooq Shaikh, Rakesh Bedi, and Ravi Baswani share.
In the process of fulfilling her obsession with marrying the young girl from her household, Mishra encounters the three suitors.
In a recent interview with Filmfare, director Sai—who is an inspirational woman herself—discussed Mishra. "She was professionalism personified; I had never met anyone like her," she said. "I hope I am not doing her wrong, but she wasn't educated, but she knew every aspect and nuance of filmmaking. While shooting 'Chashme Budoor,' she improvised the scene where she is climbing up the stairs to get to the house of the boys.'
Professionalism Beyond Limits
It's hilariously funny when Mishra finds the three men's cave and then falls upon an edition of Playboy magazine. Those who have seen the movie must realize that their home didn't exactly make the best first impression—though it did have an Amitabh Bachchan poster—and that she was there to enlist Omi and Jai in a mission to bring her granddaughter and Siddharth together. Sai also explained why she believed Mishra to be the most professional actor she had ever encountered, as well as how the actor overcame potentially fatal circumstances in order to obtain the ideal shot.
'I heard a story that when she was doing her very last film, she got a paralytic attack while shooting. Half of her body became paralyzed, and the shooting stopped. People got in a frenzy and were making plans to send her back to Mumbai, but she said, 'No, we still have one shot left.' She told the crew to shoot her from the side that was still mobile, and she finished that scene.'Following that scene, Mishra was taken to Mumbai, where she passed away, according to the director.
A Legacy Rooted in Values and Choices
Mishra was practically everywhere, and her career was legendary. She became every director's first choice for specific roles because she was prolific and uncompromising. If you consider it, her remarks about never wanting to be a heroine are pretty intriguing because Mishra was excellent in the majority of the scenes where she had even a remote chance to truly show off. Though her art made it obvious that she could if she so desired, she was the quiet, strong type who preferred not to be in the spotlight.
The decision to not climb the mountain by someone who is incapable of reaching the top is not a choice; rather, it is that person's limitation. There is courtesy in the decision to not climb it backwards if one is capable of doing so and descending more quickly than air. Mishra had the opportunity to become one of this industry's most renowned and adored actors, but she never felt the need for it and simply didn't want to. Morality was more important to Mishra than success, and although the values she was upholding may have been forgotten now, the reasoning behind their defense is admirable and something we could use much more of.
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