
Indira Krishna joins the cast of Ganga Mai Ki Betiyan, and says, 'This is different from all the roles I've played before'
Actress Indira Krishna, last seen as the antagonist Paani Bai in Durga – Atoot Prem Kahani, is set to return to television with a new avatar in Ganga Mai Ki Betiyan, a fiction drama produced by
Sargun Mehta
and Ravie Dubey.
Confirming the same, Indira shared, 'Yes, I will be part of the show and I'm playing a pivotal role. A very strong and interesting character. She's different at home and outside… a no-nonsense lady who talks straight.'
She describes this character as a notable departure from her previous roles. 'This is different from all the roles I've played before. I've kept a different style this time. After a long time, my look will be different too.
She's like a Dabangg character from a UP-Benarsi background—but we've kept it subtle so it doesn't look fake. A lot of actors try using the dialect to sound like the lingo, but I'm playing it smartly—with gestures and a subtle voice.
It is challenging and I am enjoying it.'
The actress who has been part of shows like Krishnadasi, Krishnaben Khakhrawala, and Saavi Ki Savaari is looking forward to be working with Ravie Dubey. She says, 'I've acted with Ravie in the film Ramayana, where he's playing Lakshmana and I play his stepmother Kaushalya. He's a very good human being, so it's fun to reunite with him on this show.'
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Indian Express
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What the silenced, suppressed angst of Durga in Pather Panchali tells us about girlhood
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Her small, rural world doesn't know what to do with her, so it punishes her for existing on her own terms. In the few chapters she occupies, Durga lingers far beyond the page. Her mother scolds and strikes her, neighbours accuse her of theft, and the poverty of her home leaves little room for understanding the emotional life of a girl on the edge of adolescence. But Bandopadhyay never flattened her into a victim. Durga's longings are small, intimate, and piercingly relatable – a fruit, a train, a forbidden hut. These modest dreams, some left unmet, represent something larger: the condition of countless girls whose wants are neither voiced nor honoured. In one line, Bandopadhyay writes of her as 'that one poor girl from the village and her many unfulfilled desires.' The line contains the quiet heartbreak of generations – of girls asked to be less, to want less, to vanish quietly. Her strongest desire was to see a train. She never gets to. That unfulfilled dream becomes a metaphor for everything else she's denied – movement, wonder, freedom. Which brings us to Apu, her younger brother and the book's protagonist, and their bond. Their relationship exists in glances and shared silences in a world which has no time for childhood. While the adults are worn down by poverty and exhaustion, Apu and Durga carve out a world where love exists – wordless, mischievous, protective. Apu follows her like a shadow, learning and absorbing. She shows him not the world as it is, but as it could be. She steals fruit and dares him to follow. She dreams of trains and lets him in on that dream. Together, they claim the only kind of freedom available to them – in play, in secret paths, in shared imagination. This is what makes Durga's sudden and untimely death so shattering. She fades away without ceremony. But her absence haunts the novel's emotional landscape. 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She is quietly heartbroken that the world denied her something so small, yet so important. These girls do not ask for the universe. They ask for moments. And they are denied even that. Durga exists at the intersection of many things – poverty, girlhood, rebellion, adolescence – but she is not reduced by them. What makes her extraordinary, even nearly a century after she was written, is that Bandopadhyay does not punish her for wanting. He lets her be. For many readers – especially young girls – Durga may well be one of the first characters they see themselves in. Not because she's heroic, but because she yearns. Not because she triumphs, but because she's never truly heard. Her tragedy isn't just that she dies young – it's that she dies before anyone truly sees her. Pather Panchali is remembered as Apu's story but its soul lies in Durga. She may not be the protagonist in structure, but emotionally, she carries the heart of the novel. 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