ভূমিকা (চলচ্চিত্র): সংশোধিত সংস্করণের মধ্যে পার্থক্য

| screenplay =

| story = [[হাঁসা ওয়াদকর]]

| narrator =

| starring = [[স্মিতা পাতিল]]<br/>[[অমল পালেকর]]<br/>[[অনন্ত নাগ]]

| studio =

| released = {{Film date|1977|11|11|df=yes|[[India]]}}

| budget =

| gross =

}}

 

 

 

 

Once the two are wed, Usha is shocked to find Keshav continuing to act as her "business manager", arranging starring roles for her opposite heartthrob Rajan ([[Anant Nag]]), who is himself in (unrequited) love with her. Since Keshav's own business is unsuccessful, the family remains entirely dependent on Usha's earnings – a fact that Keshav clearly resents. He thus becomes both a jealous husband with a fragile ego and nasty temper, as well as (in effect) a greedy pimp who compels his wife to take risqué work despite her dislike of her co-star and her protests that she "only wants to be a housewife" now that their daughter has been born. Not surprisingly, the relationship becomes increasingly poisoned, particularly by Keshav's suspicion (fed by star-magazine gossip) that she is having an affair with Rajan, which is partly true. Verbally and physically abused by her husband and periodically obliged to live in a hotel, separated from her daughter and mother, the desperately unhappy actress eventually instigates two unsatisfying liaisons: with the nihilistic and self-centered director Sunil Verma ([[Naseeruddin Shah]]), with whom she plots a double-suicide (which he foils), and then with the wealthy businessman Vinayak Kale ([[Amrish Puri]]), who keeps her as a pampered mistress on his palatial estate. Here Usha briefly finds a kind of "respectability" as a de facto second wife, earning a measure of love and admiration from Kale's mother ([[Dina Pathak]]), son, and bedridden first wife — but (as she learns one day when she tries to take the boy to a nearby fair) at the cost of even the most rudimentary freedom. Unable to abide by Kale's feudal patriarchal rules, she finds her only hope of escape in the intervention of her still-legitimate husband, the hated Keshav, who promptly brings her back to a Bombay festooned with billboards of her own face, and to the same drab hotel and lonely prospects. As Kale's bitter wife remarks to Usha as the latter prepares to leave, "The beds change, the kitchens change. Men's masks change, but men don't change." Usha's daughter, now grown-up, invites Usha to live with her and her husband, but Usha refuses. The movie ends with Usha, alone in her hotel room, receiving a phone call from Rajan.