The iconic 1979 film “Golmaal” directed by Amol Palekar is a cult classic that has stood the test of time, remaining a favorite among comedy lovers to this day. The movie’s narrative, which features Amol in a double role, was so entertaining that it inspired numerous films in the years that followed. While Amol’s double role in “Golmaal” was certainly impressive, it was the double role played by a senior actor that brought about some of the most hilarious moments in the film.
In “Golmaal,” Amol not only creates a fake twin brother to secure a job but also introduces his boss to a fake mother to keep him happy. However, things take a complicated turn when this fake mother is spotted by his boss at a party. The problem is resolved when Amol’s fake mother assumes the role of his fake twin sister. This confusion, with its double twist, made the comedy in “Golmaal” even more enjoyable. The role was played by the late actress Dina Pathak.
Dina Pathak’s performance in “Golmaal” was followed by another impressive role in the 1980 film “Khubsoorat,” where she played the part of a strict family matriarch. In both films, Dina showcased two vastly different sides of her acting talent, not only as a powerful actress but also as a significant inspiration in her personal life. The way she lived her life was ahead of its time, and her daughters, who are also talented and popular actresses, have inherited her spirit.
Born on March 4, 1922, in Amreli, Gujarat, Dina was the daughter of an engineer father. In an old interview, she revealed that she had started rebelling from a young age. Her sister, Shanta Gandhi, who was five years older, had studied at an experimental school in Pune, where her classmate was Indira Gandhi. Shanta became involved in left-wing student movements, which led their father to first move her to Mumbai and then send her to England for studies. In England, Shanta came into contact with freedom fighters and, upon her return to India, she learned about drama and began participating in plays. Dina was heavily influenced by her sister, who made significant contributions to the world of theater.
When Dina’s parents wanted to enroll her in a school that catered to girls who wore the veil, she refused, insisting that she be admitted to a school for boys instead. After moving to Mumbai, Dina became involved in student movements and was expelled from several colleges due to her activism. She pursued her graduation while learning acting from Rasiklal Parikh and dance from Shanti Bardhan. Dina then started performing in a folk theater in Gujarat called Bhavai.
Through this theater art, she began to create awareness among the public against the British rule by performing in plays that conveyed social messages. She got close to the Indian Progressive Theatre Association (IPTA), with which her sister Shanta was already associated. Dina played a significant role in revitalizing Gujarati theater. On one hand, her popularity in theater was increasing, but on the other, her father remained opposed to her acting in films. In 1948, Dina acted in the Gujarati film “Kariyavar” but then left films to return to theater, starting her own theater group called “Natmandal” in Ahmedabad.
The popularity of her play “Maina Gurjari” in the Bhavai form was such that people would line up for tickets. In 1957, Dina performed “Maina Gurjari” in front of President Rajendra Prasad. Whether it was raising funds for the famine in Bengal or spreading social awareness, Dina was committed to using her plays to educate the public. However, in the 1950s, she made another commitment that marked a new chapter in her life.
It was during this time that Dina fell in love with Baldev Pathak, who designed clothes for actors. Baldev had a men’s clothing store near the Gateway of India in Mumbai and had previously dealt in imported cars, even selling one to Dilip Kumar. Dina and Baldev got married, and they had two daughters, Ratna Pathak and Supriya Pathak, both of whom have made a name for themselves in cinema and theater.
After a film, Dina had distanced herself from the movie industry, but she made a comeback in her 40s, which was a daring move for that era. She started her career in Hindi films with Basu Bhattacharya’s “Uski Kahani” and received an award from the Bengal Journalists’ Association. Dina also acted in Amitabh Bachchan’s debut film “Saat Hindustani” and Dharmendra’s “Satyakam.” She became popular for playing the role of a mother in these films.
Dina was nominated for the Filmfare ‘Best Supporting Actress’ award for her role in Gulzar’s film “Mausam.” She played powerful characters in films like “Kitab,” “Kinara,” “Chitchor,” and “Bhoomika.” Alongside commercial films, Dina also worked in art films, becoming a favorite among directors. Although she was known for her impressive roles and plays in theater, the film industry typecast her in similar roles of mothers and grandmothers. However, Dina had no complaints about this.
In a later interview, Dina said, “I firmly believe that a woman should earn for herself. Since films were my bread and butter, I couldn’t portray myself as something I’m not, and I had to accept whatever was offered to me.” Dina also felt that significant actors like her, who play supporting roles, are often treated like props, and their characters can be cut short at any moment to accommodate the heroes and heroines. Despite these grievances, Dina never stopped her daughters Ratna and Supriya from entering the industry or imposed any restrictions on them regarding acting.
Instead, Dina continued to act in films and even made appearances on television, working in shows like “Malgudi Days,” “Tehkikaat,” “Junoon,” and “Khichdi.” She continued to work in films until her last days, appearing in movies like “Lajja,” “Devdas,” and “Mere Yaar Ki Shaadi Hai” in the early 2000s. Dina’s last role was in the film “Pinjar” (2003), which was released a few months after her death in October 2002.