When Textbooks Tremble: Education, Institutions, and the Uneasy Conversation on Corruption

In every society, a book is never just paper and ink. It is memory, argument, and influence bound together. A single chapter, once printed in a school textbook, travels far beyond the classroom. A teacher explains it, a child carries it home, parents discuss it over dinner, friends debate it in corridors, and slowly the words settle into the public mind. When something is written in an authorized textbook, especially one prescribed for children, it acquires the weight of truth. That is precisely why the recent controversy over a chapter in an NCERT textbook has stirred such intense debate.

At the heart of the matter lies a fundamental question: Does a textbook merely describe reality, or does it shape it? And if it describes uncomfortable realities—such as corruption within institutions—should it be restrained in the name of institutional dignity?

The Judiciary as the Last Resort

In India’s constitutional framework, the judiciary occupies a unique position. When citizens feel wronged by the executive or the legislature, they turn to the courts. The Supreme Court, in particular, is often seen as the final guardian of rights and the Constitution. But what happens when questions are raised about the judiciary itself?

Over the years, concerns have surfaced about investigative agencies like the CBI and the ED. Their functioning has been questioned not only in public discourse but also in courtrooms and Parliament. Debates have erupted over the appointment of Election Commissioners and whether the Chief Justice of India should be part of the selection panel. The government has argued that such matters fall within governance mechanisms rather than strict legal mandates. Yet, these arguments reveal deeper anxieties about institutional balance and independence.

Simultaneously, data on pending cases paints a sobering picture. Over 81,000 cases remain pending in the Supreme Court, more than 62 lakh in High Courts, and nearly 4.7 crore in district and subordinate courts. A chronic shortage of judges has long been acknowledged—even publicly lamented by former Chief Justices. The debate over judicial appointments, whether through the collegium system or through a proposed judicial appointments commission, reflects ongoing tensions between institutional autonomy and accountability.

In such a climate, when a textbook chapter reportedly referred to complaints against judges, case backlogs, and perceptions of corruption at various judicial levels, the reaction was swift. The Supreme Court took cognizance, expressing concern that the presentation might damage the morale of the judiciary and undermine public trust.

The Education Question

Yet the controversy is not merely about the judiciary. It is about education itself.

What should children be taught about democracy? Should they encounter only the ideals—constitutional morality, rule of law, access to justice—or should they also be introduced to systemic challenges such as delays, complaints, and institutional weaknesses?

The Supreme Court reportedly felt that the chapter emphasized allegations and complaints against judges while insufficiently highlighting the judiciary’s crucial role in safeguarding constitutional values and ensuring legal aid. From this perspective, the concern was not with discussion per se, but with balance and tone. If young students are led to believe that an entire institution is compromised, it could erode respect for constitutional structures.

On the other side stand those who argue that education must cultivate critical thinking. If corruption exists in multiple spheres—legislature, executive, media, bureaucracy—why should the judiciary be exempt from scrutiny in textbooks? Transparency, they argue, strengthens institutions rather than weakens them. Shielding students from difficult truths may produce obedience, but not maturity.

Institutional Dignity vs. Freedom of Expression

This episode has sharpened a larger tension between two principles: the dignity of institutions and freedom of expression in education.

Supporters of the Court’s intervention contend that institutions are pillars of democracy. Undermining public confidence in them—especially through school curricula—could have long-term consequences. They argue that discussions of corruption must be accompanied by clear solutions and a broader context. Simply listing problems without pathways to reform may foster cynicism.

Critics counter that problem-solving begins with problem-recognition. An eighth-grade student may not be expected to design judicial reform, but awareness of institutional challenges is part of civic education. Democracies thrive not on blind reverence but on informed engagement.

The government, responding to the Court’s observations, withdrew the textbooks and expressed regret. Notices were reportedly issued to concerned officials. The move was framed as respect for judicial remarks and constitutional propriety. Yet this compliance has raised further questions. If educational content on corruption is objectionable in one context, why were earlier curriculum revisions—concerning historical periods or political events—not subjected to similar urgency?

The Broader Political Context

The debate does not unfold in isolation. It intersects with ongoing concerns about political funding, electoral processes, and institutional appointments. The Supreme Court itself has, in recent years, delivered significant judgments on matters such as electoral bonds and gubernatorial actions, sometimes ruling that certain practices were unconstitutional.

In this charged atmosphere, any mention of corruption within a constitutional body becomes politically sensitive. Lawyers aligned with the ruling establishment have argued that corruption should be discussed comprehensively across all branches of government, not selectively. Some maintain that including such content in a school syllabus is inappropriate, especially if it risks misinterpretation.

Others see a pattern: a shrinking space for institutional self-critique. They warn that if even academic discussion about systemic weaknesses is curtailed, democratic culture may suffer.

The Economic Divide in Access to Justice

Another dimension often overlooked is inequality in access to justice. Legal representation in higher courts can cost enormous sums, while district courts—where the bulk of cases remain pending—operate with limited resources. The disparity raises uncomfortable questions about whether justice is equally accessible to all.

Should students be shielded from these realities? Or should they understand that democracy is a work in progress, not a finished monument?

A Defining Moment for Democratic Education

Ultimately, the controversy over two pages in a textbook has grown into a larger national conversation. It asks whether democracy is best served by protecting institutions from criticism or by inviting scrutiny in measured, responsible ways.

Education systems across the world grapple with similar dilemmas. Civic education must inspire trust in constitutional values while also fostering the courage to question. Excessive glorification breeds complacency; relentless negativity breeds distrust. The balance is delicate.

If institutions are strong, they can withstand criticism. If they are fragile, suppression will not make them stronger. Transparency and ethical conduct cannot be defended by prohibition alone. They require engagement, reform, and open dialogue.

The deeper issue, then, is not whether a particular chapter should exist in its original form. It is whether India’s democracy is confident enough to let its children read about both its achievements and its imperfections.

A mature republic does not fear informed citizens. It trusts that knowledge, even when uncomfortable, is the foundation upon which stronger institutions are built.

The Gentle Flame: Vinod Mehra’s Sensitive Soul and Silent Departure

The Face of Soft Heroism

In the annals of Hindi cinema, Vinod Mehra occupies a unique, tender space. Neither a superstar basking in the limelight nor a cult figure born of rebellion, he was the gentle breeze in an era of thunderous storms. With an affable smile, calm demeanour, and empathetic screen presence, Mehra emerged as the quintessential soft romantic hero during the 1970s and 1980s - a cinematic era dominated by towering figures like Amitabh Bachchan, Dharmendra, and Vinod Khanna. Despite this, Vinod Mehra carved out a career of over 100 films, bringing a subdued intensity and emotional gravitas to every role he played. His life was as nuanced and fragile as the characters he portrayed - a life that ended suddenly and tragically at the age of just 45.

Childhood and Early Years: A Star is Nearly Missed

Born on 13 February 1945 in Amritsar, Punjab, Vinod Mehra’s family later moved to Bombay (now Mumbai) when he was still a child. His initial brush with fame came very early. At just 10 years old, he appeared as a child artist in films like Raagni (1957) and Bewaqoof (1960). But destiny seemed to divert him from acting, and he focused on academics. After schooling, he earned a degree in commerce from the University of Mumbai.

Before making a full-fledged entry into the film industry, Mehra worked briefly with the Goldfield Mercantile Company, a job that attested to his middle-class upbringing and values. However, acting came back into his life in an unexpected way. He entered and won the All India Talent Contest organized by Filmfare and United Producers. Among the finalists in that same contest were future stars like Rajesh Khanna and Subhash Ghai. This contest became a turning point and led to his formal entry into cinema.

Cinematic Debut and Early Struggles

Vinod Mehra’s official debut as a leading man came with the film Ek Thi Reeta (1971), a modest success. His boy-next-door image and soft features made him a perfect fit for romantic and supportive roles. Films like Anuraag (1972), Nagin (1976), Ghar (1978), and Swarg Narak (1978) built his reputation as a reliable, sensitive actor.

Subhash Ghai, who later directed blockbusters like Karz and Ram Lakhan, once said in an interview:

“Vinod wasn’t loud, wasn’t flamboyant - he was real. In a world of explosive heroes, he brought a sense of stillness.”

His performance in Basu Chatterjee’s Anuraag (1972) opposite Moushumi Chatterjee was tender and heartwarming. The film dealt with a blind girl and a caring lover - roles that required emotional maturity rather than star power, and Mehra delivered gracefully.

The Romantic Collaborations: Rekha and Moushumi

Much of Mehra’s filmography is marked by his unforgettable pairings with two actresses in particular - Rekha and Moushumi Chatterjee.

With Moushumi, his performances in Anuraag, Zehreela Insaan (1974), and *Do Jhoot* (1975) were well received. Their on-screen chemistry had a purity that audiences warmed to. Moushumi later recalled in an interview:

 

“Vinod was the kindest co-star I had. He made you comfortable in front of the camera. His politeness wasn’t an act - it was who he truly was.”

However, it was his off-screen association with Rekha that turned heads.

The Rekha-Vinod Mehra relationship has long been part of Bollywood lore. Though both remained mostly silent on the matter, it was widely speculated that the two had secretly married. Rekha had once confessed on Rendezvous with Simi Garewal that Mehra was a significant part of her life, without confirming or denying the marriage rumors. According to industry insiders, they shared a deep emotional bond, but familial disapproval - particularly from Mehra’s conservative family - led to the breakdown of the relationship.

In the film world, they shared screen space in Ghar (1978), a poignant film about a couple rebuilding their life after a traumatic event. The chemistry and emotional intensity between them were palpable, perhaps rooted in their off-screen history. Ghar remains one of Mehra’s most acclaimed performances.

Comedy Brilliance: The Enduring Charm of Do Phool

While Vinod Mehra was best known for his understated romantic and emotional roles, one film that broke the mold and showcased his impeccable comic timing was Do Phool (1973). Directed by S. Ramanathan, the film starred Mehmood in a double role and featured Vinod Mehra as one of the pivotal characters caught in a whirlwind of mistaken identities, hilarious confusion, and classic situational comedy.

In Do Phool, Vinod Mehra played Raju, the earnest young man in love with a girl (played by Aruna Irani), whose life becomes entangled with the chaos created by Mehmood’s twin characters. The film’s blend of slapstick, social satire, and screwball comedy proved immensely popular with audiences. Mehmood’s performance was undoubtedly the comic engine of the film, but it was Vinod Mehra’s ability to stay natural and reactive amidst all the madness that truly stood out.

His grounded performance acted as a foil to Mehmood’s high-energy antics, and it was this balance that elevated the film. Critics at the time praised Mehra for not overplaying his hand in a comedy - a mistake many dramatic actors make when attempting humor.

Filmfare, in its 1973 review, noted:

“Vinod Mehra’s Raju brings a refreshing sincerity to the chaos around him. He doesn’t try to be funny, and that’s precisely what makes him funny.”

Audiences, too, responded warmly. The film was a commercial hit and remains a favorite on television reruns even today. In the decades since its release, Do Phool has acquired cult status, not just for Mehmood’s performance but also as proof that Vinod Mehra was far more versatile than his typecast image of a sobered lover or suffering husband suggested.

 

Johnny Lever, a later comic icon of Hindi cinema, once said in an interview:

“When I was growing up, Do Phool was one of the films that made me want to do comedy. Vinod Mehra was so straight-faced in the madness - it was classic comic acting.”

This performance cemented Mehra’s reputation as a well-rounded actor who could handle a range of genres - romance, drama, thrillers, and indeed, comedy. Do Phool stands tall in his legacy, a film that continues to tickle generations while reminding viewers of the subtle brilliance Vinod Mehra brought to the screen.

The Gentle Supporting Man

Though never quite ascending to the topmost rung of superstardom, Vinod Mehra was an essential presence in ensemble casts. His ability to balance humility with quiet strength made him the perfect supporting actor - brother, friend, husband, or even a wronged son.

He was memorable in multi-starrer hits like:

 

Year	Movie	Status
1972	Anurag	Early critical success with Ashok Kumar, Nutan and Rajesh Khanna
1978	Saajan Bina Suhagan	Strong emotional drama with Rajendra Kumar, Nutan and Padmini Kolhapuri
1980	The Burning Train	Ensemble cast with Dharmendra, Hema Malini, Vinod Khanna, Parveen Babi, Jeetendra, Neetu Kapoor, Navin Nischol and Danny Denzogpa, a big-budget thriller
1982	Bemisal	Support to Amitabh Bachchan in a layered role

            Even in a crowded cast, Mehra stood out - not by overpowering others but by quietly commanding attention through emotional sincerity.

Foray into Direction: Gurudev 

In the late 1980s, Vinod Mehra began to explore filmmaking. His directorial debut was Gurudev, starring Rishi Kapoor, Sridevi, and Anil Kapoor. Tragically, Mehra could not complete the film. He passed away during post-production, and the film was eventually completed and released in 1993 under the direction of Raj Sippy.

The film did fairly well and stood as a testament to Mehra’s creative ambitions beyond acting. Sridevi once commented:

 

“Vinodji was gentle even as a director. He never shouted, never imposed. He explained with calm conviction.”

Personal Life: Love, Loss, and Family

Vinod Mehra’s personal life was as complex and quietly tragic as some of his film roles.

His first marriage was arranged by his mother to Meena Broca, but it was short-lived and fraught with problems. His alleged marriage to Rekha, if true, never received familial or public acceptance. Eventually, Mehra found stability in his third marriage to Kiran, a Kenyan of Indian origin. The couple had two children - Rohan Mehra, who later pursued acting, and a daughter, Soniya Mehra, who also entered Bollywood briefly.

 

Kiran has spoken warmly of her late husband, once telling a magazine:

“Vinod was a wonderful father. Even though he was busy, he’d ensure the kids had his attention. His absence left a void we can never fill.”

Health Issues and Untimely Death

Despite his outward appearance of calm and composure, Vinod Mehra suffered from heart issues. He had a mild heart attack in the mid-1980s, and doctors advised him to slow down. However, driven by creative passion and professional commitments, he continued working. 

On 30 October 1990, just after returning from a trip to the US, he suffered a massive heart attack in Mumbai and passed away. He was only 45 years old. His death shocked the industry. There was no prior warning, no long illness - just an abrupt, tragic end.

 

Actor Jeetendra, a close friend, said at the time:

“Vinod’s death was not just a loss to cinema, but to all of us who knew what a warm and decent man he was. He never raised his voice, never let success change him.”

Posthumous Releases and Legacy

Even after his death, Vinod Mehra remained on screen. Several of his films were released posthumously, including:

 

Year	Movie	Star Cast
1991	Patthar Ke Phool	Salman Khan and Raveena Tandon in lead roles, with Vinod Mehra, Reema Lagoo, Kiran Kumar, and Manohar Singh in supporting roles.
1993	Gurudev	Rishi Kapoor, Anil Kapoor, and Sridevi in lead roles. Kader Khan, Kiran Kumar, Danny Denzongpa, and Pran appear in supporting roles. Vinod Mehra was as Director.

In Pathar Ke Phool, his performance remained as sincere and compelling as ever. Watching him posthumously reminded audiences of the kind, unassuming artist they had lost too soon.

His son Rohan Vinod Mehra debuted in Baazaar (2018) alongside Saif Ali Khan. Though his launch wasn’t a grand success, many noted how Rohan bore a striking resemblance to his father - in looks and in soft-spoken nature.

Testimonials: Words from Colleagues

·         Amitabh Bachchan wrote in his blog after seeing a clip of Vinod Mehra:

“There was a sense of purity about Vinod. In his voice, in his gestures. You felt you were watching someone who brought honesty to every scene.”

·         Shabana Azmi, his co-star in Anokha Bandhan and Swarg Narak, once said:

“Vinod made acting look effortless. He was so natural, you forgot you were watching a performance.”

·         Rekha, though notoriously private, once said in a rare moment of vulnerability:

“Some people leave quietly, like a soft breeze. You only notice their absence when you realize the air is still.”

Final Thoughts: A Star Who Shone Silently

Vinod Mehra never screamed for attention, never courted controversy, and never demanded more than what he deserved. In a world that often rewards flamboyance, he stood for subtlety. He portrayed pain with elegance, love with restraint, and sorrow with dignity.

His films may not always have been blockbusters, but his presence made them memorable. His death at 45 robbed Indian cinema of an actor who still had much to offer - not just as a performer but as a filmmaker and mentor.

Today, Vinod Mehra is remembered by cinephiles as the “gentle flame” - a light that flickered softly but beautifully, whose warmth still lingers in the hearts of those who watched him and worked with him.

 

Action, Ambition, and Astitva: Sunil Shetty’s Rustic Rise to Bollywood Boss

When one thinks of the 1990s Hindi action cinema, a muscular figure with smoldering intensity and a commanding screen presence inevitably comes to mind -Sunil Shetty. He wasn’t born with a cinematic surname, nor was he trained in any of the elite acting schools. Yet, through sheer determination, a rugged charm, and an incredible work ethic, Sunil Shetty became one of Bollywood’s most bankable action heroes. Over the decades, he evolved from a genre-specific actor to a multifaceted personality - venturing into serious cinema, entrepreneurship, philanthropy, and fitness advocacy.

This is the story of Sunil Shetty, or "Anna" as he’s fondly called in the industry - a journey fueled by action, refined by ambition, and elevated by introspection and social responsibility.

Early Life: A Humble Beginning

Sunil Veerappa Shetty was born on August 11, 1961, in Mulki, a small town near Mangalore in Karnataka. Coming from a Tulu-speaking Bunt community, Sunil was not exposed to the film world from birth. His father, Veerappa Shetty, ran a modest restaurant business in Mumbai. Sunil grew up amidst the busy lanes of Mumbai, where his formative years taught him discipline, humility, and an indomitable work ethic.

Despite his burly exterior, Sunil Shetty was an introvert as a youngster, far removed from the glamour of Bollywood. His education took place in Mumbai, and he later graduated from H.R. College. Yet, what stood out early on was his love for fitness and sports. He trained in martial arts and became a black belt in kickboxing and karate, eventually winning several national competitions - traits that became central to his action-hero persona.

The Entry into Bollywood: Action-Packed Debut

Sunil Shetty’s debut came rather late, at the age of 31, with the 1992 film Balwaan, directed by Deepak Anand and co-starring Divya Bharti. Though the film received mixed critical responses, it was a commercial success and introduced a new kind of hero - tough, grounded, and physically imposing. The audience, fatigued by chocolate-boy images and sensitive protagonists, embraced the raw power of this new action hero.

Following Balwaan, a string of action-oriented films such as Waqt Ka Badshah, Anth, and Pehchaan established Shetty’s foothold in the industry. His film choices echoed the sentiments of the masses: stories of underdogs, injustice, and righteous vengeance. His ability to perform his own stunts and his unwavering intensity made him a favorite among the single-screen audiences of India.

The Golden Run: 1994–1999

The mid to late 1990s was Sunil Shetty’s most commercially successful period. Films like:

·         Mohra (1994).  With Akshay Kumar and Raveena Tandon, this blockbuster established Sunil as a major action star. Songs like Tu Cheez Badi Hai Mast Mast became cult favorites.

·         Dilwale (1994).  A romantic drama where his portrayal of a mentally disturbed lover showcased his range.

·         Gopi Kishan (1994).  Displayed his comic timing in a double role, proving he could do more than just action.

·         Border (1997).   J.P. Dutta’s patriotic saga gave Sunil a role with gravitas. His portrayal of BSF Commandant Bhairon Singh won critical acclaim.

·         Bhai (1997).  Cemented his image as the local hero standing against a corrupt system.

This period also saw him working alongside contemporaries like Akshay Kumar, Ajay Devgn, and Salman Khan, often sharing screen space in multi-hero projects. Despite intense competition, Sunil carved a niche of his own by blending brawn with a raw emotionality.

Astitva and the Meaningful Shift

At the turn of the millennium, Sunil Shetty made a conscious pivot. With the film Astitva (2000), directed by Mahesh Manjrekar, he took a significant risk. The film, centered on a wife’s right to identity and dignity, featured Shetty as an insecure, patriarchal husband - a far cry from his heroic roles.

Sunil's performance in Astitva earned critical acclaim. For the first time, the industry saw a man willing to put his image on the line for a story with substance. “That was the turning point for me,” Shetty later said in an interview. “Astitva made me realize the importance of content over stardom. It humbled me.”

This shift continued with films like:

·         Dhadkan (2000).  As Dev, the intense ex-lover, his brooding presence brought complexity to a love triangle.

·         Red Alert: The War Within (2010).  Based on a true story of a Naxalite insurgent, Shetty portrayed the emotional and moral conflicts of a man trapped in ideological violence.

Entrepreneurship and Business Acumen

Behind the rugged screen persona lies a shrewd businessman. Sunil Shetty diversified early into entrepreneurship, building an empire that included:

·         Popcorn Entertainment.  His production house, which bankrolled projects like Khel and Rakht.

·         H2O.  A high-end café in Mumbai that was among the first celebrity-owned restaurants in India.

·         Fitness Chains and Real Estate.  Sunil invested in various fitness clubs, gyms, and wellness ventures across India. He also explored real estate and wellness resorts.

His ventures did not always succeed, but Shetty remained grounded and resilient. In a candid interview, he once remarked, “Failures teach you what success hides. My business failures made me wiser, more alert, and humbled.”

Marriage and Family: The Pillars of Strength

Sunil Shetty married Mana Kadri, a creative interior designer and the daughter of architect I.M. Kadri, in 1991 - a love marriage that broke religious and cultural barriers. Their interfaith union stood the test of time, grounded in mutual respect and understanding. 

Mana has been instrumental in Sunil’s evolution, especially in social work. She runs R House, a successful interior design store, and is active in charitable initiatives like the Save The Children India foundation.

The couple has two children:

1.       Athiya Shetty, born in 1992, made her acting debut in Hero (2015) and is married to cricketer KL Rahul. 

2.       Ahan Shetty, born in 1996, debuted in *Tadap* (2021) and is poised to carry the family legacy forward.

Sunil Shetty is a family man, often seen spending quality time with his children and guiding their careers without being overbearing. "Let them find their own journey," he once said, adding, “I’ll be there to hold the torch but not to lead the way.”

Fitness and the Ageless Icon

Even in his sixties, Sunil Shetty is often hailed as one of the fittest actors in Bollywood. Unlike many of his contemporaries, he aged gracefully, embracing the salt-and-pepper look with pride. His Instagram posts promoting holistic wellness, yoga, and discipline inspire millions.

Sunil attributes his physique not just to workouts, but to a clean lifestyle, timely eating, and mental calmness. “Fitness is not about muscles,” he once said. “It’s about a way of life, of being aligned physically and emotionally.”

Today, he mentors young actors and athletes, often using his platform to encourage mental and physical fitness.

Comebacks and OTT Era

While Shetty reduced his presence in mainstream cinema in the 2010s, the OTT boom opened new doors. He appeared in web series and shows where mature roles matched his current persona. His cameo in Dharavi Bank (2022) and involvement in Hunter - Tootega Nahi Todega (2023) brought him into the limelight for a new generation.

He also hosts fitness-related TV shows and judges reality programs, showing his adaptability in the age of social media and digital dominance.

Humanitarian Work and Social Impact

Sunil Shetty has often lent his voice and resources to social causes. During the COVID-19 pandemic, he was actively involved in relief efforts, supplying oxygen cylinders, distributing meals, and supporting the underprivileged.

He is also passionate about supporting the armed forces, often visiting army camps, promoting causes related to war veterans, and participating in events like India’s Bravehearts. The real heroes wear uniforms, not costumes,” he proudly states.

Testimonials and Industry Recognition

·         Akshay Kumar, a frequent co-star and friend, said:

"Sunil is a brother in every sense. Loyal, strong, and honest. Our bond goes beyond cinema. We’ve bled together on sets  and laughed off failures."

·         Mahesh Manjrekar, the director of Astitva, shared:

"Sunil surprised me. I didn’t expect an action star to give such a layered performance. He trusted the story more than his image - that’s rare."

·         Athiya Shetty, in a touching tribute on his birthday, wrote:

"You are my anchor, my hero, my greatest teacher. You taught me the strength of silence and the courage of kindness." 

Legacy: The Rustic Gentleman

Sunil Shetty’s contribution to Hindi cinema is multifaceted. While he may not have won numerous awards, his impact is undeniable. He democratized stardom - proving that a boy from Mulki could rise to the top without a Godfather.

From macho action hero to serious performer, from businessman to philanthropist, Sunil Shetty has lived a life that mirrors the grit and grace of his best roles.

 

He once said in an interview, “I may not have done 100 great films, but I’ve lived 100 real lives within me. Each role I played, each failure I embraced, each person I helped - that’s my legacy.”

Conclusion

In the vast galaxy of Hindi cinema stars, Sunil Shetty may not shine the brightest, but he endures -solid, grounded, and deeply respected. His rustic rise to Bollywood, his balance of ambition and introspection, and his commitment to values make him a man apart.

As new generations discover his films and his philosophy, the story of Sunil Shetty continues - not just as an actor, but as a symbol of perseverance, purpose, and poise.

Art and Agitation: Raj Babbar’s Crossover from Theatre to Politics

In the layered narrative of Indian cinema, some actors have journeyed across platforms, languages, and even professions to shape public memory in more ways than one. Raj Babbar is a unique figure in this landscape - a theatre-trained actor who rose through the ranks of parallel cinema, transitioned into mainstream Bollywood, faced profound personal losses, and ultimately carved out a significant place in Indian politics. Known for his commanding voice, expressive face, and politically charged persona, Raj Babbar’s career is a tale of art meeting agitation, of reel merging with real.

Early Life and Theatre Roots 

Raj Babbar was born on June 23, 1952, in Tundla, near Agra in Uttar Pradesh, to a middle-class Punjabi family. His early years were marked by academic discipline, and after completing school in Agra, he pursued higher education in Delhi. But the artist in him yearned for deeper expression, and it was at the National School of Drama (NSD) in Delhi that Babbar’s real artistic journey began. He was part of a remarkable batch at NSD that included Om Puri and Naseeruddin Shah - future stalwarts of parallel cinema. Under the tutelage of Ebrahim Alkazi, the doyen of Indian theatre, Raj Babbar honed his craft with a strong foundation in realism, method acting, and textual interpretation. 

NSD was more than just an acting school - it was a crucible where ideologies, aesthetics, and commitment to the performing arts were forged. Babbar’s political inclinations too were shaped during this period, as he gravitated toward social justice themes and characters rooted in India's underclass and working communities. After NSD, he moved to Mumbai in the mid-1970s, when the industry was slowly opening up to the language of parallel cinema.

Entry into Parallel Cinema: The Benegal-Babbar Bond

Raj Babbar’s entry into films was, fittingly, through the gateway of parallel cinema. His first major break came in Shyam Benegal’s Kalyug (1981), a modern-day interpretation of the Mahabharata set against the backdrop of industrial rivalry. Babbar played the role of Karan (analogous to Karna in the epic) - a strong, moral character whose inner conflict reflected the themes of ethics and modernity. His performance was understated yet intense, perfectly suited to Benegal’s realistic style.

The early 1980s saw Babbar become a fixture in the growing arthouse movement. He starred in Govind Nihalani’s Aakrosh (1980), although in a supporting role, and soon appeared in other hard-hitting social dramas such as Nishant, Bhumika, and Sau Din Saas Ke. These films, often funded by the National Film Development Corporation (NFDC), addressed themes of exploitation, caste injustice, and patriarchy - offering Babbar a fertile ground to display his emotional range and commitment to socially relevant cinema.

Rise in Commercial Cinema

Despite being primarily associated with realistic cinema in the beginning, Raj Babbar was never limited by genre. By the early 1980s, his striking looks and robust acting style caught the eye of commercial filmmakers. He took a bold step in Insaaf Ka Tarazu (1980), directed by B. R. Chopra, where he portrayed a rapist - a negative role that was both risky and impactful. His chilling performance in the film stunned audiences and critics alike, establishing him as an actor unafraid of playing the villain.

From there on, Raj Babbar seamlessly transitioned into mainstream cinema. He starred opposite top heroines of the time, including Rekha, Zeenat Aman, and Smita Patil, and delivered hit films like Nikaah (1982), Aaj Ki Awaaz (1984), Aakhri Adaalat, and Kalyug.  Nikaah, in particular, was a landmark film - a Muslim social dealing with the sensitive issue of triple talaq and women’s rights within the community. Babbar’s role as Wasim, the progressive husband, won him accolades and love from audiences across the country. The film remains one of his best-known performances and cemented his image as a thinking man’s hero.

Throughout the 1980s and early 1990s, he oscillated between supporting and lead roles in films like Sansar, Waaris, Dalaal, Ankush, and Aaj Ki Awaaz. He played policemen, doctors, judges, and revolutionaries - always bringing a shade of gravity and depth to his roles. He also ventured into Punjabi cinema, notably appearing in films like Long Da Lishkara (1986) and Marhi Da Deeva, further connecting him to his cultural roots.

A Personal Life Filled with Love and Loss

Raj Babbar’s personal life was as eventful as his professional one. He was first married to Nadira Zaheer, daughter of communist playwright Sajjad Zaheer and herself a theatre personality. The couple had two children: Arya Babbar and Juhi Babbar.  Nadira was an acclaimed director and theatre artist, and the two shared a strong intellectual and artistic bond.

However, during the 1980s, Raj Babbar fell in love with Smita Patil, his co-star in several films including Aaj Ki Awaaz  and Waaris.  Their relationship stirred much media attention and controversy at the time, as Babbar was already married. Yet, his bond with Smita was intense and rooted in shared ideologies and passions. They eventually began living together, and in 1986, Smita gave birth to their son, Prateik Babbar.

Tragically, Smita Patil died just days after childbirth due to post-partum complications, leaving Raj Babbar devastated. Her sudden death at the age of 31 shook the nation, and Raj Babbar had to confront both personal loss and public scrutiny. In the aftermath, he returned to Nadira and their children, maintaining a delicate balance between his past and present.

 

Raj Babbar has often spoken about Smita Patil with reverence. In one interview, he said,

“Smita was not just a partner; she was a powerhouse of intensity. Her absence left a void that could never be filled.”

Political Awakening and Parliamentary Career

Raj Babbar’s political instincts, sharpened during his NSD years, eventually culminated in an active political career. In the early 1990s, Babbar joined the Janata Dal, attracted by its socialist ideals. Later, he moved to the Samajwadi Party, where he quickly rose through the ranks due to his oratory skills and public image. His crossover from film to politics was not just symbolic - he won the Lok Sabha seat from Agra in 1996, marking the beginning of his serious political journey.

A few years later, disillusioned by party dynamics, Babbar switched allegiance to the Indian National Congress. He remained with the Congress through thick and thin, contesting from different constituencies including Firozabad and Fatehpur Sikri. In 2018, he was appointed as the President of the Uttar Pradesh Congress Committee, signaling the party’s trust in his leadership despite the rise of stronger regional forces in the state.

As a parliamentarian, Raj Babbar raised issues related to farmers, education, cinema, and freedom of expression. Though his political journey was not always marked by electoral success, his stature as a seasoned spokesperson and articulate public figure remained intact.

 

In a 2014 interview, he remarked:

“I did not join politics for power or position. I joined because I believed - and still believe - that artists must contribute to the democratic fabric beyond just entertainment.”

Relationship with His Children

Raj Babbar’s role as a father has seen both highs and complexities. His son from Nadira, Arya Babbar, ventured into acting with moderate success, working in films like Ab Ke Baras and Jail, as well as in Punjabi cinema and television. His daughter Juhi Babbar became a stage actress and director, deeply involved in Nadira Babbar’s theatre group, Ekjute.

His relationship with Prateik Babbar, his son with Smita Patil, was distant during the latter’s childhood. Prateik was raised by Smita’s mother, Vidyatai Patil, who kept him away from his father in the early years. It was only in adulthood that Prateik and Raj Babbar reconciled and began rebuilding their bond. Today, Prateik is a respected actor with critically acclaimed performances in Jaane Tu… Ya Jaane Na, Dhobi Ghat, and Chhichhore.

 

In a heartfelt interview, Prateik once said:

“My father and I lost many years, but I now understand the pain he went through. We are closer now, and I respect him deeply.”

Return to Acting and Later Years

Even while actively engaged in politics, Raj Babbar never completely abandoned acting. He appeared in films like Bodyguard (2011) and Force 2 (2016), often in fatherly or authority roles. His screen presence, though less frequent, always carried gravitas.

In addition, he contributed to television, notably appearing in historical and mythological serials during the 1990s and early 2000s. His baritone voice and dignified demeanor made him a preferred choice for royal or patriarchal roles. 

Off-screen, Raj Babbar remains connected to theatre, occasionally participating in stage productions and mentoring young actors. His wife Nadira continues to run Ekjute, one of India’s most respected Hindi theatre troupes, often with his support in the background.

Legacy: The Artist Who Crossed Borders

Raj Babbar’s legacy lies in his ability to traverse multiple domains - from intense parallel cinema to blockbuster Bollywood, from ideological theatre to political rallies, from romantic leads to villainous characters, from controversy to acceptance.

What makes his story compelling is not just his versatility but his resilience. He faced criticism for his personal choices, electoral losses in politics, and the ever-shifting sands of public favor. Yet, he has remained a dignified figure - articulate, principled, and constantly evolving.

 

Perhaps the most fitting tribute to Raj Babbar comes from his mentor Shyam Benegal, who once said:

“Raj is an actor who understands the language of the streets and the soul of the character. Whether in a play, a film, or a political debate, he brings truth to the stage.”

Conclusion

Raj Babbar is more than a star - he is a storyteller, an activist, and a survivor. His journey from the proscenium stage of NSD to the Parliament of India is not just a personal triumph but a reflection of Indian democracy’s openness to diverse voices. His performances continue to resonate, his speeches provoke thought, and his legacy bridges the world of cinema and citizenship.

In an industry where many fade with time, Raj Babbar stands tall - not because he shouted the loudest, but because he acted the truest.