Lifestyle
A tribute to the forgotten queens of Indian Cinema: Meet the women who built its legacy – The Times of India

As we celebrate Women’s Day, let us pause and pay homage to the women who shaped the very soul of Indian cinema. They were not just pioneers; they were warriors, dreamers, and visionaries who dared to step into a world that was never meant to welcome them. Their struggles were relentless, their victories hard-won, and their contributions priceless. Without them, Indian cinema would never have found its true essence.
Fatma Begum – A name that should be etched in golden letters in the history of Indian cinema. At a time when women were barely allowed to step outside their homes, she dared to sit in the director’s chair. She wasn’t just India’s first female filmmaker; she was a revolution wrapped in courage. Her 1926 film Bulbul-e-Paristan wasn’t just a fairy tale—it was a loud, defiant statement that women belonged behind the camera, not just in front of it. With every frame she directed, she shattered glass ceilings and paved the way for women to create, command, and conquer.
Saraswatibai Phalke – The quiet yet unwavering force behind India’s first feature film. While history often remembers Dadasaheb Phalke as the father of Indian cinema, it was Saraswatibai who was the heartbeat of his vision. She didn’t just support her husband; she lived and breathed his dream. From preparing costumes and processing film reels to managing the household while he pursued his passion, she was the invisible foundation of Raja Harishchandra (1913). Without her relentless dedication, the very first steps of Indian cinema might have faltered.B. R. Vijayalakshmi – The first woman cinematographer in Asia. In a time when handling a camera was seen as a man’s domain, she dared to redefine perspectives—literally and figuratively. With every shot she framed, she proved that women could not only tell stories but also shape their visual language. The male-dominated world of cinematography was forced to make space for her brilliance, and because of her, countless women dared to dream of holding the camera and capturing the world through their own eyes.
These legends stood tall, but they were not alone. Devika Rani, the bold and brilliant actress who was also a fierce businesswoman, ruled Bombay Talkies with an iron will. Durga Khote, the woman who redefined acting in Indian cinema and fought to bring dignity to female performers, ensured that women were no longer just ornamental figures on screen. Shanta Apte, who fearlessly took on exploitation in the industry, demanded fair treatment for actresses at a time when their voices were rarely heard.
These women fought battles not just for their own survival but for every woman who would ever dream of stepping into cinema. They were more than artists; they were architects of an industry that would one day thrive on the voices and visions of women.
Gajra Kotary, an Indian screenwriter, shared, “From Savitri Bai Phalke, who not just played a supportive role to her legendary husband and then became a great film editor and technician, to Fatma Begum, who even groomed her 3 daughters to act in and direct movies, we women have a lot to thank these pioneers for. These women, for their times, were both beautiful and bold, for they broke the association of women in the movies originating from the tawaif background. Of course, even those from the tawaif background were proud and true artists who worked hard to weave their art and adapt to the new craft of cinema. But what stands out for me most prominently is the fact that these were women who were truly passionate about the craft and art of filmmaking, light years away from being drawn to its glamour at all.”
Today, as we celebrate the brilliance of modern cinema, let us remember that its foundation was laid by these fearless, formidable women. Their spirit lives on in every story that dares to break boundaries, in every female filmmaker who picks up a camera, in every actress who refuses to be just a decorative piece, and in every woman who dreams beyond limits.
This Women’s Day, we do not just remember them—we honor them, we celebrate them, and we promise never to let their legacy fade. Their light still shines, and it will continue to illuminate Indian cinema forever.
Amrit Gangar: Film Theorist, Curator, Author, Historian reflects, “What does the term ‘pioneer’ mean and connote? The pioneer is a pathfinder, or the one who has originated a new line of thought or activity or a new method of technical development. The Oxford dictionary defines it as a person who is the first to study and develop a particular area of knowledge, culture, etc. Your question is about the ‘pioneer’ women of Indian cinema. This is a very broad context, but if we stick to this definition of the term ‘pioneer,’ I would consider Begum Fatima, who was the first woman director-producer-actor in India. A century ago, she set up the company Fatima Film in 1926, which became Victoria-Fatima Film two years later. She had starred in Ardeshir Irani’s silent film Veer Abhimanyu in 1922. The first film she herself directed was Bulbul-e-Faristan, which is considered to be the first Indian film directed by a woman. It was also a big-budget fantasy film. Interestingly, she married the Nawab of Sachin (Gujarat) and was a Muslim. Hindu patriarchy didn’t let women work in films then, though we have stories of how Saraswatibai, wife of Dadasaheb Phalke, helped her husband wash the film at night, sprocketing, etc. Kamalabai Gokhale and her mother, Durgabai, also helped Saraswatibai in her work. Kamalabai and Durgabai had also acted in Phalke’s film Mohini Bhasmasur, released in Bombay in 1914. Going strictly by the term ‘pioneer,’ I would think of Gohar Kayoum Mamajiwala (1910-1985), popularly known as the Glorious Gohar. She, along with Chandulal Shah, formed Jagdish Film Company and then one of the most important Indian film companies, Ranjit. Glorious Gohar was also a major star at the Kohinoor Film Company. Kohinoor was India’s biggest and most influential film studio during the silent era. Ranjit also started during the silent era and became one of India’s long-running film studios. Unfortunately, we don’t get the dates of birth and death of Fatima Begum. Kamalabai Gokhale was a strong and independent-minded woman who would still inspire many men and women today. Reena Mohan, in her documentary film Kamalabai, has immortalized her. To my mind, the two great Muslim women, Fatima Begum and Gohar Kayoum Mamajiwala, need to be remembered on this Women’s Day. Yet another woman I would like to remember is a Parsee—Khursheed Manchersha Minocher Homji, known as Saraswati Devi (1912-1980). She is a major music composer mainly associated with Bombay Talkies, starting from its film Jawani ki Hawa in 1935. To her credit are several major Bombay Talkie films. Along with her, we should also remember Devika Rani, who founded the Bombay Talkies studio along with Himansu Rai in the early talkie era.”
Lifestyle
India a country just as powerful as the world of ‘One Piece’: Usopp voice actor Kappei Yamaguchi | – The Times of India
The bond between Japan and India is a precious one and people from both sides should cherish it, says Japanese actor Kappei Yamaguchi, known for his voice starring role in the globally popular anime series “One Piece“. Yamaguchi, who voices the fictional character Usopp in the franchise created by Eiichiro Oda, said India is a country just as powerful as the world of the long-running Japanese show.
“‘One Piece’ can really make everyone smile, and I think that’s the case in India and, of course, in America and even in Europe. I’ve been able to experience this for myself by going to various places. It’s a really precious bond (between Japan and India) that we should continue to cherish…
“I thought India was a very powerful country, an exciting country, and I myself have grown to love this country, but the fact that the people of this country are supporting ‘One Piece’ makes me think that it is a country that is just as powerful as the world of ‘One Piece’,” Yamaguchi told PTI in an interview.
The actor was recently in India along with his “One Piece” co-star Hiraoki Hirata for the Mumbai Comic Con 2025.
The series, which has been on air since 1999, follows the adventures of Monkey D Luffy, a boy whose body gained the properties of rubber after unintentionally eating a Devil Fruit. With his crew, named the Straw Hat Pirates, Luffy explores the Grand Line in search of the world’s ultimate treasure known as the “One Piece” in order to become the next King of the Pirates.
Hirata, who voices Sanji in the show, said he is happy to see “One Piece” being recognised in India.
“I’d heard that it was really popular all over the world, but I only experienced it for real when I went to America and saw how enthusiastic the fans there were. So, as Kappie said, when people from countries like India get excited, the power they show is incredible…” he added.
While Yamaguchi and Hirata have been voicing the characters of Usopp and Sanji for 25 years now, both the actors originally auditioned to essay Luffy and Roronoa Zoro.
Mayumi Tanaka and Kazuya Nakai eventually voiced the roles of Luffy and Zoro, respectively.
Yamaguchi said he had never before played a role like Usopp, a member of the Straw Hat Pirates who serves as their sniper.
“I was really worried at first. But now it has been 25 years of me working with the character, I am able to do it now. I think the character of Usopp has already become familiar to me, to the point where I wonder what my initial concerns were…
“The character has changed a lot (over the years), as I’ve been able to put more and more of my own feelings and various aspects of myself into it. I think he’s probably the character I have the most freedom with now,” he added.
Voice starring in “One Piece” has had “a huge impact” on Yamaguchi, he said.
“The fact that I can feel happy about being able to work on this series is the greatest thing of all. We have been given a wonderful gift in the form of the ‘One Piece’ series, which brings a smile to people’s faces and allows them to talk to each other.”
Hirata said Yamaguchi was already a famous voice actor, but he was unknown before joining the cast of “One Piece”.
“So, when I got the role of Sanji in ‘One Piece’, my life completely changed. When I was chosen as Sanji, ‘One Piece’ fans didn’t know who I was at all,” he added.
Lifestyle
Rajesh Khanna’s granddaughter Naomika Saran steals the spotlight in Mumbai with her graceful charm | Hindi Movie News – The Times of India
Naomika Saran, the granddaughter of Bollywood legend Rajesh Khanna and daughter of actress Rinke Khanna, is steadily capturing hearts with her elegant public appearances. After recently turning heads alongside her grandmother, veteran actress Dimple Kapadia, Naomika once again became the centre of attention during a casual outing in Mumbai on Wednesday afternoon.
Dressed in a relaxed outfit, a simple shirt and jeans, with her hair neatly tied in a ponytail, Naomika was spotted by the paparazzi as she arrived at a building. Onlookers couldn’t take their eyes off the young star kid, who appeared visibly overwhelmed by the unexpected attention. Despite the crowd and cameras, she maintained her composure, smiling warmly as she walked in.
While she chose not to pose for pictures, Naomika did acknowledge the photographers with a sweet wave and a charming smile before stepping inside. Her natural beauty and down-to-earth demeanor left fans gushing over her appearance, sparking even more curiosity about her.
Who is Naomika Saran?
Born in 2004, Naomika is the niece of author and former actress Twinkle Khanna and cousin to Aarav and Nitara Kumar, children of Twinkle and actor Akshay Kumar. She completed her schooling in Gurugram, Haryana, and pursued higher education at St. Xavier’s College in Mumbai. Currently, she is studying in London, focusing on her academic pursuits.
Naomika recently turned heads at a Maddock Films event in Mumbai, where she accompanied her grandmother, Dimple Kapadia. Dressed in a chic black mini dress, she exuded elegance and confidence, drawing comparisons to her grandfather, Rajesh Khanna. Dimple Kapadia, in a graceful gesture, encouraged Naomika to pose solo for the paparazzi, allowing her granddaughter to shine in the spotlight.
Fans and media outlets have noted Naomika’s striking features, particularly her light-colored eyes, which she shares with her cousin Aarav. Her resemblance to both her mother, Rinke Khanna, and grandfather, Rajesh Khanna, has been a topic of admiration among netizens.
While Naomika has not officially announced any plans to enter the film industry, her recent public appearances and familial connections have led to speculation about a potential Bollywood debut. Reports suggest that she may be preparing for a film opposite Agastya Nanda, adding to the excitement surrounding the next generation of Bollywood stars.
Lifestyle
Nushrratt Bharuccha opens up about being lonely in the industry: ‘Main award leke gaadi mein bethi thi, kis ke saath celebrate karoon?’ – The Times of India
Nushrratt Bharuccha recently offered a raw and emotional insight into the often-glamourised yet isolating world of showbiz. In a recent interview, the actress shed light on the emotional toll that comes with being in the spotlight.
Though she has found success on the big screen, Nushrratt didn’t shy away from acknowledging how isolating the journey has been. In a conversation with Bollywood Bubble, she shared her thoughts on how rare genuine friendships are in the industry, and how building her bond with fellow actress Ishita Raj took time. “You’ve asked me this question at a very, very wrong time in my life. So, it’s not okay, and it’s terribly lonely. And it’s terribly mindfuck,” she stated.
She also shared an incident where she received an award, but had no one to celebrate with—something that made her forget what the award was even for. “Jabki insaan toh poori zindagi unhi awards, accolades ke peeche bhaagta hai. But mujhe yaad kya hai? Ki main award leke gaadi mein bethi thi, and I was alone. I said to myself, ‘Whom do I tell, yaar? I’ve won an award. Kis ke saath celebrate karoon? Khushi kis ke saath baantoon?’ It’s time only.”
Bhumi Pednekar Chooses ‘The Royals’
Nushrratt questioned why society celebrates stoicism but discourages emotional vulnerability. She spoke about the pressure to appear strong and unaffected, even when one isn’t okay, and raised valid concerns about how emotional honesty is often misunderstood or even frowned upon. Discussing the price one pays for chasing ambition, Nushrratt confessed that she no longer wants to climb any higher if it means losing the essence of human connection. “Main top pe chadh ke apne aap se cheekh rahi hoon—kya matlab hai uss ambition ka jiske peeche aap pagal hoke bhaag rahe ho?”, she said.
She emphasised that she now prioritises meaningful relationships over unattainable career heights, and admitted that she’s content being surrounded by people who genuinely care for her.
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