Smita was one of those rare actors who made a director’s job an absolute pleasure. She was a complete director’s actor, immensely talented, instinctive and deeply committed to her craft. She had an extraordinary ability to understand a character and bring it to life with a naturalness that was only her.

My association with Smita goes back to Ghulami, my first film as a director, and it was during that film that we grew very close. What began as a professional association soon became a personal friendship. Smita, my younger brother Deepak, Vinod Khanna, our dear friend Prakash Menda and I were part of a close group . We were more like an extended family than just a group of friends, and some of the happiest memories of my life were spent with them.

One memory of Smita that has always stayed with me is from our days shooting Ghulami in the desert. We would be shooting for long hours, and the unit would return to our tents at all sorts of odd hours. Yet, no matter how late it was, Smita would make sure that there was food waiting for us and that hot rotis were being made for everyone. It was such a simple gesture, but it spoke volumes about the person she was. In the middle of a demanding shoot, she would think about whether everyone had eaten and was looked after. That warmth and thoughtfulness are things I have never forgotten.

I remember Smita not just as a brilliant actor, but as a dear friend who was very close to me. She had an extraordinary gift for her craft, but it was her warmth as a human being that made her so special. The time I spent with Smita and Vinod, and the friendship we shared during those years, remain some of the most cherished memories of my life. I miss her and him a lot. Some people leave behind great performances; others leave behind a part of themselves in your life. Smita did both.

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Let us begin by mentioning that Smita Patil didn’t take any fees for Waaris. We were a young team of three which had previously produced the cult classic National Award-winning Punjabi superhit Chann Pardesee. Waaris was originally planned as a Punjabi film called Muklaawa, but when Smita came on board she suggested that we make this powerful script in Hindi to reach a wider audience. Smita was so excited when our director Ravinder Peepat gave her a narration that she went out of her way to put remuneration aside and give priority to her dates even though she was very busy doing double shifts at that point of time.

When we shot in Haryana, Smita wanted to get the authentic body language and learn the exact way that the village women cut the fodder in the fields and lift a heavy bundle on their heads. In the film she matched every move with the village women. Smita got under the very skin of the character Paro brilliantly written by Baldev Gill but there were times when she refused to go ahead if she felt she was not doing justice. There is a scene in which she tells her father-in-law that “ye vidhwa toh usee din suhagan banégi jab aap ka beta usey lene aayega”. Smita took a day off and thought about the scene. Next day she gave a perfect shot. What a brilliant and dedicated actor.

In between the shots if she had time to spare, she would be seen reading a book or happily chatting with the local women. We were shooting in Rajpipla, Gujarat and Smita not only went into the minutest details of her own costumes and make-up but also of the other

characters in the scene. She asked questions and until she was satisfied, she would not move on.

With just a song and some minor patchwork remaining and Smita being pregnant she insisted on finishing her work before her delivery was due. She shot the song Aare munjhe, taare munjhe and finished her entire work. It was her immense dedication and love for her

work that made it possible for us to complete the film. Alas, she did not live to dub her own voice.

It was out of love and respect for her that Rekha and Shaban Azmi offered to dub for her. When Rekha began to dub, she listened to Smita’s original track and got into each and every nuance and tone. When Rekha began dubbing, she spoke the lines and asked if it was

okay. Baldev argued that the lines have been dubbed but the thought behind is missing. Baldev Gill even walked out but Rekha called him back and asked him to tell her what was missing. Once Rekha got the feel and the spirit of the character she completed the dubbing

without a flaw.

Smita and Amrish Puri’s characters ran parallel to each other. It was a powerful face off but she held her own even when Amrish Puri had to push her and slap her in a scene her eyes blazing fire in that scene. In the Samadhi scene where Paro (Smita’s character) speaks to her husband. Smita was not happy with the scene. She said rewrite the scene like you first wrote it in Punjabi. It’s not as effective as in Hindi. I rewrote that scene and translated the Punjabi lines word for word in Hindi. She was happy and she gave a perfect shot.

40 years later when we look back and think of that wonderful self-respecting woman called Smita Patil we are still in awe of her larger-than-life character in Waaris. We miss all those associated with Warris, especially director Ravindra Peepat, our late partner Yog Raj Sedha, and of course the magical Smita Patil. Waaris wouldn’t have been half the film it was without her support and cooperation. Smita Patil was the soul and spirit of Waaris. Whence comes such another?

Also Read: “Both Smita and I Were Expecting Our Sons at The Same Time” – Rati Agnihotri Recalls

From making audiences sit up with his unforgettable monologue in Pyaar Ka Punchnama to winning the Filmfare Award for Best Actor for Chandu Champion and the National Film Award, Kartik Aaryan’s journey is a testament to persistence, self-belief and the courage to break out of a mould.

When Kartik Aaryan made his Bollywood debut with Pyaar Ka Punchnama in 2011, few could have predicted the journey that lay ahead. The young boy from Gwalior arrived without a film-family legacy, armed with ambition, determination and an unmistakable screen presence. Today, 15 years after establishing himself as a familiar face in Hindi cinema, he has evolved from the industry’s much-loved Monologue King into a National Film Award-winning performer and one of its most recognisable leading men.

His breakthrough came with Rajat, the outspoken young man in Pyaar Ka Punchnama, whose now-iconic monologue about relationships became a pop-culture talking point. The 2015 sequel, Pyaar Ka Punchnama 2, strengthened that association, turning Kartik’s extended rants into his signature. Today, as the film completes 11 years since its release we look back at his journey so far. While the monologues gave him recognition, the challenge was to ensure that audiences saw more than just a punchline-delivering actor.

Films such as Akaash Vani offered an early glimpse of his emotional range, while Sonu Ke Titu Ki Sweety(2018) transformed his career trajectory. As Sonu, the fiercely protective friend navigating the complications of his best friend’s impending marriage, Kartik combined comic timing, mischief and emotional conviction. The film’s commercial success established him as a bankable leading man and opened the door to bigger opportunities.

The next phase showcased his versatility within mainstream entertainment. In Luka Chuppi (2019), he played Guddu, a small-town television reporter caught in a live-in relationship experiment. Pati Patni Aur Woh(2019) saw him embrace the comic chaos of Chintu Tyagi, while Dhamaka (2021) presented a more restrained, morally conflicted character in a tense newsroom thriller. These performances demonstrated his willingness to move beyond the formula that had first made him popular.

Then came Bhool Bhulaiyaa 2 (2022). As Ruhaan, better known as Rooh Baba, Kartik stepped into a successful franchise and made the character his own. His effortless blend of humour, swagger and horror-comedy timing helped turn the film into a major box-office success. With Satyaprem Ki Katha (2023), he took a different route as Sattu, a sensitive, well-meaning man whose emotional journey required vulnerability rather than bravado.

The real turning point, however, arrived with Chandu Champion (2024). Portraying Murlikant Petkar, India’s first Paralympic gold medallist, Kartik underwent a remarkable physical transformation and delivered a performance that demanded discipline, resilience and emotional depth. The role challenged the image audiences had associated with him and earned him the Filmfare Award for Best Actor in 2025. In September 2026, he added the National Film Award for Best Actor to his growing list of honours, marking a defining milestone in his career.

That same year of reinvention also saw him return as Rooh Baba in Bhool Bhulaiyaa 3. Sharing screen space with Vidya Balan and Madhuri Dixit, he demonstrated that his success in commercial cinema was no passing phase. His ability to anchor a big-ticket entertainer while pursuing demanding dramatic roles has become an important part of his appeal.

What makes Kartik’s story compelling is not simply the string of successful films or the awards that now adorn his shelf. It is the willingness to keep moving forward despite setbacks, the patience to build a career without an established industry surname and the ambition to challenge audience expectations. His journey has included misfires and quieter phases, but each new opportunity has helped him sharpen his choices and expand his repertoire.

From Rajat’s relationship rant to Sonu’s loyal friendship, Guddu’s small-town romance, Rooh Baba’s supernatural swagger and Murlikant Petkar’s extraordinary determination, Kartik has created a filmography populated by characters that audiences remember for different reasons.

His story is also a reminder that overnight success is often the product of years of unseen effort. Kartik Aaryan may have begun as the Monologue King, but he has steadily worked towards becoming an actor capable of carrying both commercial spectacles and performance-driven cinema. Fifteen years after his 2011 debut with a Filmfare trophy and a National Film Award to his name, his journey is no longer just about making it in Bollywood. It is about earning the opportunity to define what comes next.

With an exciting slate of projects ahead, Kartik is set to explore newer cinematic worlds through Naagzilla, Captain India, an untitled musical love story directed by Anurag Basu, and an untitled inspirational sports drama directed by Kabir Khan. These projects reflect his continued ambition to experiment with diverse genres and take on varied roles.

Kartik Aaryan’s journey stands as a testament to reinvention, perseverance and the power of an ever-evolving body of work—from being recognised for his iconic monologues to earning one of Indian cinema’s most prestigious acting honours.

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