Looking back in time and turning the yellowed pages of fond memories have convinced me that I have indeed been fortunate to know some of the best talents of the Bengali film industry whose contribution to cinema cannot be overlooked. I will share my memories of three such women who not only proved their mettle on the screen or the stage but held their heads high under every circumstance that life had thrown at them.

The first among them is Prabha Devi. She was undoubtedly one of the most chiseled actresses that I have come across throughout my career. She had a strong persona with an aura of confidence that stemmed from her firm sense of self. She had played character roles in films of both the silent and the talkie eras. I remember her acting in films like Jyotish Bandopadhyay's Matrisneha (1923), Sisir Kumar Bhaduri's Sita (1933), Prafulla Ray's Parashmoni (1939), Premankur Atarthy's Abatar (1941) and Premendra Mitra's Path Bendhe Dilo (1945).

I remember once Prabha Devi was playing an important role in a play at the Minerva Theater. I can't recall the name of the play. Unfortunately, Prabha Devi's daughter had suddenly passed away. Despite being broken-hearted as a mother, she didn't flinch from going on the stage and playing her part. The role demanded her to make salacious facial expressions and seductive physical movements on stage. 

As she came out of the theater after the play ended, she overheard someone in audience praising her saying, “Her acting was superb!”. 

His companion commented, “Yes, the acting was brilliant. But do you know that her daughter died last night?” 

The first person was surprised. "Then how could she perform like that?” he wondered.

In reply the second person said, "Don't you know how? They are sex-wrokers! That's how..."

The manager had come forward to protest but Prabha Devi had held his hand and said, “No, my son, don't do anything. Let them say what they would. I will remain what I am.”

I would also like to share a glimpse into her personal life. Prabha Devi was in a relationship with Sisir Kumar Bhaduri's brother Tara Bhaduri. Their relationship remained unbroken till Prabha Devi breathed her last. Even after her demise, Tara Bhaduri lived in her home. When he became severely ill, Prabha Devi's daughter, Ketaki-di used to look after him.

Prabha Devi's daughter Ketaki-di was also an excellent actress. She possessed a mellifluous voice. Despite being a good actress, she was never cast in befitting roles. To keep the kitchen fire burning, she used to make a variety of pickles and sell those. I used to buy several jars of her pickles and distributed them among family and friends. She was also a gifted craftsman and created various decorative items using spices. During the shooting of Ghatak Biday, I had gifted one of her figurines to Rabi Ghosh. He loved Chaplin. She had made a statuette of Chaplin using cloves, cardamom and coriander etc.

Last but not the least, I would like to share my experience of knowing Sarajubala Devi. Everyone admired her for having a noble-minded and generous persona. I had acted with her in the play, Tushar Kana, adapted from the English fairytale Snow White. A review of the play was published in Jugantar. It said: “Young actress Madhabi has outshined the stage empress Sarajubala”.

Back then I didn't read newspapers regularly and as a consequence I had missed the article. When I entered the theater as usual, Sarajubala Devi called me aside. We used to have separate rooms. After I went to her room, she said, “Sit and eat this sandesh”. 

It was a huge sandesh. I couldn't understand why she was asking me to eat the sandesh all of a sudden. I wondered if it had gone rancid. 

I couldn't help asking: "Is it rotten?" 

She replied: “No, it's good. That's why I gave it to you. If it was rotten, would I give it to you?” 

I started eating it. When I stopped to catch a breath, she asked, "Do you know why I gave you the sandesh?” I couldn't think of any plausible reason and timidly replied: “I don't know. Maybe you felt like it”.

She probed further. Even after trying hard, I couldn't unravel this mystery. Looking at my confused state, she then asked, "Did you read the paper?" She then informed me that Jugantar had published a review of our play, praising my performance. On hearing what the review contained I felt so embarrassed that I couldn't raise my head. Half of the sandesh was left on the plate and I couldn't eat any further in embarrassment. This incident was proof of how big-hearted she was. She was truly a person without any malice or trace of jealousy.

Later, while working together at Mahila Shilpi Mahal, she used to guide me on how to deliver my dialogues and modulate my voice as necessary. For example, she had taught me that the word "no" can be spoken in three different ways. We were acting in a play where the prince confesses his love for me. Sarajubala Devi had explained that I can reply to his confession in three different manners. “You love me! What do you love about me, prince? Is it my eyes, pray tell me? I can snatch them out and place them at your feet!”, What do you love me for? Name it and I will lay it at your feet'', "What is it that you love about me? My body? I can put it lifeless at your feet'' - she taught me to deliver these lines with conspicuously varied mannerisms. No praise is enough for this selfless soul. 

I have heard that when she had first stepped into the arena of theater, the bemused director had asked, "Where did this scarecrow come from?" Unfazed by the bitter comment about her looks, she kept on acting in a number of plays and in each her performance was lauded with praise. Her acting skills attracted actor Nirmalendu Lahiri towards her and soon he fell in love with her. They lived together and had children too. Then she found out that Nirmalendu Lahiri had formed intimate relationship with another woman and she was pregnant. Sarajubala Devi didn't turn a blind eye to the situation. Instead, she had put her foot down and confronted Nirmalendu Lahiri and commanded him to marry her. She had herself made all the wedding arrangements. Nirmalendu had two sons with his wife - Nabagopal Lahiri and Gourgopal Lahiri.  Both of them used to address Sarajubala Devi as 'maa'. 

In fact, all youngsters around her addressed Sarajubala Devi as 'maa' due to her affectionate nature. Apart from great acting skills, her main attributes were her kind behaviour and affability. At that time I was too young to be taken seriously. As a result, many used to unflinchingly badmouth Sarajubala Devi in front of me. But she never paid heed to them. I used to complain to her saying, "You are so nice with them but they say bad things about you behind your back". On hearing this she would calmly reply: "Let them say things. They have just uttered bad words, but haven't done anything bad”. 

All three of them lived in a time of social oppression yet never compromised with their dignity. I believe that's what makes an artist truly unforgettable!