‘If they said the shift is at 9, I would reach by 9.’
‘But no one came until 12.’
‘Slowly over the time, I felt very disappointed with the whole thing.’

 Rameshwari, who stole hearts in films like Seetamalakshmi and Dulhan Wahi Jo Piya Man Bhaye, was recently seen in Devara and Uppu Kappurambu.

The actor lost out a lot of movies because of an eye injury. But that wasn’t the only reason.

“After about 30 films, I felt I was stagnating,””The realisation came to me when I was doing an Odia film called Manini in 1985. I had evolved as an actress, but felt I was not going anywhere.”

I have been looking for your number for years. No one seems to have it.

Because I am not popular.

No, you are popular even if you didn’t act in any more films after Dulhan Wahi Jo Piya Man Bhaye and Seetamalakshmi.

Even today, there is a freshness in Dulhan Wahi… There is so much innocence in Rajshri movies.

You became an instant star. Do you remember those days?

At the same time, I used to get scared that I am not like that.

I played this simple, straightforward woman who is willing to please everyone.

She is no doormat but still, very obedient, and traditional. It was an amazing role..

What did you do next?

At that time, I did some 12-15 films, out which three-four were successful. After about 30 films, I felt I was stagnating.

The realisation came to when I was doing an Odia film called Manini in 1985.

It was good work, even better than Dulhan Wahi Jo Piya Man Bhaye.

I had evolved as an actress, but felt I was not going anywhere.

Did you want to move away from the image of the ideal bride?

No, that was not a problem. But people misinterpreted the character in Dulhan Wahi Jo Piya Man Bhaye.

They felt she was a doormat, but she was not.

During shoots, I used to question directors. Directors like Lekh Tandonji (who directed Dulhan Wahi Jo Piya Man Bhaye) were happy with the questions. Other directors resented it.

My second film was the Telugu film Seetamalakshmi. It was a big hit. I didn’t ask questions in that.

Would you say Dulhan Wahi Jo Piya Man Bhaye spoilt you for your future projects?

Oh absolutely! Recently, I was working in a film where I’m supposed to be eagerly waiting for someone. And she’s become old.

She walks with a lathi and then goes, ‘Oh my God, that person is here, that person is here’.

The director said, ‘Where did this come from? You did it in one minute, without any preparation.’

I said it just came to my mind that this is how it should be.

I don’t want to be involved with projects where I have no voice.

You played a funny mother in the Telugu film Uppu Kappurambu.

I didn’t want to do it. The old character has to cough and talk all the time. That wasn’t easy to do.

You know the difference between the time I was offered Dulhan Wahi Jo Piya Man Bhaye and now?

Yes?

When P K Gupta thought about me for this role in Dulhan Wahi, he called at least five-six times. I didn’t go because I had some ego in me.

I felt these people make you sit and finally say there is no work for you. So I don’t want to go.So Mr Gupta came home.

I told him I would come to the Rajshri office on the condition that the door should be open.

You can’t believe it. When I went there, they kept the door open!

Rajbabu (Sooraj Barjatya’s father Raj Kumar Barjatya) was laughing. He treated me like his own child. I was paid Rs 10,000 for the film.

But how much love did I get? So much! There used to be 40 saris for me to choose from.

Prem Kishen was very unproblematic as the hero.

He was new, but he was a man from the film industry: Veteran actor Prem Nath’s son. He could have been troublesome, but he was so accommodating.

So Rajbabu and Rajshri spoilt me and treated me like a princess.

It wasn’t the same in other production houses?

I didn’t understand how to behave outside.

If they said the shift is at 9, I would reach by 9.

But no one came until 12.

Slowly over the time, I felt very disappointed with the whole thing.

But Rameshwariji, there was an accident, right?

That happened during Sunayana, produced by Rajshri.

Your eye was hurt.

It was very tragic, very tragic. I suppose, it had to happen.

Did that affect your career?

It did. Also, my attitude.

I didn’t give a damn about what people thought.

I had a black eye, and it took nine months to heal.

I did some films even after the injury. J Om Prakash’s Asha was a bit hit but I didn’t know how to capitalise on that.

Are you open to offers now?

I want to see what impact the character has on the story.

In Uppu Kappurambu, the director convinced me to do it. I didn’t want to do it because it was physically strenuous.

I was part of Devara. It’s a small character, but very mysterious.

I have a lot of time to do films.

At the same time, I don’t want to be underpaid. There are a lot of offers, but they want to downgrade you in some way.

There are two or three incentives for a character artist. One is that you get lovely characters.

When you do these lovely characters, even if it is a two-day job, it’s very satisfying. That is what I want.

I want job satisfaction.