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In 1942, as a part of a scene in the movie Jung-East-Azadi, actor Master Bhagwan was to slap her hard.

Being a new actor, he accidentally slapped her very hard, which resulted in facial paralysis and a burst left eye vein.

She was known particularly for playing maternal figures, especially wicked matriarchs or mothers-in-law.

This period saw her involvement in around 50 films across Marathi and Hindi industries, including mythologicals like Sant Damaji (1939) and social dramas that addressed reformist ideals, such as women's roles and family dynamics in pre-independence India.^[2]By the early 1940s, Pawar solidified her versatility through diverse leads in sound productions.

Three years of treatment later, she was left with a defective left eye; thus she had to abandon lead roles, and switch to character roles, which won her much of her fame later in life.

She was known particularly for playing maternal figures, especially wicked matriarchs or mothers-in-law. Her son Jai Pawar continued to become a producer and worked with her in movies like Manzil.

She continued to live with her grandson Sanjay Pawar and her husband in Juhu. Her iconic portrayal of Manthara in the 1987 television series Ramayan has served as a reference point for mythological antagonist roles in later Indian TV adaptations.^[26]

Filmography and Awards

Selected Films

Lalita Pawar contributed to over 700 films across Hindi, Marathi, and other regional cinemas, showcasing her range from child artist in silent films to leading lady and later character actress in supporting roles.

Notable examples include her role as Satyaprakash's mother in the action-family drama Bhai (1997), directed by Deepak Shivdasani, and supporting parts in Kaali Ganga (1990), a tale of revenge and redemption, and Shiv Teri Mahima Nyari (1993), emphasizing familial bonds and devotion.^[28] These roles underscored her typecasting as a stern yet pivotal family elder, providing emotional anchors in narratives centered on domestic conflicts and moral dilemmas.Pawar's professional journey culminated in the late 1990s, with Bhai serving as one of her final film appearances before her health declined, capping a career that spanned over 70 years from her silent-era debut in 1928.

She holds a Guinness world record of longest acting career spanning over 70 years. She was honored by the Government of India as the first lady of Indian cinema in 1961.

Personal life
Her first marriage was to Ganpatrao Pawar, which went sour after his affair with her younger sister. The film's exploration of emotional turmoil and ethical dilemmas resonated with audiences, highlighting Pawar's ability to convey pathos and resilience.

She started her acting career at age nine in the film Raja Harishchandra (1928), and later went on to play lead roles in the silent era and 1940s films, in a career that lasted until the end of her life, spanning seven decades.

She co-produced and acted in a silent film Kailash (1932), and later produced another film Duniya Kya Hai in 1938, a talkie.

Lalita Pawar, playing the lead in film, Himmat-e-Marda (1935).
In 1942, as a part of a scene in the movie Jung-E-Azadi, actor Master Bhagwan was to slap her hard.

Her son Jai Pawar had 2 sons Sanjay Pawar and Manoj Pawar. In her final years, she lived a more secluded life in Pune, focusing on managing the disease, which had spread and weakened her over nearly eight years. In 1937, she produced and starred in the sound film Duniya Kya Hai, adapting a foreign melodrama to critique social issues, further demonstrating her influence as both performer and producer.^[20] These early sound roles, spanning Hindi and Marathi productions, laid the foundation for her 70-year career, recognized by Guinness World Records as the longest for a Bollywood actress.^[18]

Transition to Sound and Pre-Independence Work

With the advent of sound films in the late 1920s and early 1930s, Lalita Pawar adapted quickly, shifting from child roles in silent cinema to leading parts in talkies that capitalized on her expressive presence and vocal talents.

Her other memorable roles were in the films Anari (1959), Shri 420 and Mr & Mrs 55, and the role of Manthara, in Ramanand Sagar's television epic serial Ramayan.

Biography
Pawar was born as Amba Laxman Rao Sagun on 18 April 1916, into an orthodox family in Yeola in Nashik. However, the marriage dissolved in divorce due to Ganpatrao's affair with her younger sister, leaving Pawar emotionally devastated amid her rising career challenges.^[30][4]Following the end of her first marriage, Pawar wed film producerRaj Kumar Gupta (also referred to in some accounts as Rajprakash Gupta), another prominent figure in Bombay's cinema circles associated with Ambika Studios, sometime after the 1940s.

Concurrently, she continued sporadic work in films during the 1990s, often in family dramas where she played authoritative maternal figures. She featured in hit films such as Netaji Palkar (1938), made by Bhalji Pendharkar, New Hana Pictures' Sant Damaji, Navyug Chitrapat's Amrit, written by VS Khandekar, and Chhaya Films' Gora Kumbhar.

In Amrit (1941), directed by Vinayak Karnataki and produced by Navyug Chitrapat, she enacted the romantic and dramatic lead of Seeta opposite Baburao Pendharkar, in a story weaving love, sacrifice, and social constraints amid familial conflicts. They both continue to live in Mumbai as her great- daughter Aanya Pawar.

Raised in this environment, Pawar grew up amidst the cultural traditions of Maharashtra, including exposure to local arts and performances that shaped her formative years.^[4]Upon entering the film industry as a child, she adopted the professional name Lalita Pawar, marking her transition from Amba Laxman Rao Sagun.^[8] This early interest in acting, evident from her youth, stemmed from the artistic milieu of her surroundings and led directly to her debut in cinema.^[9]

Entry into Acting

Lalita Pawar made her entry into the Indian film industry at the age of 12, debuting as a child artist in the silent filmArya Mahila (1928), directed by Narayanrao D.

Sarpotdar.^[10] This early exposure came through her family's encouragement, as her father, a merchant from Nashik, recognized her talent and supported her initial steps into acting despite the industry's nascent and demanding nature.^[9] She quickly followed this with another child role in Raja Harishchandra (1928), directed by Y.D.

Sarpotdar, marking the beginning of her versatile screen presence in the silent era.^[11]By her early teens, Pawar had progressed to more substantial parts, showcasing remarkable range by portraying 17 different characters in the silent film Chatur Sundari (1930).^[10] At age 16, she took a bold step by co-producing the silent film Kailash (1932), in which she also starred in triple roles as the heroine, vamp, and mother, demonstrating her involvement in both creative and directorial elements under the overall direction of G.P.

Pawar.^[4] These early silent films, including her leading role in Himmat-e-Marda (1935), highlighted her transition from child artist to glamorous heroine, captivating audiences in Bombay's evolving studio system.^[10]As the industry shifted to sound films in the late 1930s, Pawar adapted seamlessly, securing leading lady roles in early talkies such as Amrit (1941), directed by Master Vinayak, where she shared the screen with prominent actors like Dada Salvi and Baburao Pendharkar.^[12] However, as a young actress in the 1930s Bombay film industry, she encountered significant hurdles, including the physical demands of extended shooting hours, the instability of silent-to-talkie transitions, and navigating a male-dominated environment that often limited opportunities for female performers.^[2] Despite these obstacles, her determination and family backing enabled her to establish a foothold, performing in over a dozen films by the early 1940s.^[13]

Career

Silent Era and Early Films

Lalita Pawar entered the Indian film industry as a child artist during the silent era, debuting at the age of 12 in the mythological film Raja Harishchandra (1928), directed by Y.D.

Sarpotdar.^[14] This early role marked the beginning of her extensive involvement in silent cinema, where she appeared in over 10 films between the late 1920s and early 1930s, often portraying characters in mythological and dramatic narratives.^[15] Notable among these was her performance in Diler Jigar (1931), a silent action film where she played the lead role of Saranga under her original name Ambu, showcasing her emerging versatility as a young actress.^[16] Her work in these mythological productions, including Arya Mahila (1928), helped establish her presence in an industry transitioning from stage influences to screen storytelling.^[17]A significant milestone came in 1932 when, at age 16, Pawar co-produced and starred in the silent filmKailash, taking on a challenging triple role as the heroine, vamp, and mother, which highlighted her ambition and range early in her career.^[4] This production underscored her rapid progression from child roles to more complex leads within the silent medium.

She also notably played the strict but kind Mrs. L. D'Sa in Anari (1959) with Raj Kapoor.