Mamta 1966

Monish Rai Monish Rai comes from a wealthy family and is in love with Devayani Devyani, a woman from a poorer background. He plans to travel abroad for higher studies, with his family ready to fund the venture, but he fears that an open declaration of marriage to Devayani could jeopardize that support. To avoid risking their future, they agree to postpone their wedding until Monish returns to India.

Soon after Monish leaves for England, Devayani’s father is overwhelmed by fresh financial troubles. He has been taking new loans to repay old ones, and many of these loans come from Rakhal Rakhal, who pretends to be a friend and well-wisher while harboring a predatory interest in Devayani. Rakhal is a unscrupulous man, and the situation grows dire as his true nature begins to reveal itself. Aware of Devayani’s vulnerability, Rakhal makes a seemingly profitable proposal to Devayani’s father, who—naively impressed by Rakhal’s wealth—consents to a marriage that would secure Devayani’s life of comfort. Devayani, however, resists, insisting that she would rather stay with her father than be wed to a man she finds disagreeable. Her pleas fall on deaf ears, and the wedding date is fixed. In a desperate bid for help, Devayani even seeks financial assistance from Monish’s mother, but is turned away.

The wedding goes ahead. Rakhal, significantly older than Devayani, makes some efforts to court her, but she finds him repugnant. He soon tires of her spirited resistance and returns to his circle of drinking and gambling friends. A squanderer who inherited wealth but lives beyond his means, Rakhal lavishes money on drinks, cards, and women, letting much of his fortune slip away. Devayani becomes pregnant and gives birth to a daughter, Suparna. Around this time, Devayani’s father dies, leaving her with few options. Her husband is briefly jailed after a drunken brawl at a brothel, and it becomes clear that Rakhal’s money is gone. Discontent with her marriage and circumstances, Devayani escapes from her life and enters the world of a devadasi, performing for a male audience. Rakhal tracks her down and makes multiple attempts to kidnap Suparna. To ensure her daughter’s safety, Devayani places Suparna in a Christian missionary orphanage, insisting that the child not be adopted and that she will contribute to Suparna’s upkeep whenever possible. Devayani then relocates and dedicates herself to earning a living by singing and dancing for a male clientele in a traditional kotha, with little, if any, explicit sex work.

Monish returns to the city after completing his studies. He has heard of Devayani’s marriage and, though heartbroken, remains unmarried for life. One day, while wandering the streets, he spots a woman who resembles Devayani and calls out to her, only for her to turn away and slip into a taxi, driving off without acknowledging him. Those around him explain that the woman he glimpsed is a Lucknow-based tawaif named Pannabai, a figure tied to Devayani’s complex past.

In the end, the story traces a sorrowful arc of love, social pressure, and the choices people make under impossible circumstances. It paints a portrait of a woman who must navigate harsh economic realities and rigid social norms, while a devoted, lifelong bachelor’s memory lingers as a quiet, unresolved ache.