Durga Khote had a long career in films and acted in more than 200 movies. She not only left a strong mark in the history of Indian cinema but also paved a new path for women in the industry. Born as ‘Vitha Lad’ (nicknamed Banu) before marriage, Durga Khote was born on 14 January 1905 in Mumbai, in a wealthy and progressive Lad family. Her childhood was shaped by the upbringing of her father Pandurangrao Lad and mother Manjulabai. Although the Lad family originally belonged to Goa, they had settled in Mumbai.

Durga’s father, Pandurangrao Lad, was a successful lawyer. He was affectionate, intelligent, and generous by nature. He was also a great admirer of Marathi theatre. From a young age, he regularly took Durga to the plays staged by the “Gandharva Natak Company.” Along with him, she watched many Marathi, Gujarati, and Urdu dramas. Plays like Manapman, Swayamvar, and Ekach Pyala left a deep impression on her young mind, and from her father, she inherited a priceless legacy of love for the arts.

Durga’s mother, Manjulabai, came from the Sukhatankar family. She spoke fluent English and was skilled in horse riding and swimming. Having studied in a Christian missionary school, her lifestyle had become completely Western. She placed special emphasis on giving her children modern education; however, along with the poems of Shakespeare and Tennyson, she also ensured they studied verses from the Gita and the hymns.

Durga studied at the Cathedral School in Mumbai. From her maternal Sukhatankar family in Girgaon, she drew inspiration for patriotism, which even made her want to leave school. On her father’s advice, she spent a month discussing with national leaders, but after realizing that there was no definite plan in place, she decided to continue her studies.

In 1923, at the young age of 18, Durga was married into the respected Khote family of Mumbai, to Vishwanath Khote, and she was given the name “Durga.” However, her college education remained incomplete because her mother-in-law, Anandibai, opposed her studies. In 1925, she gave birth to her son Bakul, and in 1927, her second son, Harin, was born. Around this time, the Khote family’s financial situation worsened. During these difficult years, Durga felt the need to earn an income herself. She began conducting private English classes, while her husband, Vishwanath, secured a job with the municipality; but even together, their earnings were insufficient.

In 1930, by coincidence, Durga was offered a small role in the silent film Farebi Jaal. However, this film brought her disrepute, and it also affected her private tuition classes. At that time, it was considered improper for women from upper-class families to act in films. Still, Durga’s fascination with cinema only grew stronger.

In 1931, the Prabhat Film Company, founded by V. Shantaram, invited Durga to play the heroine in its first Marathi talkie, Ayodhyecha Raja. She accepted the offer only after her father laid down several conditions and ensured that women would be treated with respect.

The shooting of Ayodhyecha Raja began in Kolhapur. Shantaram Bapu personally helped Durga improve her Marathi and Hindi pronunciation. He guided her in every detail—from the way she walked and spoke to the finer nuances of acting. Damle Mama trained her in voice control, while Govindrao Tembe took charge of the music. The film turned out to be a massive success, and Durga’s role as Taramati was adored by audiences. This film earned her a place of honor in the film industry.

After this, she played the role of Queen Kilotala in Prabhat’s Maya Machhindra (1932). For this part, she had to undergo training in sword fighting and horse riding. The film too was a big hit, further strengthening her position in the Hindi film industry.

Between 1934 and 1935, Durga acted in four films for New Theatres in Calcutta—Rajarani Meera, Seeta, Inquilab, and Jeevan Natak. Under the direction of Devaki Bose, she absorbed many new aspects of acting. Seeta became the first Indian film to be screened at the Venice Film Festival. Around the same time, she also worked with Prithviraj Kapoor, with whom she shared a sibling-like bond. During her stay in Calcutta, Durga also had the opportunity to meet Rabindranath Tagore.

After returning from Calcutta, in 1936, she played the lead role in Shantaram Bapu’s Amar Jyoti. The film received international recognition at the Venice Film Festival, and Durga’s performance was highly praised.

In 1938, Vishwanath Khote passed away due to a heart attack. At just 33 years of age, Durga was suddenly burdened with the responsibility of raising two children and supporting the family financially. Only a year later, in 1939, her father Pandurangrao Lad also passed away, leaving her without her greatest source of support. Though these back-to-back tragedies momentarily broke her spirit, Durga gathered herself for the sake of her children’s future and her own career, and she threw herself wholeheartedly into the world of cinema.

In 1943, Durga married Mohammed Rashid in her second marriage. Rashid helped Bakul secure a job in the army and also supported Harin’s education. However, this marriage did not last long.

The period from 1940 to 1960 proved to be the golden era of Durga’s career. During these years, she acted in more than 75 films. She also had the opportunity to work with legendary directors like Acharya Atre, Sohrab Modi, Bhalji Pendharkar, and Hrishikesh Mukherjee.

Several films of this period gained wide popularity, including Atre’s Payachi Dasi (1941), Bharat Milap (1942), Prithvi Vallabh (1943), Maharathi Karna (1944), and Hum Log (1951). However, her career reached its peak with the role of Jodhabai in Mughal-e-Azam (1960). This film, which took 16 years to complete, was crafted with immense attention to detail—lavish sets, grand costumes, intricate jewelry, and every minor aspect meticulously designed. It became a phenomenal success and, for more than 15 years, remained the highest-grossing Indian film. Durga’s portrayal of Jodhabai left an indelible mark on the hearts of the audience.

Along with cinema, Durga also established her place on the Marathi stage. She delivered remarkable performances in plays like Bhaubandaki and Keechak Vadh. The staging of Bhaubandaki at the National Theatre Festival in Delhi became unforgettable, attended by several prominent figures, including Pandit Jawaharlal Nehru. In 1961, she was chosen as the president of the 43rd All India Marathi Theatre Conference held in Delhi.

Durga also stepped into the field of documentary filmmaking. In 1952, along with Rashid, she started a company called Fact Films and produced several social documentaries. Among these, Parityakta – The Deserted Woman and Deepmala received immense appreciation. Later, finding advertising films to be more profitable, Durga shifted her focus in that direction. She went on to establish her own production house, Durga Khote Productions (DKP).

In the 1980s, as Doordarshan was expanding, Durga made her debut on the small screen. Durga Khote Productions successfully produced the television series Wagle Ki Duniya (1988–1990), based on R. K. Laxman’s “Common Man.” This series brought her wide recognition in the world of television and once again proved her farsightedness.

Between 1961 and 1982, Durga acted in more than 90 films, maintaining a steady pace in her work. She appeared in popular films directed by Hrishikesh Mukherjee, such as Anand, Bawarchi, and Abhimaan. Her role as Mrs. Braganza in Raj Kapoor’s highly successful film Bobby (1973) became very popular. For Bidaai (1974), she won the Filmfare Award for Best Supporting Actress. Her performance as Ravi Varma’s (Raj Kiran) mother in Subhash Ghai’s Karz (1980) was also widely appreciated. Her last film was Daulat Ke Dushman (1983).

In 1983, Durga Khote received the highest honor in Indian cinema—the Dadasaheb Phalke Award. It was a fitting recognition of her unparalleled contribution spanning more than fifty years.

Durga Khote valued her family life as much as her professional life. Her elder son, Bakul, rose to a senior position in Air India. His wife, Tina, was of Polish-Canadian origin. Her younger son, Harin, passed away in 1964, but his wife, Vijaya Mehta, became a renowned theatre and television director. Durga’s grandchildren—Anjali, Ravi, and Deven Khote—also made their mark in the entertainment industry. In particular, Deven Khote became known as a successful producer in both television and cinema. Her niece Shubha Khote and nephew Viju Khote also gained fame as popular actors.

In 1982, Durga wrote her autobiography in Marathi, Mee, Durga Khote. In it, she offered an honest and deeply reflective account of her professional and personal journey. The English translation by Shanta Gokhale, I, Durga Khote, was published after her death.

In her autobiography, Durga wrote, “I was never unhappy... If I balance all the desires, ambitions, and mistakes of my life, what remains is only ‘contentment.’” Her sole concern was always the well-being of her children. Her true joy lay in seeing them independent and happy.

In her later years, Durga moved to Alibaug. On 22 September 1991, she passed away in Mumbai at the age of 86, bringing to a close a brilliant career that had lasted for more than six decades. Many stalwarts, including Hrishikesh Mukherjee, paid tribute to her.

In 2000, India Today magazine named Durga as one of the “100 people who shaped India.” In 2013, the Government of India honored her contribution by issuing a postage stamp in her name.

Durga Khote’s life journey stands as a remarkable example of determination, artistic excellence, and social courage. She not only achieved greatness in her craft but also broke social conventions, creating a new path for women. She will always be remembered as an inspiration in the history of Indian cinema and culture.