Fact1: Bhumika tells life story of actress, Fact2: Usha 's mother is married to abusive and alcoholic Brahmin, Fact3: Usha Following early death and over is taken to Bombay to audition successfully as singer in Bombay studio mother 's objections, Fact4: process watched approvingly by Usha 's doting grandmother and with horror by mother carry her to on-camera adolescent stardom and to ill-starred love marriage with Keshav, Fact5: headstrong girl is bent on challenging uptight mother
Output: Bhumika tells the life story of an actress, Usha Smita Patil, who is the granddaughter of a famous female singer of the old tradition from the Devadasi community of Goa. Ushas mother Sulabha Deshpande is married to an abusive and alcoholic Brahmin. Following his early death, and over her mothers objections, Usha is taken to Bombay by family hangeron Keshav Dalvi Amol Palekar to audition successfully as a singer in a Bombay studio: the first step in a process, watched approvingly by Ushas doting grandmother and with horror by her mother, that will eventually carry her to oncamera adolescent stardom, and to an illstarred love marriage with Keshav. Ushas motives for stubbornly pursuing this relationship culminating in a premarital pregnancy with the unattractive and much older Keshav — who appears to have lusted after her since childhood — are not spelled out. Presumably, she feels indebted to him for his loyalty to her family of which he frequently reminds her and for her own worldly success; she is also a headstrong girl who clearly enjoys her acting career and is bent on challenging her uptight mother who opposes the match because Keshav does not belong to their caste, just as she opposes cinema itself because of its presumed disreputability. Once the two are wed, Usha is shocked to find Keshav continuing to act as her business manager, After effects arranging starring roles for her opposite, heartthrob Rajan Anant Nag, who is himself in unrequited love with her. Since Keshavs other business ventures are unsuccessful, the family remains entirely dependent on Ushas earnings – a fact that Keshav clearly resents. He thus becomes both a jealous husband with a fragile ego and nasty temper, as well as in effect a greedy pimp who compels his wife to take risque work despite her dislike of her costar and her protests that she only wants to be a housewife now that their daughter has been born. Not surprisingly, the relationship becomes increasingly poisoned, particularly by Keshavs suspicion fed by starmagazine gossip that she is having an affair with Rajan. Verbally and physically abused by her husband and periodically obliged to live in a hotel, separated from her daughter and mother, the desperately unhappy actress eventually does instigate two unsatisfying liaisons: with the nihilistic and selfcentered director Sunil Verma Naseeruddin Shah, with whom she plots a doublesuicide which he foils, and then with the wealthy businessman Vinayak Kale Amrish Puri, who keeps her as a pampered mistress on his palatial estate. Here Usha briefly finds a kind of respectability as a de facto second wife, earning a measure of love and admiration from Kales mother, son, and bedridden first wife — but as she learns one day when she tries to take the boy to a nearby fair at the cost of even the most rudimentary freedom. Unable to abide by Kales hypocritical domestic rules, she finds her only hope of escape in the intervention of the hated Keshav, who promptly brings her back to a Bombay festooned with billboards of her own face, and to the same drab hotel and lonely prospects. As Kales bitter wife remarks to Usha as the latter prepares to leave, The beds change, the kitchens change. Mens masks change, but men dont change. The movie does not clarify the reason why Usha likes, and then dislikes Rajan. The climax of the movie is gloomy, and the viewers are left on their own to seek its message.