There is a rare kind of love in Bollywood — one that transcends age, fame, and conventional bounds. Sandhya Shantaram’s story is one such beautiful exception: she devoted her entire career to a single director, fell in love with him, and eventually married him.
Their lives, on screen and off, were intertwined in ways that made them legends.
Early Life & Discovery
Sandhya was born Vijaya Deshmukh on 22 September 1932 in Kochi (then Cochin) into a family with strong theatrical ties. Her father worked backstage in the theatre; her sisters also acted in plays.
In search of new talent for the film Amar Bhoopali (1951), director V. Shantaram discovered her. He was struck by her captivating singing voice, which resembled that of his then-wife Jayshree — an uncanny similarity, it is said. He rechristened Vijaya Deshmukh as Sandhya.
Career and Creative Partnership
Sandhya made her screen debut with Amar Bhoopali (1951, Marathi) under Shantaram’s direction, playing a vocalist.
Almost all of her films were directed by V. Shantaram — this was not simply a professional association but a creative mutuality; she became his muse.
Teen Batti Char Raasta (1953), Jhanak Jhanak Payal Baaje (1955), Do Aankhen Barah Haath (1958), Navrang (1959), Stree (1961), Jal Bin Machhli Nritya Bin Bijli (1971), Pinjra (1972), among others.
Although she had no formal early training in classical dance, for Jhanak Jhanak Payal Baaje, she trained intensively with Gopi Krishna.
Her performances often combined acting with dance in visually poetic and emotionally rich settings. Her characteristic grace, expressive face, and dance conveyed depth.
Love, Marriage, and Personal Life
Sandhya became the third wife of V. Shantaram in 1956, after his marriage with Jayshree ended. Their relationship unfolded over time: working together on films, mutual respect for art, and shared creative sensibility.
The age difference between them was significant — Sandhya was much younger. She was born in 1932; V. Shantaram was born in 1901.
Thus, there was roughly a 31-year gap (not 37, as sometimes reported loosely).
Although they shared their personal and professional lives, Sandhya and V. Shantaram did not have children together. She is known to have treated her husband’s children from previous marriages with warmth.
Later Years and Death
Sandhya reduced her acting assignments in later decades; her last major role was in Chandanachi Choli Ang Ang Jali (Marathi, 1975), for which she received accolades, including a Filmfare Marathi Best Actress award.
V. Shantaram passed away in 1990. On 4 October 2025, Sandhya Shantaram passed away at Rajkamal Studio in Mumbai.
She was 87, suffering from age-related ailments. Her family reported that in recent years her health had gradually declined; she had been unwell with cough, fever, er and other issues. Her last rites were performed at Shivaji Park Crematorium, Dadar.
Legacy
Films like Do Aankhen Barah Haath, Navrang, Jhanak Jhanak Payal Baaje, St, and Pinjra remain etched in the memory of Indian cinema as examples of poetic cinema, where visuals, music, dance, and thematic daring combined.
Sandhya’s roles helped define feminine dignity and grace in a time when screen heroines were often limited in scope.
Her collaboration with V. Shantaram is often cited as one of the great director-muse pairings in Indian film history.
Their creative partnership pushed technical boundaries (use of color, song picturization, dance sequences) and emotional storytelling in Hindi and Marathi cinema.
Beyond her films, she is remembered for her kindness, her creative spirit, and for living a life devoted to art. As her son by the earlier marriage, Kiran Shantaram, remarked, she treated his sisters and him with love, even though she bore no children of her own.
Correcting Misunderstandings
Some reports had stated her age at death as 94 years, but more reliable sources, including family statements and multiple news reports (NDTV, Indian Express, LiveMint confirm she was 87 at the time of her passing.
Also, while she worked almost exclusively with V. Shantaram, she was not entirely unknown outside his directorial fold — her skill and reputation extended beyond, even if she chose to stay within that professional space. The relationship of director-actor-spouse meant that their artistic lives were deeply intertwined.
Sandhya’s life was one of exquisite artistry, devotion — both to art and to the man she married — and a rare example of someone who merged her heart and her career in ways that became legendary. Her passing marks the end of an era of classical grace.
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