A | 天刚蒙蒙亮，一辆私家车从邯郸驶出，向南，越过平原，穿过群山，奔赴千里之外的浙江省遂昌县。车内，年逾古稀的高英端坐着，神情庄重。四十多年来，她走军营、访老兵、送新兵、帮烈属，常常自驾奔波。旁人劝她慢一点、歇一歇，她总是摆摆手：“怕慢了，耽误战士们的事。
B | ”这一次，她不是去慰问，也不是去帮扶，而是去迎接一位英雄回家——接邯郸永年籍抗日英烈单本贵遗骸归葬故里。 Hrishikesh Mukherjee started his career in the film world as an editor. He was editor and assistant director to another Bengali great, Bimal Roy, and edited Roy’s films like Do Bigha Zamin (1953), Devdas (1955) and Madhumati (1958). He’s also edited films like Gunga Jumna (1961) and Coolie (1983), among others. Malayalam language films like Chemmeen (1965) and Nellu (1974) have also been edited by him. He branched out as an independent director with the episodic film Musafir (1957). Commercial success followed with films like Anari (1959) and Asli Naqli (1961). But it was with Anupama (1964) which depicted the filial bond between a father and a daughter, that he began to be counted as a director who could successfully marry art and commercial cinema. He went on to make seminal films like Aashirwad (1968), Satyakam (1969), Guddi (1971), Anand (1971), Bawarchi (1972), Abhimaan (1973), Namak Haraam (1973), Mili (1975), Chupke Chupke (1975), Gol Maal (1979), Khubsoorat (1980) and many more. His films were set in middle-class India and were populated with characters who battled emotional crises. The masses were able to relate to his heart-touching stories and characters and that’s why his films are fondly watched even today. Here’s taking a look at some of his best films as a director over the years. In This Article Anupama (1966)Aashirwad (1968)Satyakam (1969)Anand (1971)Guddi (1971)Bawarchi (1972)Namak Haram (1973)Abhimaan (1973)Mili (1975)Chupke Chupke (1975) Khubsoorat (1980)Anupama (1966) Cast: Dharmendra, Sharmila Tagore, Tarun Bose Mohan Sharma (Tarun Bose), a successful businessman, is happily married to Aruna (Surekha Pandit), who unfortunately dies while giving birth to their daughter. Distraught, Mohan Sharma becomes an alcoholic and can’t bear to see his daughter's face. Uma (Sharmila Tagore) is brought up by servants and while she’s beautiful and intelligent, she’s highly introverted and in her heart blames herself for her mother’s death. She begins to love Ashok (Dharmendra) but agrees to marry another man when she learns her father doesn’t like him. Love, however, has changed her and noticing the change, her father finally comes to his senses and lets her lead her own life. Aashirwad (1968) Cast: Ashok Kumar, Sanjeev Kumar, Sumita Sanyal Jogi Thakur (Ashok Kumar) leaves home when he finds out that his wife had ordered the houses of the poor be razed. Later, he kills a man who was trying to rape a girl. He gives himself up and is given a life sentence. Some years later, he’s shown to be friends with the prison doctor (Sanjeev Kumar. He’s happy to learn that his daughter is to be married to the doctor but hides his identity when he comes to know she hates criminals. He’s released on the day of her wedding, and watches it from afar, giving her his final blessings before succumbing to a heart attack. Ashok Kumar was praised for his sublime acting and won both the National Award and the Filmfare Award for his performance. Satyakam (1969) Cast: Dharmendra, Sharmila Tagore The film revolves around Satyapriya (Dharmendra) and his experiments with absolute truth. He fails to save Sharmila Tagore’s character from being raped by his employer and is a fit of guilt, marries her. And this guilt never leaves him but goads him to pursue truth at any cost -- be it the loss of employment, property or even life. Tears fly when Sharmila accepts her dead husband’s harsh way of life and tells her son that he can’t light his father’s pyre as he biologically wasn’t sired by him. Yes, truth has prevailed -- but can the child handle the truth? Anand (1971) Cast: Rajesh Khanna, Amitabh Bachchan Anand was a paean about friendship, about facing life stoically and laughing even at death’s threshold. The film was dedicated to Raj Kapoor and Hrishida allegedly wrote the film as a testimony to his friendship with Kapoor. Rajesh Khanna breezed through the title role of an extroverted cancer patient who faces the terminal stage of his disease with laughter on his face and sees death as another adventure. He lives several lifetimes in his last few months and teaches others, especially his caring doctor Bhaskar Bannerjee aka Babumoshoi, to loosen up and enjoy life more. Bachchan's reserved, restrained performance was the perfect foil to Khanna’s exuberance. The film doesn’t fail to put tear faucets into overdrive with every rerun. Guddi (1971) Cast: Dharmendra, Jaya Bhaduri Though she has acted in Satyajit Ray’s Mahanagar (1963) in a supporting role, Guddi is Jaya Bhaduri’s debut film as far as Hindi cinema is concerned. She played a schoolgirl obsessed with the actor, Dharmendra, in the film. She’s so much into him that she even refuses to marry the man intended for her, saying she can’t love another as she’s totally in love with the actor. Her uncle (Utpal Dutt) meets with Dharmendra and asks her to help out in the situation. The actor has to play out a different role for the girl to realise the difference between the reel and real life. It was a power-packed performance by the youngsters and she came to rule the hearts and minds of the audience as the good girl. Bawarchi (1972) Cast: Rajesh Khanna, Jaya Badhuri, Asrani, A.K. Hangal, Usha Kiran and Durga Khote The film revolves around the dynamics of the dysfunctional Sharma family, comprising Daduji (Harindranath Chattopadhyay), his sons Ramnath Sharma (AK Hangal) and Kashi (Kali Bannerjee), their respective wives Seeta Sharma (Durga Khote) and Shobha Sharma (Usha Kiran), another son Vishwanath Sharma (Asrani), and granddaughters Meeta (Manisha) and Krishna (Jaya Bhaduri). Servants tend to run away from their family every six months because the members are always quarrelling. Raghu (Rajesh Khanna) their latest cook soon starts noticing their quirks and starts placating them one by one, winning their trust in the process. There’s harmony in the house and the brothers start interacting with each other. Raghu turns out to be a Good Samaritan in disguise whose mission in life is to bring peace and happiness to families who are in dire need of it. Namak Haram (1973) Cast: Rajesh Khanna, Rekha, Amitabh Bachchan This film was the beginning of the end of Rajesh Khanna’s reign. He played a man who infiltrates the trade union in order to avenge the humiliation faced by his industrialist pal and then starts respecting the workers’ rights and their fight against the capitalist culture. Well, the best friend’s role was played by Amitabh Bachchan. According to movie lore, Khanna was offered this role first but he declined it as he saw more merit in the role of a suffering martyr. The audience thought otherwise and was more taken in by Bachchan’s brooding persona. Bachchan had another hit the same year, the massive Zanjeer, in which he played the angry young cop to perfection and effectively took over the superstar’s mantle. Abhimaan (1973) Cast: Amitabh Bachchan, Jaya Bachchan, Asrani, Bindu, A.K. Hangal Subir (Amitabh Bachchan) a renowned singer is a darling of the masses and much in demand. Once, while visiting his aunt in a remote village, he listens to Uma (Jaya Bachchan) singing and falls in love with her. They get married and initially, their days pass in blissful serenity. Trouble starts when Subir asks her to take up singing professionally. She reluctantly agrees and soon her popularity soars. She’s more in demand than him and he can’t digest this fact. Differences crop up between them. He leaves her and she suffers a miscarriage. She becomes hugely depressed because of it. The only way out is through music. Amitabh and Jaya complete each other in the film and perhaps have given the finest performance as a pair in the film. Mili (1975) Cast: Amitabh Bachchan, Jaya Bachchan and Ashok Kumar Mili (Jaya Bachchan) has pernicious anaemia, a disease which was considered incurable back then. She’s the apple of everyone’s eye in her building, especially of children, with whom she plays boisterously despite the age difference. A new tenant Shekhar (Amitabh Bachchan) comes to live in their building and their paths cross. Shekhar is a man running from his past and wants to drown his sorrow in alcohol. Once, in a fit of depression, he tries to commit suicide and is saved by Mili and her father (Ashok Kumar). Mili and Shekhar come closer and sort of fall in love with each other. He marries her and takes her to Switzerland in search of a cure. The film ends on an open note. We don’t know what happens further in Mili and Shekhar’s lives and can only hope for a positive outcome. Chupke Chupke (1975) Cast: Dharmendra, Amitabh Bachchan, Sharmila Tagore, Jaya Bachchan The film was a remake of the Bengali film Chhadmabeshi (1971), starring Uttam Kumar and Madhabi Mukherjee. It centred around the prank played by Dr Parimal (Dharmendra), on his brother-in-law Raghav Sharma (Om Prakash). Parimal comes to Mumbai posing as a driver from Allahabad and is instantly hired. Sometimes later, Sulekha (Sharmila Tagore), too lands up at her sister’s place. The growing intimacy between the driver and Sulekha is frowned upon by all. Catastrophe strikes when they elope and Sukumar (Amitabh Bachchan) posing as Parimal, comes to Mumbai. He is made to stay in a mutual friend Prashant’s (Asrani) house and love blossoms between Sukumar and Prashant’s sister-in-law Vasudha (Jaya), leading to further confusion. Khubsoorat (1980) Cast: Rekha, Rakesh Roshan, Ashok Kumar, Dina Pathak and Shashikala When Manju (Rekha) comes to stay for some time with elder sister Anju (Aradhana) after the latter’s marriage, she’s bewildered to find that it resembles an army barrack more and an actual house less. The house is run in clockwork precision by Anju's strict mother-in-law Nirmala Gupta (Dina Pathak). Dwarka Prasad (Ashok Kumar), her husband, likes gardening, youngest Jagan (Ranjit Chowdhry) loves rock music, while the elder sons like to play cards. The middle son Inder (Rakesh Roshan) is studying to be a doctor and starts liking Manju. Everyone follows their hobbies but in secret. Manju brings a revolution of sorts in the house by making sure everyone enjoys themselves in Nirmala’s absence. It so happens that Dwarka Prasad has a heart attack and it’s Manju who saves his life by keeping a sane head at the time of calamity. Rekha was at her finest in the film and carried it on her shoulders.。
C | 忠骨漂泊异乡数十载，终于踏上归途。在她看来，迎英烈回家，是迟到数十年的团圆，也是一次跨越时空的精神接力：山河无恙，英雄不朽；岁月远去，人民从未忘却。一个普通人，为什么能用四十二年做同一件事？为什么从青丝走到白发，仍把拥军当作生命中最要紧的事？答案，要从半个多世纪前的太行山下说起。星火照初心：从成为民兵到半生拥军十六岁那年，乡村少女高英凭着一股不服输的劲头，层层选拔进入女民兵迫击炮班。沉重的炮身、冰冷的炮架、繁复的操作，对她来说都不是最难的。真正让她发愁的，是弹道弧线、炮口初速、高低射界等一串串专业术语和计算公式。文化程度不高的她，白天跟着练，晚上挑灯学；动作不标准，就一遍遍纠正；理论弄不懂，就一个字一个字地啃。手掌磨出血泡，肩头硌出淤青，她从不肯退一步。她认准一个朴素的道理：既然扛起了钢枪火炮，就不能拖集体后腿；既然站进了民兵队伍，就要练出保家卫国的真本领。后来，在省民兵大比武中，她带领班组取得优异成绩，个人获得全省第二名。可多年以后回望青春，高英记得最深的不是名次，而是遗憾：“要是文化再高一点、理论再扎实一点，我还能做得更好。”一次拉练途中，队伍星夜行军，走访老区地下党员、游击队员、交通员，聆听烽火岁月里的家国故事。冀中根据地知识分子熊大缜弃笔从戎，在极端艰苦的环境中研制地雷、炸药和无线电设备，以知识报国、以科技御敌的事迹，深深震撼了高英。那一夜，她第一次如此真切地懂得：卫国，不只有冲锋的勇气，还要有知识的底气；强军，不只靠钢铁意志，也离不开文化素养、专业技能和科技力量。她在心里许下一个愿望：将来有能力了，一定要帮助子弟兵多学知识、多长本领，让他们在军营能建功，走出军营也能站稳。彼时，这只是一个民兵少女的朴素心愿。
D | 谁也没有想到，它会穿越半个多世纪，照亮许多人的人生转弯处。
E | 军嫂懂兵心：把“小家后方”守成“军营亲情”后来，高英进入农业大学邯郸分校牧医系工作，与海军战士刘德举结为夫妻。从民兵到军嫂，她与军营的联系更深了。丈夫常年驻守海疆，战备执勤任务重，顾不上家。照料老人、养育孩子、操持家务、完成工作，生活的担子几乎都落在高英肩上。写信、通电话时，她总是报喜不报忧。她知道，前方军人守的是国家，后方军嫂守的是军心。
F | 把家守稳了，丈夫才能安心站岗；把牵挂压在心底，海疆才多一分安宁。
G | 正因为做过军嫂，她懂军人的不易，也懂年轻战士的乡愁。她知道紧急集合的号声有多急，知道一封家书在营房里有多珍贵，更知道万家团圆的除夕夜，远离故乡的战士会怎样想念父母、惦记家人。因为亲历，所以懂得；因为懂得，所以心疼；因为心疼，便再也放不下。上世纪80年代，学校把一片荒芜破败的实验牧场交给高英管理。
H | 没资金、没设备、缺人手，她白天工作，晚上盘算，几乎被困难逼到墙角。驻地官兵得知后，利用休息时间来帮忙：平整场地、搬运物料、搭建棚舍，一身泥、一身汗，不拿一分钱，也不提任何要求。这份雪中送炭的情谊，高英记了一辈子。
I | 她常说：“部队的恩情，一辈子也还不完。”为了表达感激，她带着全家老小炒出600多包爆米花，送到军营。从那以后，除夕进军营，成了高英家雷打不动的“团圆方式”。
J | 她带着面粉、肉馅和汤圆赶到部队，北方战士想家，就包饺子；南方战士念乡，就煮汤圆。
K | 铁打的营盘流水的兵，一茬茬战士入伍、成长、退役，营房里的人不断更换，“高妈妈”却年年如约。有人离开部队多年，仍记得她端来的那碗饺子；有人走南闯北，仍记得除夕夜里那句“孩子，多吃点”。军民鱼水情，正是在这样细小而长久的陪伴中，成为一茬茬官兵心中温暖的记忆。在她的带动下，拥军也成为一个家庭共同的选择。丈夫退役后，常年义务为官兵和随军家属问诊，遇到困难还主动垫付医药费；两个儿子从小耳濡目染，读书时省下奖学金支持母亲，工作后只要时间允许，就陪她走军营、访老兵。这个家没有写在墙上的家训，却有用四十多年的行动写在心里的：子弟兵守护山河，我们来守护子弟兵。拥军不止到营门：既暖当下，更护远方最初，高英的拥军，是一袋袋物资、一顿顿热饭、一次次陪伴。部队清淤、抗旱打井、野外驻训，她带着慰问品赶到一线；酷暑执勤、汛期值守、重大安保，她惦记官兵吃得好不好、休息够不够。走得越近，听得越多，她越能触摸到战士心底不愿轻易说出的忧虑。有年轻战士告诉她：“在部队不怕苦、不怕累，就怕退役后学历不高、专业受限，找不到工作，也不知道能干什么。”这句话像一根针，扎进高英心里。她忽然意识到，拥军不能只送到营门口，更不能止于服役期。物资慰问能解一时之需，本领赋能才能托举长远人生；真正深沉的拥军，既要温暖军人的今天，也要托举他们离开军营后的明天。她发挥自己的专业特长，免费讲授养殖技术，赠送种苗和药品，提供市场信息，手把手教、一次次跑。
L | 先后有120多名退役军人和军烈属，在她帮助下依靠特色养殖摆脱困境。在高英眼里，“120多”从来不是一串冷冰冰的数字。每一个数字背后，都是一个重新燃起希望的家庭：是退役军人挺直的腰杆，是老人安稳的晚年，是孩子不再因贫困中断的学业，也是一个家重新燃起的希望。退役军人肖和成的经历，是其中一个缩影。退役后，他贷款办起养鸡场，满怀信心想闯出一条路，却因不懂疫病防控，鸡苗接连死亡，损失越来越大。眼看养鸡场要垮，他的信心也几乎被拖垮。高英得知后，当即联系农业专家，带着防疫药品驱车百余公里赶去。闷热的鸡舍里，她逐只查看鸡群状况，从饲料配比、温湿度、通风消毒到疫病防治，一项项查找问题；一次指导不够，她就反复往返，既帮助解决眼前危机，也把养殖技术、成本控制和市场经营经验教给他。后来，濒临倒闭的养鸡场活了过来，规模发展到3万多只，年收入超过20万元。
M | 肖和成依然保持着当年那股敢打硬仗的精气神。
N | 高英一直相信，军装可以脱下，军人的本色不会褪去；军营可以离开，奋斗的战场依然辽阔。她所做的，就是在老兵受挫时扶一把、迷茫时点一盏灯，让他们知道：离开军营，不是精彩人生的落幕，而是奔赴新的战场。从“送温暖”到“送能力”：让拥军走向长效赋能帮助的人越多，高英越感到个人力量的有限。她开始思考：能不能把零散帮扶变成制度化服务，把一时救急变成长久赋能，把一个人的热心变成一群人的事业？由此，她的拥军方式完成了一次重要跃升——从送物资、送温暖，转向送知识、送技能、送平台；从解决眼前困难，转向增强发展能力。
o | 依托高校教育资源，她推动开展“书香进军营、科技进军营”活动，把课堂搬进营区，把实用技能送到训练一线。
p | 得知野外驻训部队文化资源不足，她一次采购5000册图书，涵盖文学、历史、科普和实用技术，送到演训场。有人问，驻训那么苦，为什么不多送些生活物资？高英说，物资当然需要，但战士们更需要能够陪伴一生的知识和本领。多年来，她联动高校搭建官兵成才平台，设立12个函授站点，开放43个军地通用专业，累计帮助500多名基层官兵提升学历，近300名官兵取得中级职业技能证书。一张文凭、一本证书，看似很轻，却可能改变一名战士的人生轨迹。
q | 为了破解退役军人就业创业难题，高英又把目光投向更大的平台建设。2014年，她创办退役军人免费军地职业技术学院；2016年，建成省退役军人创业孵化基地。近年来，她的脚步没有停在传统产业上，而是紧跟时代变化，推动园区向科技企业、跨境电商等新业态拓展，为老兵开辟新的就业创业赛道。截至目前，园区累计免费培训退役军人6000余人次，孵化创业实体210余家，带动5000余名退役军人稳定就业、增收致富。许多曾经站在人生十字路口的老兵，在这里学到技能、找到岗位、创办企业，重新找回方向和尊严。她还牵头成立省双拥艺术团，开展红色宣讲和拥军演出近200场。她相信，拥军既要让军人得到实实在在的帮助，也要让尊崇军人、热爱国防成为全社会的共同价值。42载一件事：平凡坚守抵达非凡从16岁的民兵少女，到年逾古稀的拥军模范；从一名普通军嫂，到官兵口中的“高妈妈”；从送一包爆米花、包一顿饺子，到创办学院、建设基地、搭建平台——42年，高英做的事情在变，初心从未改变。
r | 她先后获得全国爱国拥军模范、全国最美拥军人物、全国三八红旗手、中国好人等10项国家级荣誉和58项省市级表彰。2024年，她受邀走进人民大会堂，出席中华人民共和国成立75周年招待会。荣誉接踵而来，她依然习惯把自己称作“一个普通军嫂”。
s | 奖章被妥善收好，脚步却一刻不停。她关心的仍是哪个老兵工作还没着落，哪户烈属生活还有困难，哪支部队需要书籍，哪名退役军人创业遇到了坎。烽火岁月里，“子弟兵的母亲”戎冠秀舍生忘死救护八路军伤员，把乳汁和生命都献给人民军队；和平年代，高英以另一种方式延续着同样的深情：不图回报，把拥军做成一生的事业。迎接英烈归乡的千里路上，高英曾久久望着窗外。山河壮阔，村庄安宁，灯火绵延。眼前的和平，正是无数英烈和一代代军人用牺牲与坚守换来的。她所做的一切，不过是想让守护山河的人被温柔以待，让为国奉献的人不被遗忘，让从军报国成为全社会尊崇的选择。有人问她，还要走多久？她的回答依旧朴素：“只要我还能走、还能干，拥军这条路，我就会一直走下去。”（作者：刘松峰、王栋、马战士、周同义）。
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