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Shah Rukh Khan deserves kudos for initiating a trend of opening a film with a female actor’s credit. It took a century for a woman character in Hindi film industry to get this recognition. As Hindi film industry scores a century this year, let us pay rich tributes to the leading ladies, whose journey from playing second fiddle to protagonist falls nothing short of a fairy tale. Who can forget the charm of Mumtaz Jahan Dehlavi aka Madhubala in K Asif’s historical epic drama, Mughal-e-Azam? Madhubala was an iron lady who stepped out of her house at a tender age of nine to support her family. Her subsequent hits like Mahal and Chalti Ka Naam Gaadi went on to prove her acting prowess.
Devika Rani was a pioneer who broke many taboos in the 1940s. For the first time, Indian sensibilities were treated to on-screen display of affection by Devika Rani with her actor husband Himanshu Rai in the 1933 film Karma. She also starred in movies like Achhut Kanya, Jeevan Prabhat. The 1940s saw the emergence of musicals in Hindi cinema. Suraiya, the highest paid female star of those times became a singing actress, as was the prevalent practice then. She rose to stardom with hits like Pyar ki Jeet, Badi Behen and Dillagi. The history of Indian cinema was scripted in golden letters with the release of Mehboob Khan’s Mother India in 1957. Nargis set a benchmark with her finest performance in the movie. The film was India’s first submission and one of the five nominations for the Academy Award for Best Foreign Language Film in 1958. Be it Chori Chori, Shree 420, or Awaara, the evergreen duo of Nargis-Raj Kapoor belted out some of the best romantic films for all times to come. From playing the better-half of a womanizer in Saheb Biwi Aur Ghulam to a courtesan in Pakeezah; the tragedy queen of Indian Cinema, Meena Kumari used to get so immersed in her character that people mistook it to be her real persona and hence the tag. The versatile Nutan’s plain characters in movies like Bandini and Sujata earned her the love of the audiences. On the contrary, her lively roles in Paying Guest and Tere Ghar Ke Saamne, made the theaters resonate with applause.
Sadhana, who lost her jhumka in ‘bareilly ke baazar mein’ weaved magic in movies like Aarzoo, Mere Mehboob and Mera Saaya. Besides her acting skills; she is revered as fashion icon for the famous Sadhana haircut, which was inspired originally by Audrey Hepburn. The coy Asha Parekh was the reigning queen of the industry. She did memorable performances in Jab Pyar Kisi Se Hota Hai, Phir Wohi Dil Laya Hoon, Teesri Manzil and Caravan. Likewise Vyjayantimala, a trained singer and dancer experimented with her roles in films like Anarkali, Jewel Thief, Madhumati and Sangam. Sharmila Tagore too gave back-to-back hits with Rajesh Khanna in Aaradhna, Amar Prem and Daag. The dream girl of Hindi Cinema, Hema Malini garnered appreciation for her power-packed performances in movies like Sholay, Seeta aur Geeta to Baghban. She has enthralled audiences with her dancing moves at many occasions. Zeenat Aman, who embodied the modern westernised heroine, introduced Indian audience to a dose of boldness in the 1970s. However, her performance in Satyam Shivam Sundaram will go down in history of Indian cinema as a milestone. Rekha, the sultry courtesan of Umrao Jaan immortalised beauty on celluloid. Smita Patil and Shabana Azmi both took a detour from the commercial cinema and left an indelible imprint in the parallel cinema. While Smita Patil did some memorable offbeat movies like Mirch Masala, Manthan and Aakrosh; Shabana Azmi has films like Arth, Mandi and Sparsh to her credit. Sridevi is one of the finest female actors to have proved her mettle by giving the industry some of the hits like Sadma, Mr India, Chaalbaaz, Chandni and now English Vinglish. From portraying chirpy girl in films like Dil, Hum Aapke Hain Kaun to a woman centric role in Lajja; Madhuri Dixit carved a niche in the hearts of cinema fanatics. Her million-dollar smile and dancing skills are unmatched till date. Some of the finest masterpieces in Hindi film industry wouldn’t have been created but for the contribution of the fair sex. Despite many odds, these names in the Hindi cinema struggled to claim their share in stardom, which had been a male bastion for years together. Portrayal of an independent and headstrong woman in movies like Paa (2009), Ishqiya (2010), No One Killed Jessica (2011), The Dirty Picture (2011), and Kahaani (2012) has earned Vidya Balan some rare reviews. She is not only credited with breaking stereotypes of Hindi cinema but has aptly earned the title of “female hero”. The multi-talented Priyanka Chopra upholds the tradition with strong performances in her movies, be it the character of a troubled model in Fashion (2008), femme fatale in dark comedy 7 Khoon Maaf (2011), or autistic girl in the critically acclaimed movie Barfi (2012). One cannot conjure a picture of Hindi cinema over a lengthy period of 100 years without these doyens. Here, raising a toast to female power and hoping to see them break records every Friday for years to come.
“I like to spread happiness” There he sits in a hotel room dashing and debonair rather boyish looking actor Bobby Deol, far more impressive than he has ever looked on screen.
The role of the father in children’s life, he asserts, is often not fully understood and it is a father’s vision that ultimately shapes children’s future. Of course, his father never wanted him to become an actor but played a stellar dominant role in his life. In the formative years of his children, Dharmendra, too, ensured that they stayed away from film studios. Yet that didn’t deter his sons from following in his profession. Bobby confesses he always wanted to be an actor. The other actor-son Sunny is now making his son learns the ropes in varied disciplines of filmmaking. With the third generation ready to move into films, he says simply, “A doctor’s son ends up becoming a doctor; an engineer’s son walks in the same footsteps and the same goes for actors”. But on daughters, surprisingly, he has a different point of view. Call him a chauvinist or overprotective, he reiterates once again how he never wanted his daughters to act in films for, “It’s not our tradition.” No his sons alone are not his favourites… his daughters Isha and Ahana, too, are daddy’s darlings and he not only talks to them on a daily basis but also meets them up as frequently as possible. Going down the memory lane, he recalls his own relationship with his father and rues how in his last days he would seem a trifle sad. Says he, “At that point I never realised all my father wanted was me to spend time with him.” Today he sums up his relationship with his sons poetically. “Ungli pakad chalna seekhaya tha jinko kadam un se mila kar chalna mohaal ho gaya.” So when did the actor turn a poet? During his days of loneliness when he was suffering from backache, his knowledge of Urdu came in handy to communicate and give vent to his feelings. As he puts it, “My silence and loneliness found a voice in poetry.” Over five decades in the film world and the only regret he has is, “In the celebrations of 100 years of Indian cinema celebrations, wish they had remembered that here is an actor Dharmendra too.” But his fans continue to hail him as the handsomest of all Deols and as one of the finest actors ever. He smiles, “I am embarrassed and overwhelmed when people say all these things.” Seriously, all his life he has been able to distance himself from his astounding success? He quips, “For, I believe it is important to be a good human being first and to be able to rise before one’s own eyes. I like to spread happiness.” That is one of the reasons his production house has moved to comedies. He reasons, “When people saw Apne, they liked it but complained we made them cry a lot.” This actor of unforgettable comedies like Chupke Chupke anyway loves comedies, only feels these are difficult to make. On the kind of cinema that is being made these days, he answers without mincing words. “It’s simply a question of what people like. You can’t give vegetarian food to a non-vegetarian and vice-versa.” Oh sure, he wishes films like Satyakaam ought to be made and can sense an uncanny similarity between it and the one in which Sunny is acting. He will be playing a role in a Punjabi film soon. Never say never…. he has no intentions ever of moving away from the camera. Nor will he ever digress away from disseminating love and happiness. Born to love his ultimate wish is Mohabbat faqat mohabbat majhaab-e- bashr ho jaaye. No wonder, every single pore of his radiates boundless love.
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Dadasaheb Phalke pioneered film-making in India by weaving together the elements inspired from Sanskrit epics to produce first full-length silent film, Raja Harishchandra in 1913. The legacy continues but unlike this movie where the role of female character, Taramati, was essayed by a young boy named Salunke, Hindi cinema evolved with meaningful women characters. Truly, Hindi cinema, despite all its peculiarities, has been a reflection of the changing dynamics of socio-economic, political and cultural factors. The cinema has come a long way and the contribution of female lead cannot be overlooked.
But a few rooms away, it’s the patriarch of the Deol household Dharmendra, who at 77, creates a greater buzz and kindles more curiosity and interest than his sons. As handsome as ever and much more gracious than the legends about him will ever tell you. He holds court and charms as much with his down-to-earth affable manners as his easy candour. So no euphemisms follow as he is quizzed about the need for a sequel to Yamla Pagla Deewana. The answer is cryptic “for it’s the trend of the day and more so for the first one was a hit”. Indeed, shooting for Yamla Pagla Deewana 2 was a fun family affair and he loves shooting with his sons. But at the same time, he admits that after the pack up, each would go their way.