NARGIS DUTT, நர்கிஸ் தத் இந்திய சினிமாவில் தடம் பதித்த தாரகை
Nargis, born of a professional singer mother, Jaddan Bai (a Muslim from Punjab who grew up in Allahabad) and Mohan Babu (a Mahyal Brahmin from Punjab who converted to Islam to marry Jaddan Bai), learned to appreciate the value of education from her early years. She did her schooling in Queen Mary’s, one of Bombay’s well known private schools. Although she did not pursue higher studies after passing school (Cambridge Certificate), she had by then acquired the persona of a vivacious, well-groomed, almost western, partly tomboyish teenager with a mind of her own.
Says Peeyush Sharma, the prolific Canada-based writer on cinema who was also the founder-secretary of Vintage Hindi Film Music Lovers’ Association in Bangalore in mid 80s, “Her mother Jaddan Bai was producing and directing films and providing musical score as well. In this upbringing even though Nargis dreamt of becoming a doctor, which was her father Mohan Babu’s wish too, she landed into films thanks to her mother, Mehboob Khan and then Raj Kapoor.”
Though Nargis started her career as a six-year-old child artist in the 1935 Talashe Haq, it was Mehboob Khan’s Taqdeer in 1943 which presented the 14-year-old Nargis opposite the then superstar Motilal, in a dream debut for any newcomer. Mehboob Khan’s next period drama Humayun 1945 was another feather in Nargis’ cap.
Recalls Peeyush Sharma, “I remember watching Humayun on the big screen at a festival. The film belonged to Ashok Kumar but again Nargis made an impact. She was raw and fresh and looked so and had it all over her acting. By the time Raj came into her life, she had already become an accomplished artist and in comparison Raj was raw. Thus her name attached to his films spelt success for him.”
Nargis
Nargis commanded awe with her persona of a well-groomed, partly western, vivacious young woman with a mind of her own.
Nargis came into films at a time when despite political and economic turmoil and in the midst of the surging waves of anticipation of Independence, the film industry was witnessing an unprecedented flood of talent and innovation. Running parallel with the revolution on the political front was a revolution in the creative arena. The bold and irrepressible Indian People’s Theatre Association, Prithvi Theatre and Uday Shankar’s Kalpana Dance Troupe were creating new milestones in the performing arts with an eclectic mix of talented people.
It was the best of times for cinema in India with the illustrious New Theatres Studios (Calcutta), Gemini Studios (Madras), Bombay Talkies, Prabhat Studios and Ranjit Movietone (Hindi film industry) were all in healthy competition to produce films that showcased the best of the talent available.
TJS George in his biography of Nargis, titled Nargis, describes Raj Kapoor the scion of the powerful Prithviraj Kapoor family as, “born rich with a celluloid spoon in his mouth.” Studies did not interest Raj Kapoor and he was itching to plunge headlong into films which forced Prithviraj Kapoor to make him an assistant to producer-director Kidar Sharma.
The world of cinema had begun celebrating India’s independence in its own way with path-breaking films. The bold Bhuli Nai (1948) and Parivartan (1949) turned the spotlight towards Bengali cinema while S S Vasan’s magnum opus Chandralekha (1948) brought to fore South India’s great potential for large canvas musical costume dramas.
Magazine’s cover in November, 1948
It was 1948 when Raj Kapoor decided to break out on his own with Aag. He dreamt of being an actor, producer, director and studio owner and to make a difference to the film industry. “Raj Kapoor’s strength as a leader of men came to the fore when he organized his own company R K Films. It was not a “big studio” in the manner of Prabhat and Bombay Talkies. But no studio with the exception of New Theatres and Gemini managed to gather as impressive group of gifted people and hold it together for as long as R K Films did. The leading lights of the company – K A Abbas, Shailendra, Mukesh, Shankar-Jaikishen, M R Achrekar, Radhu Karmakar – were all men of extraordinary talent. Together they created a mystique and an inventive powerhouse that almost took the R K imprint into the realm of mythology,” writes TJS George.
Says Sundeep Pahwa, who as a young boy saw and heard the stories of film industry from close quarters as his father produced and acted (introduced as Basant Kumar) in the film Bahu, 1955, the first directorial venture of Shakti Samanta, “I recollect reading in Filmfare, Raj Kapoor and Lettita, a Christian girl were studying at Gloria Convent, Byculla, Bombay in the 40s. They met later once again when she was working in the industry under the screen name Neelam. She was very close to Akhtar Hussain, Nargis’ elder brother, thus became very close to Nargis too. She became a key witness to the legendary Raj Kapoor-Nargis relationship.”
“RK wanted to sign Nargis for Aag. Jaddan Bai was not keen for her daughter to work in a three-heroine subject with Kamini Kaushal and Nigar Sultana sharing screen space with her. Raj Kapoor told Jaddan Bai that he would give the top billing to Nargis. Her brothers convinced their mother to let ‘Baby’ do the film (Nargis was fondly called ‘Baby’ by her friends and family). Ultimately she did get top billing in Aag,” he adds.
Barsaat
Barsaat (1949), rewrote the way romance would be portrayed on screen from now on.
Their first meeting was when Raj Kapoor dropped in at Jaddan Bai’s home in Marine Drive to enquire about the facilities at Famous Studios in Mahalaxmi area where Jaddan Bai was shooting Romeo and Juliet. Nargis was frying bhajias in the kitchen and came to open the door since no one else was at home. A little nervous at the sight of cherubic young Kapoor, she ended up smudging dough across her forehead – a sweet memory for Raj Kapoor who picturised it much later as the first meeting of the teenaged pair in Bobby (1973).
Says SMM Ausaja, “Raj Kapoor knew Nargis was the bigger star attraction. She would pull in the crowds. If you look at the first release posters of Barsaat (1949) and Aah (1953), you will be amazed to find the posters completely focused on Nargis. RK does not figure in the posters at all although he was the producer and producers typically designed their first release posters to draw in maximum crowds and raise curiosity levels. These posters are clear indication that Nargis was the main draw in that era.”
In fact Nargis’ star status got further cemented in 1948, when two of her films became big draws at the box office Mela (opposite Dilip Kumar) and Aag (opposite Raj Kapoor). She already had five years of experience as a star while Raj Kapoor was just starting out. In the films she had done, the male lead was a matinee idol. Aag, true to its name, ignited the screen. Even though Nargis came into the frame only in the 9th reel, the massive publicity build up featuring her had created a lot of buzz and anticipation.
Says Sundeep Pahwa, “Raj Kapoor worked a lot on Nargis’ appearance in Aag. She got her hair shortened and got special makeup done on her face, which gave her a dramatic new look. Aag was released at Opera House Bombay and ran for 10 weeks over there which was quite a bit for a new banner film.”
Aag signaled the beginning of what would become one of the most impactful screen pairing of all time for Hindi cinema. Barsaat followed a year later, rewriting the way romance would be portrayed on screen from now on. The accepted norm of portraying love on-screen so far had been steeped in tragedy – usually love meant coy exchanges of glances, songs that involved entwining around trees or wallowing in viraha, shedding tears, suffering silently or plunging into depression the Devdas way. Barsaat completely overturned this hide-and-seek style of love, ushering in a passionate expression of intimacy through gestures, expressions and dialogues.
Barsaat
Raj Kapoor used the famous still to modernize the R K Films logo.
Says Ausaja, “Barsaat is the most significant film of the duo – the runaway success at the box-office, their famed on-screen chemistry had such an impact that Raj Kapoor used the famous still to modernize the R K Films logo.”
Writes TJS George, “All the world could see that Nargis and Raj Kapoor were not just play-acting before the cameras. The romance they projected on the screen became so convincingly evocative because it reflected their real life emotions. The spark between them had been ignited, despite the best efforts of Jaddan Bai and Akhtar Hussain, before the shooting of Aag was over. By the time Barsaat was mounted in 1948, the romance was in full spate.” That Raj Kapoor was married and was already a father made things more complicated. The Kapoor family, including the patriarch Prithviraj Kapoor did not take kindly to his relationship with Nargis.
Raj Kapoor and Nargis had caught the fascination of the youth in a way no other screen couple had done before. Young men and women imitated their style, attitude and dress sense and hummed their songs. Their films had great music which was a plus, easy-to-hum songs that were not deeply classical and an X-factor that appealed to the young generation which was nurturing dreams and aspirations of growth and empowerment in the post-independence India.
Awards and recognitions[edit]
1957 – Filmfare Best Actress Award for Mother India
1958 – She was the first film actress to conferred by the Government of India with the Padma Shri title, the fourth highest civilian award.[5]
1968 – National Film Award for Best Actress for Raat Aur Din.[5]
1969 – Nominated, Filmfare Best Actress Award for Raat Aur Din
2001 – "Best Artists of the Millennium" award by Hero Honda and film magazine Stardust along with actor Amitabh Bachchan.[23]
The National Film Awards honoured Dutt by instituting the Nargis Dutt Award for Best Feature Film on National Integration upon her achievement in Hindi Cinema.[24]
Filmography[edit]
Talashe Haq (1935)
Madam Fashion (1936)
Taqdeer (1943)
Humayun (1945)
Bisvi Sadi (1945)
Ramayani (1945)
Nargis (1946)
Mehandi (1947)
Mela (1948)
Anokha Pyar (1948)
Anjuman (1948)
Aag (1948)
Roomal (1949)
Lahore (1949)
Darogaji (1949)
Barsaat (1949)
Andaz (1949)
Pyaar (1950)
Meena Bazaar (1950)
Khel (1950)
Jogan (1950)
Jan Pahchan (1950)
Chhoti Bhabhi (1950)
Babul (1950)
Aadhi Raat (1950)
Saagar (1951)
Pyar Ki Baaten (1951)
Hulchul (1951)
Deedar (1951)
Awaara (1951)
Sheesha (1952)
Bewafaa (1952)
Ashiana (1952)
Anhonee (1952)
Amber (1952)
Shikast (1953)
Paapi (1953)
Dhoon (1953)
Aah (1953)
Angarey (1954)
Shree 420 (1955)
Jagte Raho (1956)
Chori Chori (1956)
Pardesi
Mother India (1957)
Lajwanti (1958)
Ghar Sansar (1958)
Adalat (1958)
Yaadein (1964)
Raat Aur Din (1967)
Tosa oneira stous dromous (1968)
Nargis, born of a professional singer mother, Jaddan Bai (a Muslim from Punjab who grew up in Allahabad) and Mohan Babu (a Mahyal Brahmin from Punjab who converted to Islam to marry Jaddan Bai), learned to appreciate the value of education from her early years. She did her schooling in Queen Mary’s, one of Bombay’s well known private schools. Although she did not pursue higher studies after passing school (Cambridge Certificate), she had by then acquired the persona of a vivacious, well-groomed, almost western, partly tomboyish teenager with a mind of her own.
Says Peeyush Sharma, the prolific Canada-based writer on cinema who was also the founder-secretary of Vintage Hindi Film Music Lovers’ Association in Bangalore in mid 80s, “Her mother Jaddan Bai was producing and directing films and providing musical score as well. In this upbringing even though Nargis dreamt of becoming a doctor, which was her father Mohan Babu’s wish too, she landed into films thanks to her mother, Mehboob Khan and then Raj Kapoor.”
Though Nargis started her career as a six-year-old child artist in the 1935 Talashe Haq, it was Mehboob Khan’s Taqdeer in 1943 which presented the 14-year-old Nargis opposite the then superstar Motilal, in a dream debut for any newcomer. Mehboob Khan’s next period drama Humayun 1945 was another feather in Nargis’ cap.
Recalls Peeyush Sharma, “I remember watching Humayun on the big screen at a festival. The film belonged to Ashok Kumar but again Nargis made an impact. She was raw and fresh and looked so and had it all over her acting. By the time Raj came into her life, she had already become an accomplished artist and in comparison Raj was raw. Thus her name attached to his films spelt success for him.”
Nargis
Nargis commanded awe with her persona of a well-groomed, partly western, vivacious young woman with a mind of her own.
Nargis came into films at a time when despite political and economic turmoil and in the midst of the surging waves of anticipation of Independence, the film industry was witnessing an unprecedented flood of talent and innovation. Running parallel with the revolution on the political front was a revolution in the creative arena. The bold and irrepressible Indian People’s Theatre Association, Prithvi Theatre and Uday Shankar’s Kalpana Dance Troupe were creating new milestones in the performing arts with an eclectic mix of talented people.
It was the best of times for cinema in India with the illustrious New Theatres Studios (Calcutta), Gemini Studios (Madras), Bombay Talkies, Prabhat Studios and Ranjit Movietone (Hindi film industry) were all in healthy competition to produce films that showcased the best of the talent available.
TJS George in his biography of Nargis, titled Nargis, describes Raj Kapoor the scion of the powerful Prithviraj Kapoor family as, “born rich with a celluloid spoon in his mouth.” Studies did not interest Raj Kapoor and he was itching to plunge headlong into films which forced Prithviraj Kapoor to make him an assistant to producer-director Kidar Sharma.
The world of cinema had begun celebrating India’s independence in its own way with path-breaking films. The bold Bhuli Nai (1948) and Parivartan (1949) turned the spotlight towards Bengali cinema while S S Vasan’s magnum opus Chandralekha (1948) brought to fore South India’s great potential for large canvas musical costume dramas.
Magazine’s cover in November, 1948
It was 1948 when Raj Kapoor decided to break out on his own with Aag. He dreamt of being an actor, producer, director and studio owner and to make a difference to the film industry. “Raj Kapoor’s strength as a leader of men came to the fore when he organized his own company R K Films. It was not a “big studio” in the manner of Prabhat and Bombay Talkies. But no studio with the exception of New Theatres and Gemini managed to gather as impressive group of gifted people and hold it together for as long as R K Films did. The leading lights of the company – K A Abbas, Shailendra, Mukesh, Shankar-Jaikishen, M R Achrekar, Radhu Karmakar – were all men of extraordinary talent. Together they created a mystique and an inventive powerhouse that almost took the R K imprint into the realm of mythology,” writes TJS George.
Says Sundeep Pahwa, who as a young boy saw and heard the stories of film industry from close quarters as his father produced and acted (introduced as Basant Kumar) in the film Bahu, 1955, the first directorial venture of Shakti Samanta, “I recollect reading in Filmfare, Raj Kapoor and Lettita, a Christian girl were studying at Gloria Convent, Byculla, Bombay in the 40s. They met later once again when she was working in the industry under the screen name Neelam. She was very close to Akhtar Hussain, Nargis’ elder brother, thus became very close to Nargis too. She became a key witness to the legendary Raj Kapoor-Nargis relationship.”
“RK wanted to sign Nargis for Aag. Jaddan Bai was not keen for her daughter to work in a three-heroine subject with Kamini Kaushal and Nigar Sultana sharing screen space with her. Raj Kapoor told Jaddan Bai that he would give the top billing to Nargis. Her brothers convinced their mother to let ‘Baby’ do the film (Nargis was fondly called ‘Baby’ by her friends and family). Ultimately she did get top billing in Aag,” he adds.
Barsaat
Barsaat (1949), rewrote the way romance would be portrayed on screen from now on.
Their first meeting was when Raj Kapoor dropped in at Jaddan Bai’s home in Marine Drive to enquire about the facilities at Famous Studios in Mahalaxmi area where Jaddan Bai was shooting Romeo and Juliet. Nargis was frying bhajias in the kitchen and came to open the door since no one else was at home. A little nervous at the sight of cherubic young Kapoor, she ended up smudging dough across her forehead – a sweet memory for Raj Kapoor who picturised it much later as the first meeting of the teenaged pair in Bobby (1973).
Says SMM Ausaja, “Raj Kapoor knew Nargis was the bigger star attraction. She would pull in the crowds. If you look at the first release posters of Barsaat (1949) and Aah (1953), you will be amazed to find the posters completely focused on Nargis. RK does not figure in the posters at all although he was the producer and producers typically designed their first release posters to draw in maximum crowds and raise curiosity levels. These posters are clear indication that Nargis was the main draw in that era.”
In fact Nargis’ star status got further cemented in 1948, when two of her films became big draws at the box office Mela (opposite Dilip Kumar) and Aag (opposite Raj Kapoor). She already had five years of experience as a star while Raj Kapoor was just starting out. In the films she had done, the male lead was a matinee idol. Aag, true to its name, ignited the screen. Even though Nargis came into the frame only in the 9th reel, the massive publicity build up featuring her had created a lot of buzz and anticipation.
Says Sundeep Pahwa, “Raj Kapoor worked a lot on Nargis’ appearance in Aag. She got her hair shortened and got special makeup done on her face, which gave her a dramatic new look. Aag was released at Opera House Bombay and ran for 10 weeks over there which was quite a bit for a new banner film.”
Aag signaled the beginning of what would become one of the most impactful screen pairing of all time for Hindi cinema. Barsaat followed a year later, rewriting the way romance would be portrayed on screen from now on. The accepted norm of portraying love on-screen so far had been steeped in tragedy – usually love meant coy exchanges of glances, songs that involved entwining around trees or wallowing in viraha, shedding tears, suffering silently or plunging into depression the Devdas way. Barsaat completely overturned this hide-and-seek style of love, ushering in a passionate expression of intimacy through gestures, expressions and dialogues.
Barsaat
Raj Kapoor used the famous still to modernize the R K Films logo.
Says Ausaja, “Barsaat is the most significant film of the duo – the runaway success at the box-office, their famed on-screen chemistry had such an impact that Raj Kapoor used the famous still to modernize the R K Films logo.”
Writes TJS George, “All the world could see that Nargis and Raj Kapoor were not just play-acting before the cameras. The romance they projected on the screen became so convincingly evocative because it reflected their real life emotions. The spark between them had been ignited, despite the best efforts of Jaddan Bai and Akhtar Hussain, before the shooting of Aag was over. By the time Barsaat was mounted in 1948, the romance was in full spate.” That Raj Kapoor was married and was already a father made things more complicated. The Kapoor family, including the patriarch Prithviraj Kapoor did not take kindly to his relationship with Nargis.
Raj Kapoor and Nargis had caught the fascination of the youth in a way no other screen couple had done before. Young men and women imitated their style, attitude and dress sense and hummed their songs. Their films had great music which was a plus, easy-to-hum songs that were not deeply classical and an X-factor that appealed to the young generation which was nurturing dreams and aspirations of growth and empowerment in the post-independence India.
Awards and recognitions[edit]
1957 – Filmfare Best Actress Award for Mother India
1958 – She was the first film actress to conferred by the Government of India with the Padma Shri title, the fourth highest civilian award.[5]
1968 – National Film Award for Best Actress for Raat Aur Din.[5]
1969 – Nominated, Filmfare Best Actress Award for Raat Aur Din
2001 – "Best Artists of the Millennium" award by Hero Honda and film magazine Stardust along with actor Amitabh Bachchan.[23]
The National Film Awards honoured Dutt by instituting the Nargis Dutt Award for Best Feature Film on National Integration upon her achievement in Hindi Cinema.[24]
Filmography[edit]
Talashe Haq (1935)
Madam Fashion (1936)
Taqdeer (1943)
Humayun (1945)
Bisvi Sadi (1945)
Ramayani (1945)
Nargis (1946)
Mehandi (1947)
Mela (1948)
Anokha Pyar (1948)
Anjuman (1948)
Aag (1948)
Roomal (1949)
Lahore (1949)
Darogaji (1949)
Barsaat (1949)
Andaz (1949)
Pyaar (1950)
Meena Bazaar (1950)
Khel (1950)
Jogan (1950)
Jan Pahchan (1950)
Chhoti Bhabhi (1950)
Babul (1950)
Aadhi Raat (1950)
Saagar (1951)
Pyar Ki Baaten (1951)
Hulchul (1951)
Deedar (1951)
Awaara (1951)
Sheesha (1952)
Bewafaa (1952)
Ashiana (1952)
Anhonee (1952)
Amber (1952)
Shikast (1953)
Paapi (1953)
Dhoon (1953)
Aah (1953)
Angarey (1954)
Shree 420 (1955)
Jagte Raho (1956)
Chori Chori (1956)
Pardesi
Mother India (1957)
Lajwanti (1958)
Ghar Sansar (1958)
Adalat (1958)
Yaadein (1964)
Raat Aur Din (1967)
Tosa oneira stous dromous (1968)
நர்கிஸ் தத் (1 ஜூன் 1929 - 3 மே 1981), பிறந்த பாத்திமா ரஷித், ஆனால் அவரது திரைப் பெயரான நர்கிஸ் [2] என அறியப்பட்ட ஒரு இந்திய திரைப்பட நடிகை ஆவார்.
இந்தி சினிமாவின் வரலாற்றில் மிகப்பெரிய நடிகர்களில் ஒருவர் என்ற முறையில், 1935 ஆம் ஆண்டில் தலாஸ்-ஈ-ஹக்கில் ஒரு குழந்தை எனத் தோன்றினார்.
1942 இல் தமன்னாவுடன் (1942) அவரது நடிப்புத் தொழில் தொடங்கியது. 1940 களில் இருந்து 1960 களில் இருந்த ஒரு தொழில் வாழ்க்கையின் போது, நர்கிஸ் வணிக ரீதியாக வெற்றிகரமாகவும் விமர்சனரீதியாக பாராட்டப்பட்ட திரைப்படங்களிலும் தோன்றினார், அவற்றில் பல நடிகர் ராஜ் கபூருடன் இணைந்து நடித்தார்.
அகாடமி விருதுக்கு பரிந்துரைக்கப்பட்ட மதர் இந்தியா (1957) என்ற திரைப்படத்தில் ராதா கதாபாத்திரத்தில் நடித்தார், இது பிலிம்ஃபேர் விருதுகளில் அவரது சிறந்த 1958 இல்நடிகைக் கோப்பை வென்றது.
நர்கீஸ் இந்தியாவின் துணை நடிகருமான நடிகை சுனில் தத் என்பவரை திருமணம் செய்துகொண்டார். 1960 களில் அவர் படங்களில் அரிதாகவே தோன்றும்.
இந்த காலகட்டத்தில் அவரது சில திரைப்படங்களில் நாடகம் ராட் ஆர் தின் (1967) அடங்கும், இதில் அவருக்கு சிறந்த நடிகைக்கான தேசிய திரைப்பட விருது வழங்கப்பட்டது.
இந்த காலகட்டத்தில் அவரது சில திரைப்படங்களில் நாடகம் ராட் ஆர் தின் (1967) அடங்கும், இதில் அவருக்கு சிறந்த நடிகைக்கான தேசிய திரைப்பட விருது வழங்கப்பட்டது.
1981 ஆம் ஆண்டில் நர்கிஸ் மரணம் அடைந்தார். அவரது மகன் சஞ்சய் தத் ஹிந்தி படங்களில் அறிமுகமானார். 1982 ஆம் ஆண்டில், நர்கீஸ் தத் மெமோரியல் கேன்சர் ஃபவுண்டேஷன்
தனது நினைவகத்தில் நிறுவப்பட்டது.
தனது நினைவகத்தில் நிறுவப்பட்டது.
வருடாந்தர தேசிய திரைப்பட விருது விழாவில் தேசிய ஒருங்கிணைப்பிற்கான சிறந்த திரைப்படத்திற்கான விருதினை கௌரவத்தில் நர்கிஸ் தத் விருது என்று அழைப்பர். [7] 1958 ஆம் ஆண்டில், இந்தியாவின் பத்மஸ்ரீ விருதுடன் அவர் கௌரவிக்கப்பட்டார். [8] [9]
நர்கிஸ் வங்காளம் (இப்போது கொல்கத்தா, மேற்கு வங்காளம்) கல்கத்தாவில் பாத்திமா ரஷீத் எனப் பிறந்தார். அவரது தந்தை அப்துல் ரஷிட் எனும் மோகன் பாபு, ஆரம்பத்தில் ஒரு செல்வந்தரான மொஹையல் தியாகி.. இந்துவாயிருந்த அவர் இஸ்லாமிற்கு மாற்றப்பட்டார்
பாத்திமா தனது முதல் படமான 1935 திரைப்படமான Talashe Haq இல் ஆறு வயதாக இருந்தபோது, "பேபி நர்கிஸ்" என்ற பெயரில் தோன்றினார் நர்கிஸ் அறிமுகமான பிறகு பல படங்களில் தோன்றினார்;
1943 ஆம் ஆண்டு மோதிலால் ஜோடியாக 14 வயதிலிருந்து Taqdeer படத்தில் நடித்தார்
1943 ஆம் ஆண்டு மோதிலால் ஜோடியாக 14 வயதிலிருந்து Taqdeer படத்தில் நடித்தார்
1940 களின் பிற்பகுதி மற்றும் 1950 களில் பாரசட் (1949), ஆண்டாஸ் (1949), ஆவராரா (1951), டீடார் (1951), ஸ்ரீ 420 (1955) மற்றும் சோரி சோரி (1956) போன்ற பல பிரபல ஹிந்தி திரைப்படங்களில் அவர் நடித்தார்.
மெஹ்பூப் கானின் ஆஸ்கார் விருதுக்கு பரிந்துரைக்கப்பட்ட கிராமப்புற நாடகமான மதர் இந்தியாவில் 1957 ஆம் ஆண்டில் அவர் நடித்தார், அதில் அவரது நடிப்பிற்காக பிலிம்பேர் சிறந்த நடிகை விருதை வென்றார்.
திரைப்பட இந்தியா (டிசம்பர் 1957) தாய் இந்தியாவை "இந்தியாவில் தயாரிக்கப்படும் மிகப்பெரிய படம்" என்று விவரித்ததுடன், வேறு எந்த நடிகையும் நர்கிஸ் மற்றும் பாத்திரத்தை நடிக்க இயலாது என்று எழுதினார்.
1958 ஆம் ஆண்டு சுனில் தத் தனது திருமணத்திற்குப் பிறகு, நர்கிஸ் தனது குடும்ப வாழ்க்கையைத் தக்கவைத்துக் கொண்டார், அவரது கடைசி சில திரைப்படங்கள் வெளியிடப்பட்டன
. 1967 ஆம் ஆண்டு ராட் ஆர் டின் Raat Aur Dinதிரைப்படத்தில் அவர் கடைசியாக நடித்தார்.-
1980-81 ஆண்டுகளில் ராஜ்ய சபாவுக்கு பரிந்துரைக்கப்பட்டார். [2] [17] ஆனால் புற்றுநோயால் அவதிப்பட்டார் அவரது பதவிக்காலத்தில் இறந்தார்.
1980-81 ஆண்டுகளில் ராஜ்ய சபாவுக்கு பரிந்துரைக்கப்பட்டார். [2] [17] ஆனால் புற்றுநோயால் அவதிப்பட்டார் அவரது பதவிக்காலத்தில் இறந்தார்.
நர்கிஸ் நடிகர் ராஜ் கபூருடன் ஒரு நீண்ட கால உறவு கொண்டிருந்தார், அவர் அவரா மற்றும் ஸ்ரீ 420 திரைப்படங்களில் நடித்தார். ராஜ் கபூர் திருமணத்தில் , குழந்தைகளும் இருந்தனர். அவரது முதல் மனைவியை விவாகரத்து செய்ய மறுத்த பிறகு, நர்கிஸ் -நீண்ட உறவு முடிவடைந்தது
மதர் இந்தியா படத்தில் நடித்த போது ஒரு தீ விபத்தில் சிக்கினார் .அந்தப்படத்தில் மகனாக நடித்த
சுனில் தத் அவரை தன் உயிரையும் பொருட்படுத்தாது நர்கீஸை காப்பாற்றினார்
சுனில் தத் அவரை தன் உயிரையும் பொருட்படுத்தாது நர்கீஸை காப்பாற்றினார்
அவர்நர்கீஸ் நடிகர் சுனில் தத் படத்தை மார்ச் 11, 1958 அன்று திருமணம் செய்து கொண்டார்.
சஞ்சய், நோம்ராடா, ப்ரியா ஆகிய மூன்று குழந்தைகளும் இருந்தார்கள்.
சஞ்சய், நோம்ராடா, ப்ரியா ஆகிய மூன்று குழந்தைகளும் இருந்தார்கள்.
நர்கிஸ் நியூமேர்க்கில் மெமோரியல் ஸ்லோவான்-கெட்டரிங் கேன்சர் சென்டரில் நோய்க்கான சிகிச்சைக்கு சிகிச்சையளிக்கப்பட்டது. [22] இந்தியாவிற்கு திரும்பியவுடன், அவரது நிலை மோசமடைந்தது, மற்றும் அவர் பாம்பேயில் ப்ரீச் கேண்டி மருத்துவமனையில் அனுமதிக்கப்பட்டார்.
1981 மே 2 அன்று கோமாவுக்குச் சென்றார், அடுத்த நாள் இறந்தார்
1981 மே 2 அன்று கோமாவுக்குச் சென்றார், அடுத்த நாள் இறந்தார்
நர்கிஸ் பம்பாய், மரைன் லைனில் பிடகாபராஸ்டனில் புதைக்கப்பட்டார். மும்பையில் பாந்த்ராவில் உள்ள ஒரு தெரு, அவரது நினைவாக நர்கீஸ் தத் சாலையை மறுபெயரிட்டது.
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