MEENA KUMARI - SHADOW OF FATE
DIED MARCH 31,1972
Meena Kumari (1 August 1933 – 31 March 1972), born Mahjabeen Bano, was an Indian film actress, singer and poet under the pseudonym "Naaz", also known as The Tragedy Queen.[1][2][3][4]
Meena Kumari
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| Born | Mahjabeen Bano 1 August 1933 Meetawala Chawl, Dadar East, Bombay, British India (present-day Mumbai, India) |
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| Died | 31 March 1972 (aged 38) Mumbai, Maharashtra, India |
| Occupation | Actress, Singer, Poet |
| Years active | 1939–1972 |
| Spouse(s) | Kamal Amrohi 1952–1972 (her death) |
| Signature | |
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Indian film critics regarded Meena Kumari as 'historically incomparable' actress of Hindi cinema.[5] Meena Kumari made waves as an actor beyond compare in the 60s, Kumari got the author-backed roles and her male co-stars were said to be wary of starring opposite her.[6] During a career spanning 30 years from her childhood to her death, she starred in more than 90 films of variety of genres, many of which have achieved classic and cult status today such as Sahib Bibi Aur Ghulam, Pakeezah, Mere Apne, Aarti, Baiju Bawra, Parineeta, Dil Apna Aur Preet Parai, Foot Path, Char Dil Char Rahen, Daera, Azaad, Miss Mary, Sharada, Dil Ek Mandir, Kaajal, Chirag Kahan Roshni Kahan, Majhli Didi, Phool Aur Patthar, Bhabhi Ki Chudiyan, Yahudi, Halaku, Baadbaan and Kohinoor. Kumari was also a playback singer, as a child artist till 1945, later as an actress and as a heroine in Duniya Ek Sarai , Piya Ghar Aaja and Bichchade Balam.[7]
Vinod Mehta (writer of Meena Kumari - The Classic Biography) was told by a director, "Even Dilip Kumar (the tragedy king) found it difficult to keep his calm in front of her."[8] Raaj Kumar would often forget his dialogues while working with Meena Kumari on set.[9]Madhubala was also a fan of Meena Kumari and said, ‘She has the most unique voice. No other heroine has it.’[10] Satyajit Raydescribed Kumari as "undoubtedly an actress of the highest caliber".[5] Meena Kumari empathized greatly with Marilyn Monroe the fact that Marilyn's husband, Arthur Miller, had some passing similarities to Meena's husband Kamal Amrohi, made the identification closer.[5]It is said throughout her life, Meena Kumari had a love–hate relationship with movies.[11]
Meena Kumari won four Filmfare awards in the Best Actress category and was the first recipient of the inaugural 1st Filmfare 1954 best actress award for Baiju Bawra with a consecutive win in 2nd Filmfare 1955 for Parineeta. Kumari made history at the 10th Filmfare 1963 by receiving all of the nominations for Best Actress and won for her performance in Sahib Bibi Aur Ghulam.[12] On 13th Filmfare 1966 Kumari won her last best actress Filmfare award for Kaajal.
The greatest hallmark of Meena Kumari lied in her ability to depict the struggle of Indian women existing especially in the 50s and 60s, Kumari Onscreen Persona is described as a perfect example of real traditional Bharatiya Nari by the Indian film fraternity like Mohammed Zahur Khayyam and Javed Akhtar.[13] Kumari gained a reputation for playing grief-stricken and tragic roles, and her performances have been praised and reminisced throughout the years. Like Kumari portrayed of Pakeezah under Kamal Amrohi's direction became a historical piece of document.[14] In her performances, beauty, aristocracy, tragedy, personality all blended into one. Her role as Chhoti Bahu, in Sahib Bibi Aur Ghulam is considered one of the best performances in Indian Cinema. Chhoti Bahu a role dangerously close to Kumari's own tragic life, like the character of Chhoti Bahu, in real life Meena Kumari also became addicted to alcohol.[15] Kumari life and prosperous career were marred by heavy drinking, troubled relationships, an ensuing deteriorating health, and her death from liver cirrhosis in 1972.
Family Background
Meena Kumari's father was a Sunni Muslim named Master Ali Bux who had migrated from Bhera, Punjab.[16] He was a veteran of Parsi theater, played harmonium, taught music, and wrote Urdu poetry and played small roles in films like "Idd Ka Chand" and composed music for films like "Shahi Lutere".[17] Meena Kumari's mother Iqbal Begum original name was Prabhawati, she was a Bengali Christian converted to Islam. Iqbal Begum was the second wife of Ali Bux.[17] Before meeting and then marrying Ali Bux, she was a stage actress and dancer, under the stage name, Kamini and earlier in her life related to the well known Tagore family of Bengal.[17]
Connection with Tagore family
Meena Kumari's grandmother, Hem Sundari Thakur (Tagore), was the daughter of the Rabindranath Tagore's younger brother.[18] She was married into the Tagore family, but she became a widow at an early age, after she lost her husband, Rev Bill, she was compelled to give up all her rights to the family name or property by her in-laws.[19] She embraced Christianity left for Meerut, became a nurse, and married a Christian, an Urdu journalist named Pyare Lal Shankar Meeruti.[18] Hem Sundari has two daughters; one of these was Prabhawati(Iqbal Begum), Meena Kumari's mother.[18]
Birth and childhood
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Meena Kumari was born with the birth name Mahjabeen into the family of poor theater artistes Ali Bux and Iqbal Begum on 1 August 1933, this was a great disappointment to Ali Bux because he desperately wanted a son.[20] The Bux family lived next to Rooptara studios in Dadar, Bombay, and Ali Bux was forever hopeful of getting a major break in the film industry. But that never happened. Meena Kumari was the second daughter of Ali Bux and Iqbal Begum.[20] Khursheed was her elder sister and Mahliqa(also known as madhu first married to actor Mehmood Ali) was her younger sister.[20] At home, Mahjabeen's family fondly called her by the name "Munna".[21] At the time of her birth, her parents were unable to pay the fees of the Dr. Gadre[22] who had delivered her, so her father left her at a Muslim orphanage however, he picked her up after a few hours.[23]
| “ | Vinod Mehta (writer of Meena Kumari - The Classic Biography) said "Her father had decided to disown her, he left her at the door of a Muslim orphanage. As he was walking away his conscience took the better of him, the child was crying. He went back to collect the baby and he saw that there were ants over all her body. I believe that moment remained in her subconscious mind. Here was a traumatized soul. She could not have been a happy person. Life had decided that she will suffer."[24] | ” |
I never had a collection of bright colored marbles like other children.[21] -Meena Kumari
Little Mahjabeen is said to have said, "I do not want to work in movies, I want to go to school, and learn like other children.[25] But despite her protestations of wanting to go to school, her parents started peddling four-year Mahjabeen to film studios for work opportunities and director Vijay Bhattoffered little Mahjabeen a child's role in his production, Leatherface, that released in 1939.[26]
It made me behave queerly as I now realize. I remember once I was "shot" on the sets and asked to drop down dead. I refused to fall and they had to use force to make me obey. I often played "back" for other children but refused to sing myself. My one interest was to read and when other children in the studio went out to play in the compound, I moved into a corner and lost myself in the world of children's book. -Meena Kumari [5]
Mahjabeen's looks and talent brought more opportunities, ever since that ugly beginning against her wishes, at the age of four she became the bread earner in the Bux family. In an interview in 1962 Meena Kumari explained that the fact she had been supporting her parents from the age of four gave her immense satisfaction. Kumari further said "The first day trotted along to work I little imagined that I was saying goodbye to the normal pleasantries of childhood. I thought I would go to the studio for a few days and then go to the school, learn a few things and play and make merry like other children but that was not to be."[5]Mahjabeen was admitted into a regular school but that was not for long because the demands of work frequently interrupted her curriculum, she never went to school in any meaningful sense and her education was the result of private tuition and more significantly the result of individual interest, in every sense she was self-educated. Kumari concentrated most on Urdu although she could get by in English and Hindi.[5] Little Mahjabeen used to carry her children's books onto the sets and even while travelling with her parents on outstation shoots. On the sets, little Mahjabeen was nicknamed "Reading Mahjabeen".[5]
Career and life
Early work as Baby Meena (1939–45)
Little Mahjabeen embarked on her acting career at the age of four. She was immersed in work over next four years as a child artist, mostly in Vijay Bhatt productions Leatherface(1939), Adhuri Kahani (1939), Pooja (1940), Ek Hi Bhool (1940) Vijay Bhatt became her mentor and, on the sets of Ek Hi Bhool (1940), rechristened Mahjabeen as Baby Meena.[27]
More films followed for baby Meena Nai Roshni (1941), Bahen (1941), Kasauti (1941), Vijay/Vijaya (1942), Garib (1942), Pratiggya (1943) and Lal Haveli (1944).
Breakthrough as Meena Kumari (1946–52)
At the young age of 14 baby Meena became the heroine Meena Kumari in Ramnik Production's Bachchon Ka Khel (1946)
| “ | To quote film Bachchon Ka Khel review featured in Filmindia 1946 " The newcomer Meena Kumari is a good addition to the screen. she does well as Anuradha and has a promising future."[28] | ” |
more films followed Duniya Ek Sarai (1946), Piya Ghar Aaja (1947) and Bichchade Balam (1948) performing with credit and winning recognition from all in the industry. The phase continued with several hits on the box office, including some mythological and fantasies Veer Ghatotkach, (1949) Shri Ganesh Mahima (1950), Magroor, (1950) Hamara Ghar, (1950) Anmol Ratan, (1950) Sanam, (1951) Madhosh, (1951) Lakshmi Narayan,(1951) Hanuman Patal Vijay, (1951) Aladdin Aur Jadui Chirag (1952) and Tamasha (1952).
Marriage to Kamal Amrohi (1952)
On the sets of Tamasha, Ashok Kumar introduced filmmaker Kamal Amrohi to Meena Kumari.[29] Later Kamal Amrohi offered Meena Kumari a lead role in his upcoming film "Anarkali" and the contract was signed on 13 March 1951.[29] On 21 May 1951 Meena Kumari was involved in a serious motor car accident while returning from Mahabaleshwar to Bombay.[29] She was admitted to Sasoon hospital Poona, was severely damaged around the left hand and there was some doubt whether she would be able to use it again. Kumari went through terrible bouts of depression, Kamal Amrohi religiously visited her during her days in the hospital.[29] When they were not scheduled to meet both Kumari and Amrohi would write letters to each other.[29]
| “ | Meena Kumari asked the director Kamal Amrohi "If despite her accident she was still in the running for Anarkali(Film)", Kamal Amrohi said "There was no question;" he took a pen and etched on her hand the word Anarkali along 'Meri' (Mine).[30] | ” |
"A year has passed since then, and I am still the happiest person in the world because the man I have married is still the ideal man I loved before I had ever met him. We understand each other completely. Kamal has lived up to my every thought of him. I have found him exactly as I had dreamed of him - I hope, indeed I know, he will say the same of me. Something of this deep understanding and kinship of soul which lies between us may perhaps be seen in the picture we have just made together, "Daaera."[31]
— Star Meena Kumari, "deeply, terribly, frighteningly in love" interview conducted by Filmfare Magazine in 1953
For four months this hospital affair continued and love blossomed. This accident left Meena Kumari with a banded left pinky which remained banded throughout her life and Kumari used to cover her left hand with dupatta or saree during shoots.[2] After Kumari discharged from hospital the famous telephoning marathon began between Kumari and Amrohi during nights.[5] Soon shooting of the film Anarkali was begun but the producer Makhanlal suffered a crippling financial disaster so the film Anarkali was abandoned. On 14 February 1952 Meena Kumari age 19 and Kamal Amrohi age 34 secretly married in a simple 'Nikah' ceremony in the presence of a Qadi and Kumari's younger sister Mahliqa (madhu).[5] The nikah paper was witnessed by Baqar Ali (Kamal Amrohi's friend and assistant) and Qadi's two sons, and signed in the name of Mahjabeen Bano (Meena Kumari's real name) and Syed Ameen Haider (Kamal Amrohi's real name). After the ceremony Amrohi planted a kiss on Kumari's forehead and the newlyweds parted, Amrohi left for Sion, Meena and Madhu returned home.[5]The marriage was kept secret from family and media, although Kamal Amrohi had been married and had three children. After some months the matrimony news leaked to father Ali Bux by a servant who overheard their midnight phone conversation, angry father regularly hurled accusations, and recommended a divorce.[5] Meena Kumari remained adamant on her marriage decision but stayed in her father's house. Kamal Amrohi planned a film called Daera in 1953.[32] Kumari asked her father's permission that her husband needs her for the film Daera but Ali Bux refused that the dates were given to Mehboob Khan for film Amar.[32] Reluctantly, Meena Kumari agreed but after five days shooting Meena Kumari instigated a disagreement with Mehboob Khan and left the studios.[32] The following day Meena Kumari disclosed to her father that she was off to Bombay Talkies to work for her husband Kamal Amrohi's Film Daera. Ali Bux warned his daughter that if she went in that direction the doors of his house would be permanently shut to her.[32] On 14 August 1953 Meena Kumari drove to Bombay Talkies and worked in front of her husband's camera and at night, when Meena Kumari came back from the Film Daera shooting, her father refused to open the door. Meena Kumari turned her car and left for her husband's residence at Sion.[32]
When the news of the marriage became public, Indian press commented: "Meena Kumari's reputation as the quiet and silent girl of the Indian cinema was aided considerably by her announcement of her marriage which had been kept secret over a year."[32] In a sponsored program broadcast over Radio Ceylon in 1958, Meena Kumari gushed enthusiastically about her first ever visit to her husband's home town, Amroha, in the northwest region of Uttar Pradesh. She and Kamal had been there in 1956, four years after they were married. The area is rich in culture, architecture, mangoes, sugarcane and fresh water fish. Meena Kumari exulted with joy and gratitude, and referred to her husband with high regard, love and extreme respect.[33]
A friend actress Nadira said in an interview "Meena is wildly in love with her husband whom she admires, respects and fears. What is more, she is terribly possessive of him![31]Kumari always addressed Amrohi as "Chandan" or "Kamal Sahab", and Amrohi called Meena Kumari "Manju".
Rising star (1952-56)
- 1952: Baiju Bawra Meena Kumari gained fame with her role as a heroine in Vijay Bhatt's Baiju Bawra. It became a huge commercial and critical success and catapulted Kumari to stardom. She won the first ever Filmfare Best Actress Award for Baiju Bawra on 21 March 1954 at the Metro Theatre in Bombay. The film was a musical, set in Mughal India of the 16th century, with classical Hindustani melodies. The music director, Naushad, also received the inaugural Filmfare Best Music Director Award for the song "Tu Ganga Ki Mauj"; this was Naushad's first and only Filmfare Award win.
- 1953: Parineeta directed by Bimal Roy, starting Ashok Kumar and Meena Kumari as leads won Kumari the second Filmfare Best Actress Award. The film was based upon the 1914 Bengali novel by Sharat Chandra Chattopadhyay. This version of the film is considered to be the most faithful adaptation of the novella, particularly due to Meena Kumari's interpretation of the role of Lalita. Do Bigha Zamin directed by Bimal Roy was celebrated as the first Indian film to win the International Prize at Cannes in 1954. Foot Path, directed by Zia Sarhadi, was Meena's first film with Dilip Kumar. This movie featured in Avijit Ghosh's book, 40 Retakes: Bollywood Classics You May Have Missed. Daera written and directed by Kamal Amrohi, starting Meena Kumari, Nasir Khan and Nana Palsikar in lead roles.,[34] other films include, Naulakha Haar, Dana Paani.
- 1954: Baadbaan directed by Phani Majumdar, had a star cast of Meena Kumari, Dev Anand, Ashok Kumar and Usha Kiran. It was the first ever film in India to have been produced by a workers’ cooperative. Film Chandni Chowk directed by B. R. Chopra in 1954 classic Muslim social drama film,[35] it was Chopra's second directorial venture and another success at the box-office. The film Ilzaam directed by R C Talwar and Rafiq Anwar, starring Meena Kumari and Kishore Kumar, also premiered.
- 1955: Azaad directed by Sriramulu Naidu S.M, Kumari pranced gaily with Robin Hood Dilip Kumar. It was the top grossing Hindi film in the year of its release and one of the biggest hit film in the decade.[36] Hit songs from the movie include 'Aplam Chaplam' sung by Lata Mangeshkar and Usha Mangeshkar, and 'Na Bole Na Bole' sung by Lata Mangeshkar. Film Adl-e-Jehangir a Hindi language historical drama film directed by G.P. Sippy, and it became a commercial success at the box-office.[37] Film Bandish directed by Satyen Bose starting Meena Kumari, Ashok Kumar, and Daisy Irani was a box office hit, followed by Ruksana directed by R.C. Talwar and starring Meena Kumari and Kishore Kumar.
- 1956: Ek Hi Raasta a family-drama Indian Hindi film directed and produced by B. R. Chopra. It starred Meena Kumari with newcomer Sunil Dutt, Ashok Kumar, Daisy Irani, the film proved to be successful at the box office and was screened for more than 25 weeks, which was called "Jubilee Hit".[38] Bandhan directed by Hemchandra Chunder based on the popular Bengali novel Mantra Shakti starting Meena Kumari and Pradeep Kumar as leads was awarded with Certificate of Merit in National Film Awards. Mem Sahib directed by R.C. Talwar stars Meena Kumari first film with Shammi Kapoor the modern avatar of Meena Kumari is well received by audience and the film became a box office hit. The cast of Halaku, a historical Hindi movie directed by D.D. Kashyap, includes Meena Kumari, Ajit, Minoo Mumtaz, Raj Mehra, and Helen. It was one of the box office hits and celebrated silver jubilee. Naya Andaz directed by K. Amarnath starring Meena Kumari and Kishore Kumar in lead roles. The film was a musical hit with famous songs like "Meri neendon mein tum" sung by Kishore Kumar.
Tragedy Queen of Indian Cinema (1957)
In the late 1950s and early 1960s, Meena Kumari essayed roles in films that mirrored her own unhappy life, after separation (never a formal divorce) from husband Kamal Amrohi. The intensity and power in those celluloid tragedies were derived from her own personal situation and emotional makeup in those years. The conviction and strength of those characters she portrayed, in a series of films, earned her a repute as The Great Tragedienne and the endearing crown of The Tragedy Queen of Indian Cinema popularly bestowed on Meena Kumari.[39]
- 1957:Sharada directed by L.V. Prasad was Meena Kumari first venture with Raj Kapoor for Meena Kumari it was a difficult role to essay and had been refused by all leading actesses of the day. The finesse which Meena vested in her role earned her the Best actress at Bengal Film Journalists' Association Award. The Film gained great critical success. The film was the ninth highest grossing film at the Indian Box Office in 1957 and noted as one of the best performances of Meena Kumari.[40] Miss Mary a comedy film directed by L.V. Prasad Star Meena Kumari and Gemini Ganesan. The film was one of the biggest hits of that year.[41]
- 1958: Sahara directed by Lekhraj Bhakri, Meena Kumari received a Filmfare Best Actress nomination for her performance. Film Yahudi directed by Bimal Roy. It starred Meena Kumari, Dilip Kumar, Sohrab Modi, Nazir Hussain, Nigar Sultana.It was based play Yahudi Ki Ladki by Agha Hashar Kashmiri, a classic in Parsi-Urdu theatre, about persecution of Jews in the Roman Empire.[42] The film was a box office hit with famous song "Yeh Mera Diwanapan Hai" sung by Mukesh. Film Farishta starting Ashok Kumar and Meena Kumari as lead protagonist. The film was above average. Film Savera directed by Satyen Bose with Meena Kumari and Ashok Kumar in lead roles.
- 1959: Chirag Kahan Roshni Kahan directed and produced by Devendra Goel stars Meena Kumari with newcomer Rajendra Kumar and Honey Irani, the film was a huge hit on box office and Meena Kumari received a Filmfare nomination for Best Actress for her performance. Film Char Dil Char Rahen directed by Khwaja Ahmad Abbas, with a star cast Meena Kumari, Raj Kapoor, Shammi Kapoor, Kumkum, Nimmi. The film received well reviews from Critics. Shararat is a 1959 romantic drama film written and directed by Harnam Singh Rawail, starting Meena Kumari, Kishore Kumar, Raaj Kumar and Kumkum in lead roles, with the memorable song “Hum Matwaley Naujawan” sung by Kishore Kumar.Tragedy Queen Meena Kumari matched the boisterous Kishore Kumar.
- 1960: Dil Apna Aur Preet Parai Hindi romantic drama written and directed by Kishore Sahu. The film stars Meena Kumari, Raaj Kumar and Nadira as leads.The film tells the story of a surgeon is obligated to marry the daughter of a family friend, while he is love with a colleague nurse, played Meena Kumari. It is one of the noted acting performances of lead actress Meena Kumari's career.[43] The films music is by Shankar Jaikishan, and features hit song, the Hawaiin-themed "Ajeeb Dastan Hai Yeh" sung by Lata Mangeshkar. At the 1961 Filmfare Awards it created an upset by beating popular musical epic, Mughal-e-Azam of Naushad for the Best Music Director category.[44] Film Kohinoor directed by S U Sunny. The film stars Meena Kumari, Dilip Kumar, Leela Chitnis and Kumkum. This film is also notable for some rare comical and funny scenes by Meena Kumari, who is otherwise known as tragedy queen. Its tone was light and it lacked the intense characterisations of their earlier films. The film was one of the biggest Hindi film hit in the decade. Bahaana directed by Kumar had a star cast inclusive of Meena Kumari, Sajjan, Anwar, Kumar, Pramila, Azurie and Sheela Vaz.
- 1961: Bhabhi Ki Chudiyan a family drama directed by Sadashiv J. Row Kavi with Meena Kumari and Balraj Sahni in the lead roles. It is one of the noted acting performances by Meena Kumari. The film was one of the highest-grossing films of the year at the Indian Box Office with the famous song "Jyoti Kalash Chhalke" by Lata Mangeshkar. Film Zindagi Aur Khwab directed S. Bannerjee Starting Meena Kumari and Rajendra Kumar. The film was a hit on Indian box office. Pyaar Ka Saagar directed by Devendra Goel with Meena Kumari and Rajendra Kumar.
Critical acclaim (1962)
The year 1962 proved to be a watershed. Meena Kumari created history in Filmfare, and remains unique to this day, by being the sole leading lady to have been nominated at all slots for the 10th Filmfare Best Actress award in 1963. The nominations were for her roles in Sahib Biwi Aur Ghulam, Aarti and Main Chup Rahungi. Kumari won her third best actress Filmfare for Sahib Biwi Aur Ghulam. The Bengal Film Journalists' Association conferred the Best Actress Award on Meena Kumari for Aarti.[45]
Sahib Bibi Aur Ghulam (1962)
A film produced by Guru Dutt and directed by Abrar Alvi. It is based on a Bengali novel, "Shaheb Bibi Golam" by Bimal Mitra. The film stars Meena Kumari, Guru Dutt, Rehman, Waheeda Rehman and Nazir Hussain.[46] The film's music is by Hemant Kumar and lyrics were by Shakeel Badayuni. The film is also noted for its brilliant cinematography by V. K. Murthy and famous Songs "Na Jao Saiyan Churda Ke Baiyan" and "Piya Aiso Jiya Mein" sung by Geeta Dutt.
| “ | In 1967 Vividh Bharati Service of All India Radio Program Meena Kumari confessed that " Chotti Bahu from Sahib Biwi Aur Ghulam was my Astral body ".[2] | ” |
Sahib Biwi Aur Ghulam was perhaps the most perilous mix of the reel and real. Meena Kumari Played the character of Chotti Bahu which was dangerously close to her own tragic life.
Meena Kumari wrote in her private diary "The women is troubling me a great deal. All day long and a good part of my night it is nothing else but Chhoti Bahu's helplessness, Chhoti Bahu's sorrow, Chhoti Bahu's smiles, Chotti Bahu's hopes, Chotti Bahu's tribulations, Chotti Bahu's endurance, Chotti Bahu's ... Chotti Bahu's ... Chotti Bahu ... Oh ! I am sick of it."[47]
—The Legend and the Enigma
By Shoma Chatterji
The film was a major critical and commercial success, with critics attributing it to Meena Kumari's performance as Chotti Bahu, which is regarded as one of the best performances of Hindi cinema.To quote the review featured in Upperstall "While each of the performances are spot on, if there is one person who is the heart and soul of the film, it is Meena Kumari. Her portrayal of Chhoti Bahu is perhaps the greatest performance ever seen by an actress on the Indian Screen." The film won four Filmfare Awards, including the Best Actressaward.Same year Meena Kumari made a history in Filmfare by getting all the nominations in best actress category and won Filmfarebest actress award for Sahib Biwi Aur Ghulam.This movie is also nominated for the Golden Bear at the 13th Berlin International Film Festival, and Meena Kumari was selected as a delegate. Sahib Bibi Aur Ghulam was also chosen as India's official entry to the Oscars.[48] To quote the review featured in The Times of India dated 24 June 1962:
- 1962: Aarti directed by Phani Majumdar. The film stars Meena Kumari in the title role of Aarti, with Ashok Kumar, Pradeep Kumar and Shashikala appearing in pivotal roles.The Bengal Film Journalists' Association acknowledged Aarti as the ninth-best Indian film of the year and conferred the Best Actress Award on Meena Kumari. Main Chup Rahungi1962 Main Chup Rahungi directed by A. Bhimsingh.The film stars Meena Kumari and Sunil Dutt in lead roles.he film was one of the biggest hits of the year and Meena Kumari received a Filmfare nomination for Best Actress for her performance.
- 1963: Dil Ek Mandir directed by C. V. Sridhar. The film stars Meena Kumari, Rajendra Kumar, Raaj Kumar and Mehmood. The film's music is by Shankar Jaikishan. The film was a big hit on box office and so was the film music with famous songs " Ruk Jaa Raat Teher Ja Re Chanda " and " Hum Tere Pyar Mein sara Alam Kho Betai " sung by Lata Mangeshkar. Akeli Mat Jaiyo directed by Nandlal Jaswantlal a romantic comedy with Meena Kumari and Rajendra Kumar in leads. Kinare Kinare directed by Chetan Anand with Meena Kmari, Dev Anand, Chetan Anand.
- 1964: Sanjh Aur Savera a romantic drama film directed by Hrishikesh Mukherjee.[49] starring Meena Kumari Guru Dutt and Mehmood.This marked the final film appearance of Guru Dutt who died later in the year of the film's release.Benazir a muslim social film directed by S.Khalil Starring Meena Kumari, Ashok Kumar, Shashi Kapoor and Tanuja.Chitralekha directed by Kidar Sharma, starring Meena Kumari, Ashok Kumar and Pradeep Kumar. It was based on 1934 Hindi novel by the same name by Bhagwati Charan Verma about Bijgupta serving under the Maurya Empire and the king Chandragupta Maurya (340 BCE–298 BCE) and his love for courtesan Chitralekha.[50] Films music and lyrics were by Roshan and Sahir Ludhianvi and noted for his songs like, "Sansaar Se Bhaage Phirte Ho" and "Man Re Tu Kaahe".[51][52]Gazal directed by Ved-Madan, starring Meena Kumari and Sunil Dutt. The muslim social film about the right of young generation to marriage of their choice. It had music by Madan Mohan with lyrics by Sahir Ludhianvi, featuring notable filmi-ghazals like "Rang Aur Noor Ki Baraat" performed by Mohammed Rafi and " Naghma O Sher Ki Saugaat" performed by Lata Mangeshkar.[53][54]Main Bhi Ladki Hoon directed by A. C. Tirulokchandar the film stars Meena Kumari with new commer Dharmendra.
Separation from husband and addiction to alcohol (1964)
After their marriage, Kamal Amrohi allowed Meena Kumari to continue her acting career, but on three conditions.[5]
1. You will return home by 6:30 every evening.
2. You will allow no one in the makeup room except your makeup man.
3. You will sit in your own car which will take you to work and fetch you back.
Meena Kumari agreed to all terms but with passing time she kept breaking them. It is said Kumari felt oppressed by the feudal attitude and high-handed behavior that Kamal Amrohi brought to their relationship. Kamal Amrohi's lavish productions, Daera and Pakeezah, and his Kamalistan studios (1958) were mostly financed by Kumari earnings. Meena Kumari was watched over. Kamal Amrohi had issued strict instructions and had people deployed assistant Baqar Ali, to prevent any other man from meeting Meena Kumari on the sets.[55] In 1972 Kamal Amrohi told Vinod Mehta(writer of Meena Kumari - The Classic Biography) "I didn't mean it like that. These were just ground rules. I mean if she returned home at 7 instead of 6:30 it was acceptable for me. I just wanted her to appreciate that besides having responsibilities to her career she had responsibilities to her home and husband". Amrohi further said that he was prepared to overlook Meena bending his conditions but he would have loved if she herself confessed when such bendings took place. 'It really pained me to learn of these incidents from outside sources '.[5]
Kamal Amrohi said in an interview with Filmfare Magazine, that he used to advise Meena against accepting assignments which would harm her reputation. He used to be a little harsh sometimes, he admitted, but it was all in her interest.[56]
" In that 10 x 12 poster of concentrated womanhood called Meena Kumari, is hidden: an extremist, a thinker, a writer of unlimited imagination, an orthodox idealist, a very determined and self-respecting woman, a God and husband-respecting lady, and a comedian too.[31]
— The Meena Kumari I Know by Actress Nadira 1962
Khursheed explained clearly 'she loved children. Kamal Sahab never wanted a child from Meena'[57] Kamal denied 'It was Manju who never wanted a baby because she felt it will harm her screen image'.[58] Nargis Dutt relates how she once questioned Meena. Haven't you ever wanted to become a mother? " Is there any woman who does not want to become a mother" Meena replied with tears in her eyes.[58] Kumari raised Kamal Amrohi's son, Tajdaar, who was greatly attached to his Chhoti Ammi (younger mother).[59]
Abrar Alvi director of Sahib Bibi Aur Ghulam recounts how Kamal Amrohi would have his spy and right-hand man Baqar Ali present even in the makeup room while Meena's makeup was being done and one awful evening when, working beyond schedule to complete a shot, he had to face his heroine dissolving in tears.[60]
In 1963, Sahib Bibi Aur Ghulam was selected as the Indian entry to the Berlin Film Festival and Meena Kumari was selected as a delegate. The then Minister of information arranged for two tickets, one of Meena Kumari and one for her husband but Kamal Amrohi refused to accompany her wife and said: " I do not want to tag along merely as Meena Kumari's husband." The Berlin trip never materialized.[5]
" When her star starts rising his went down.I asked Kamal Amrohi if indeed he had hit her as per many rumors. He completely denied it, saying that such a thing was totally against his upbringing. But six different people told me that there was physical violence in their relationship. Those were the days when Meena Kumari would not come back to Rembrandt till late at night.[61]
— Vinod Mehta(writer of Meena Kumari - The Classic Biography) interview 2013
During a premiere at Eros cinema, Sohrab Modi introduced Meena Kumari and Kamal Amrohi to the governor of Maharashtra. Sohrab Modi said' This is the renowned actress Meena Kumari and this is her husband Kamal Amrohi'. Whereupon before greetings exchanged, Kamal Amrohi interjected, 'No, I am Kamal Amrohi and this is my wife, the renowned actress Meena Kumari'. Saying this Kamal Amrohi left the auditorium. Meena Kumari saw the premiere alone.[5]
On 5 March 1964, on the mahurat of the film Pinjre ke Panchi, Kamal Amrohi's assistant, Baqar Ali slapped Meena Kumari once when Kumari insisted on letting the budding poet-lyricist Gulzar, into her make up room.[62]
| “ | Crying copiously, Meena Kumari breezed out of the studio saying " Tell Kamal Sahab I will not be coming home tonight" and Kumari kept her words.[63] | ” |
Meena Kumari never returned home and never stepped in their Pali Naka home thereafter.[63] Kumari stayed in actor Mehmood's house for a while, who was married to her sister, Mahliqa (Madhu), before moving to one in Janaki Kutir, Juhu.[63] Kamal Amrohi rushed to Mehmood's house to reconcile their differences and escort her back. But Kumari refused.[63]
| “ | Kamal Amrohi informed Meena Kumari's sister, Madhu " I will never come to collect Manju again" and Amrohi too kept his words.[5] | ” |
Meena Kumari was a patient of chronic insomnia and was on sleeping pills for a long time, during 1963 Dr. Saeed Timurza, her physician, then prescribed a small peg of brandy as a sleeping pill alternative and this was officially how she came into contact with the habit that was to kill her.[5] Somehow this prescribed peg of brandy turned into heavy drinking after Kumari separation from her husband. Meena Kumari and Kamal Amrohi never formally divorced but separated in 1964.[64] During those years of separation from her husband, Kumari name was associated with Rahul, Gulzar, Dharmendra and Sawan Kumar Tak.[5]
- 1965: Kaajal directed by Ram Maheshwari. The film stars Meena Kumari, Dharmendra, Raaj Kumar, Padmini, Helen, Mehmood and Mumtaz. The film was declared as "Hit" on the Box office and was enlisted in Top 20 film of 1965.[65] Meena Kumari won her fourth and last Filmfare for Kaajal.Bheegi Raat directed by Kalidas with Meena Kumari, Ashok Kumar and Pradeep Kumar. The film was one of the biggest hits of the year with famous songs "Dil Jo Na Ke Saka" sung by Lata Mangeshkar and Mohd Rafi.Film Purnimadirected by Narendra Suri starring Meena Kumari and Dharmendra in lead roles.
- 1966: Phool Aur Patthar directed by O. P. Ralhan starring Meena Kumari and Dharmendra in lead roles.This was the movie which went on to become a golden jubilee hit catapulting Dharmendra to stardom. The movie was highest grossing for the year 1966.[66] Meena Kumari performance in the film ensured her a nomination in the Best Actress category in the Filmfare awards for that year.Film Pinjre Ke Panchhi directed by Salil Choudhury with Meena Kumari, Balraj Sahni and Mehmood in main roles.
- 1967: Majhli Didi directed by Hrishikesh Mukherjee Majhli Didi stars Meena Kumari and Dharmendra.[67] The film was India's entry to the 41st Academy Awards for Best Foreign Language Film.[48] Film Bahu Begum directed by M. Sadiq, and starring Meena Kumari, Pradeep Kumar and Ashok Kumar. The film has music by Roshan and lyrics by Sahir Ludhianvi and is known for songs, "Hum Intezaar Karenge Tera Qayamat Tak", sung by Mohammad Rafi and Asha Bhonsle and "Duniya Kare Sawal To Hum" by Lata Mangeshkar.[68] Noorjehan directed by Mohammed Sadiq, the film was a historical film Starring Meena Kumari and Pradeep Kumar, with Helen and Johnny Walker in minor roles, it dramatised the epic love story of Empress Nur Jehan and her husband, the Mughal Emperor Jehangir. Film Chandan Ka Palna directed by Ismail Memon starring Meena Kumari and Dharmendra.
- 1968: Baharon Ki Manzil a Suspense Thriller directed by Yakub Hassan Rizvi. The film stars Meena Kumari, Dharmendra, Rehman and Farida Jalal. The film was one of the major hits of the year. Film Abhilasha directed by Amit Bose cast include Meena Kumari, Sanjay Khan, Nanda.
Deteriorating health and treatment in London (1968)
Heavy drinking had badly damaged Meena Kumari's liver. In 1968, she fell seriously ill. Medical advice was that Kumari needed more advanced and permanent cure.[5]
Dr. Sherlock warned Meena Kumari before she left the infirmary, "The day you want to die have a drink."[5]
—Meena Kumari The Classic Biography 1972
Kumari was taken to London and Switzerland in June 1968 for treatment. From the months of June to August Meena Kumari was in the safe hands of Dr. Sheila Sherlock.[5]
Upon recovery, Kumari returned to India in September 1968 and on the fifth day of her arrival, Meena Kumari contrary to doctors's instructions resumed work.[5] Director Sawan Kumar Tak said "Not only did she not drink, she would not let me drink either. she did not touch a drop after London".[5]
- 1970, Jawab was directed by Ramanna. The film starred Meena Kumari Jeetendra, Leena Chandavarkar and Ashok Kumar. Saat Phere was directed by Sudhir Sen with Meena Kmari, Pradeep Kumar and Mukri in pivotal roles.[69]
- 1971: Mere Apne written and directed by Gulzar. It was Gulzar's first directorial venture.The film stars Meena Kumari, Vinod Khanna and Shatrughan Sinha in lead roles along with Deven Verma, Paintal, Asit Sen, Asrani, Danny Denzongpa, Keshto Mukherjee, A. K. Hangal, Dinesh Thakur, Mehmood, and Yogeeta Bali.Mere Apne was declared as "Above Average" on the box office but Meena Kumari performance was noted one of the best performance by the critics. Dushman directed by Dulal Guha The film stars Meena Kumari Rehman and Rajesh Khanna with Mumtaz in lead roles.The film became a "super-hit" at the box office.
- 1971: Gomti Ke Kinare directed by Saawan Kumar Tak in a directorial debut. The film stars Meena Kumari, Sanjay Khan and Mumtaz.
Completion of Pakeezah (1956–72)
"Shah Jahan made Taj Mahal for his wife, Kamal Sahab wanted to do the same with Pakeezah."[5]
— Kamal Amrohi's PR man
In 1955 Meena Kumari and Kamal Amrohi were in South India and here Kamal Amrohi began outlining the plot of his next film with his wife Meena Kumari and decided that he would call it Pakeezah. The title has a fascinating history; it was changed many times due to superstitious reasons, but finally the original stayed.[5] After the failure of Daera in 1953, Pakeezah as an idea was roaming Amrohi's mind.[5] A concept, he say was irretrievably fixed with his love for his wife.[5] He hopes to create a film which would be worthy of her as an actress, and worthy of the love he felt for her as a women.[5] Kamal declares that every line he wrote he had Meena in mind. He wished to present her on the screen as no one had before: beautiful, sad, sanguine, dejected, calculating, sexy he ambitioned to capture as many dimensions of her as he knew of.[5] Pakeezah took 16 years to reach the silver screen. First planned by Amrohi in 1956, the film went on the studio floors in 1964, but the shooting came to a standstill after their separation (never formally divorced) in March 1964, when it was more than halfway complete.[70]
Meena Kumari wrote to her husband Kamal Amrohi in early 1969[5]
"In regard to my working in Pakeezah, I have always been willing and clamoring to work. Pakeezah is my life dream and it will be my greatest pleasure to see it completed. As for my remuneration, I am glad you have given me an opportunity to prove my regards and respect for you. I shall accept only ONE GUINEA as a token of goodwill for my entire work in Pakeezah."
| “ | In 1969, Hindustan Times described the meeting which Sunil Dutt and Nargis had organized between the Meena Kumari and Kamal Amrohi:[71] "Not much was said, but streams of tears were shed... Amrohi greeted her with a token payment of a gold guinea and the promise that he’d make her look as beautiful as the day she had started the film.They had dinner together and she gave him her diary to read." | ” |
On 16 March 1969, five years and twelve days after Kumari left her husband, gravely ill, Meena Kumari reported for work again on Pakeezah.[5] Kamal Amrohi organized a great reception. He gave his wife a peda (sweet) as a peace offering and made a documentary film on her arrival at the studio.[5] Meena Kumari was determined to complete the film and, well aware of the limited time left for her to live, went out of her way to complete it at the earliest. Despite her rapidly deteriorating health, she gave the finishing touches to her performance. Vinod Mehta (writer of Meena Kumari - The Classic Biography) shared an incident which occurred during the last days of Pakeezah shooting "On outdoor shooting Kamal Amrohi's unit travelled in two cars near a place called Shivpuri in Madhya Pradesh, the cars all but ran out of patrol, and for miles around there was nothing except a long, deserted, straight road. It was discovered that a bus passed on this route every morning from which fuel could be purchased. Kamal Amrohi decided to spend the night in the desert; he ordered his unit roll up the windows of the cars and hope for the best. A little after midnight the occupants of the vehicles were surrounded by a dozen armed men. The men knocked on the closed windows and forced their way in. when the armed gang leader learned that one of the persons in the car was Meena Kumari, his attitude completely changed. He turned out to be a Meena Kumari fan and welcomed his guests in true fan tradition. He organized music, dancing, and food. He provided a place to sleep. He instructed his juniors the next morning to fetch petrol for the unit. From Meena Kumari, he wanted a special favor. He sharpened his knife and took it to her. ‘Please autograph my hand with this,’ he requested. Meena was not new to signing autographs but she had never attempted anything as ambitious as a knife. Nervously, she wrote her name on this man's hand. He said he was grateful for this favor. Once the unit left, they found at the next town that they had spent the night in the camp of Madhya Pradesh's renowned and dangerous dacoit—Amrit Lal."[5]
| “ | According to Amrohi, "He and Manju (Meena Kumari) had come close indeed. During the shooting journeys, she cared for Chandan (Kamal Amrohi) as a wife looks after her husband. On his part, he says he ensured that Manju was provided all material comforts and conveniences. Only physically we were not man and wife. Otherwise in every sense we lived like man and wife."[5] | ” |
Khursheed Said, "It was just work between them, Meena had no feeling left for Kamal and if he thinks anything else he is fooling himself."[5]
"I have lived with Pakeezah almost as long as I lived with its creator ... to Meena Kumari Pakeezah means a performance. A great performance? That is not for me to say: that is for people to decide. For me to say is this: it is a performance to deliver which I have, as an actress, had to delve deeper into the secret wells of being than any actor or actress normally delves in the process of his or her professional work."[5]
—Meena Kumari about Pakeezah (1972)
Pakeezah was released on 3 February 1972, with a grand premiere at Maratha Mandir theater in central Mumbai.[5] Meena Kumari arrived to attend the last premiere of her life.[5] Kumari let Raaj Kumar, for the benefit of the press, kiss her hand and then she went in to see the film.[5] Meena Kumari sat next to Kamal Amrohi during the premiere.[5] When Mohammed Zahur Khayyam complimented Meena Kumari with "shahkar ban gaya" (it's priceless), she was in tears.[72] After watching complete Pakeezah Kumari told a friend that she was convinced that her husband was the finest film-maker in India.[5] Kumari regarded the film as Kamal Amrohi's tribute to her.[56] Meena Kumari posthumously received her twelfth and last Filmfarenomination for Pakeezah. Bengal Film Journalists' Association Awards bestowed the Special award to Meena Kumari for Pakeezah in 1973.[73]The film has since gained a cult and classic status, and Meena Kumari's performance as a golden-hearted Lucknow Nautch Girl drew major praise.
Death
Three weeks after the release of Pakeezah, Meena Kumari became seriously ill; on 28 March 1972, she was admitted to St Elizabeth's Nursing Home.[74]
| “ | Kamal Amrohi recalled Meena Kumari's last words before she went into a coma at the nursing home on the evening of 30 March 1972. Meena Kumari said "Chandan, I will not live much longer now. My last wish is to die in your arms."[75] | ” |
Meena Kumari died on Good Friday 31 March 1972 of liver cirrhosis at age 38. As per husband Kamal Amrohi's wish, Meena Kumari was buried at Rahematabad Qabristan located at Narialwadi, Mazgaon, Mumbai.[74]
| “ | Meena Kumari wished this epitaph to be on her grave:[74]
She ended life with a broken fiddle,
With a broken song,
With a broken heart,
But not a single regret.
| ” |
Kamal Amrohi stated," Once people took away my Manju after naming her Meena Kumari, Now this cruel death has snatched her away from everybody, But I know she is not dead, She is sleeping in my heart in an immortal sleep."[5] (Kamal Amrohi died February 11, 1993 in Mumbai and as per his wish buried next to Meena Kumari's grave at Rahematabad Qabristan located at Narialwadi, Mazagaon, Mumbai.)
Sahir Ludhianvi about Meena Kumari, "An artiste with rare talent, a soft spoken woman in white with a soul of a poet her whole life was a sacrifice of her own emotions, her personality, her own ego and their sublimation in the art that gives joy to millions. A cruel destiny put her lily-white soul on the cross of human emotion.[76]
Dilip Kumar lamented, "31 March 1972 was an unfortunate day since on this day in front of their own eyes they had seen helplessly the slow going away of a dear friend."[77]
""Of the mountainous films Meena made,her performance in ‘Sahib Bibi Aur Ghulam’ stands on the pinnacle . If I wish to remember my heroine as a film star I would remember her as Guru Dutt's Chhoti Bahu."[78]
— Vinod Mehta Writer of Meena Kumari The Classic Biography
Dev Anand concluded," Meena Kumari was the greatest artiste of them all. I regret there was no recognition of her historionic talent."[77]
Raaj Kumar was confident that " She would live for all time to come."[77]
Burjor Khurshedji Karanjia editor Filmfare, "She made a lot of money and lost it, she knew great love and lost that too. Across those exquisite sculptured features, the marble made flesh, flustered the bemused query."[79]
Baldev Raj Chopra producer director wrote " Meena Kumari is no more. It almost appears that, with her death, we are reaching the end of an era of great artistes dedicated and larger than life."[5]
Mr V. Verma said," She had combined in herself two radical opposites, the grace of Moghul like live living and the spontaneity of a hippie."[5]
Gulzar writes "Meena...closed her eyes and went to sleep/Bidding life adieu! Never once did she breathe Thereafter/ After a trying life full of struggle and strife,/ Wasn’t it a remarkably stark and easy death!"[80]
Khwaja Ahmad Abbas tributed," Martyrs never die. And it was Meena Kumari the mortal human being that was buried in a grave. Her soul, her art, is beyond decay."[5]
The Poetess Naaz
Meena Kumari was also a talented poet under the pseudonym Naaz.[81] According to Naushad Ali, Kumari's poetry clearly reflected her angst. Haunting, crystalline, and precisely observed, Kumari's poetry reveals a side of her personality that was rarely on display in her films. It proved that she was a much more sensitive and self-aware woman than her fans tend to realize.[82]
- I write, I recite Meena Kumari's poems LP Vinyl Record was released in 1971, for which Mohammed Zahur Khayyam gave music.[83] The ‘nazms’ poetry in the album have been written, recited and sung by the poet herself.[84] The album is re-released on 19 September 2006.
- Tanha Chand (Lonely Moon) a collection of Meena Kumari poems, was compiled by Gulzar and published after her death in 1972.[85]
- The Poet – A Life beyond Cinema has her collected poems translated from Urdu to English by academician-writer Noorul Hasan and an introduction by Philip Bounds, Daisy Hasan[86] published by Roli Books.
Legacy
Meena Kumari made waves as an actor beyond compare in the 60s. Kumari got the author-backed roles and her male co-stars were said to be wary of starring opposite her.[87]Critics review kept saying that she was 'historically incomparable'.[5]Vinod Mehta shares Meena Kumari become so powerful that she would make or break stars, Kumari adopted an attitude of guardian, artistic mentor towards the newcomers who worked opposite her like Rajendra Kumar in Chirag Kahan Roshni Kahan with Sunil Dutt in Ek Hi Raasta.[5] Meena Kumari had helped Dharmendra enormously in the initial stages of his career and established Dharmendra's acting career in Indian Cinema.[5] Javed Akhtar shares "Young Indian women's imitate Meena Kumari's styles, by emulating Kumari's dignified sober fashion styles, the way Kumari wear saree, her hair style, her bindi style, and this was the first time an Indian actress achieved such status and fame. Meena Kumari became the "First Female Style Icon of Indian Cinema."[88]
A postal stamp was issued in honor of Meena Kumari on 13 February 2011 by India Post.[89]
Meena Kumari's most awaited film Pakeezah released on 4 February 1972 and just a day before Pakeezah released on 3 February 1972 in the Arabian Sea a 'Pakeezah Boat' was sailing.[5] Tajdar Amrohi shares "When Pakeezah shooting started again in 1969 the first song shot was "Mausam Hai Ashiqana" with this song Meena Kumari set a new fashion trend of girls wearing Lungi.[90] Indian Film Critics Bhawana Somaaya says "Pakeezah is just like poetry on celluloid I can not imagine anybody else in this movie except Meena Kumari."[2]
Pakeezah was the inaugural film telecast by Doordarshan, India's state-owned television station when it began broadcasting from Amritsar in Punjab in the early 70s. It was specially beamed towards Lahore nearby, in Pakistan. Thousands flocked at Lahore, from as far as Karachi, hundreds of miles away, to see Pakeezah. It was a flood the crowds stampeded the streets of Lahore to get to the television screens placed at strategic points on virtually every street corner.[91]
Neville Tuli, chairman, Osian's Group said in a statement "Meena Kumari is a true icon for Womanhood & Cinema, absorbing all, breaking all, in the search to be herself".[92] On 24 February 2016 Meena Kumari's original publicity material and memorabilia, including paintings and portraits of her films, were displayed at the Womanhood Festival at Osianama Liberty Mumbai India.."[93]
"There was no dichotomy between the actor and the role she played," says Rekha Banerjee, wife of the late film director and screenplay-writer, Shanu Banerjee. She recalls Meena Kumari sobbing inconsolably long after the director had called ‘cut', so deeply did she immerse herself in the role.[94]
Historian critic Philip Bounds and researcher Daisy Hasan write regarding Meena Kumari's legacy of poetry, "Poetry was the medium through which Kumari distanced herself from her public image and criticized the industry that had brought her to public attention in the first place. In that sense her poems tell us as much about Bollywood as they do about herself."[95]
Javed Akhtar narrates "Kamal sahab gave me a job and helped me. My salary was Rs.50 and even in the 60s, you could not rent a house in that much money. I used to sleep in a corner of the studio. I started living in the costume room of the studio. I didn’t have enough money to even go out to have a meal. In the evenings I would just potter around in the drawers. There were many cupboards filled with costumes of Pakeezah sherwanis, dresses, shoes. One day I opened a drawer and found amid the clutter, three Filmfare trophies. I dusted them and realized they were Meena Kumari's Filmfare trophies. I had never held a trophy and a Filmfare trophy was akin to the Oscar of India. There were big mirrors in the room. In the evenings I would come back and lock myself in the costume room and hold the trophies in front of the mirror, acting how I would accept it if I were to receive it. The first trophy I held in my hand was that of Meena Kumari's! I was an eighteen-year-old boy who had no home, no money no food, but these trophies encouraged me to achieve my dreams and for this, I will be always thankful to Meena ji."[96]
Meena Kumari thought for a moment and said, "Meena Kumari's life was other people's destination. For her own self it was a road leading nowhere … to no point of arrival … all right, Khuda Hafiz.".[97]
—Tragedy Queen Meena Kumari Interview by Afsar Jamshed
Satyajit Ray said, " I saw Meena Kumari's Sahib Bibi Aur Ghulam she was undoubtedly an actress of the highest calibre."[5]
Music Director Naushad says that "Meena throughout her short life was exploited by people for their own ends, and was so frustrated that she took to drinking and writing poetry to fight her feeling of betrayal." [98] Due to the contrast between her stardom and troubled private life, Kumari is closely linked to broader discussions about modern phenomena such as mass media, fame, and consumer culture.[98] [99] Every year, on Meena Kumari's birthday, numerous articles are printed and television programes aired to commemorate her, and modern magazines continue to publish stories on her personal life and career.[100][101]
Filmography
| Year | Film | Role | Notes | |
|---|---|---|---|---|
| 1939 | Leather Face | child artiste | ||
| 1939 | Adhuri Kahani | child artiste | ||
| 1940 | Pooja | child artiste | ||
| 1940 | Ek Hi Bhool | Baby Meena | rechristened Mahjabeen as Baby Meena | |
| 1941 | Nai Roshni | Baby Meena | ||
| 1941 | Bahen | Bina | Baby Meena | |
| 1941 | Kasauti | Baby Meena | ||
| 1941 | Vijay | Baby Meena | ||
| 1942 | Garib | Baby Meena | ||
| 1943 | Pratiggya | Baby Meena | ||
| 1944 | Lal Haveli | Mukta | Baby Meena | |
| 1946 | Bachchon Ka Khel | Anuradha | At young age of fourteen Baby Meena became the heroin Meena Kumari | |
| 1946 | Duniya Ek Sarai | |||
| 1947 | Piya Ghar Aaja | |||
| 1948 | Bichchade Balam | |||
| 1949 | Veer Ghatotkach | Surekha | ||
| 1950 | Shri Ganesh Mahima | |||
| 1950 | Magroor | |||
| 1950 | Hamara Ghar | |||
| 1950 | Anmol Ratan | |||
| 1951 | Sanam | Rani | ||
| 1951 | Madhosh | Soni | ||
| 1951 | Lakshmi Narayan | |||
| 1951 | Hanuman Patal Vijay | |||
| 1952 | Aladdin Aur Jadui Chirag | Princess Badar | ||
| 1952 | Tamasha | Kiran | ||
| 1952 | Baiju Bawra | Gouri | Won - Filmfare Best Actress Award | |
| 1953 | Parineeta | Lalita | Won - Filmfare Best Actress Award | |
| 1953 | Naulakha Haar | Bijma | ||
| 1953 | Foot Path | Mala | This movie featured in Avijit Ghosh's book, 40 Retakes: Bollywood Classics You May Have Missed. | |
| 1953 | Do Bigha Zamin | Thakurain | The first Indian film to win the International Prize at Cannes in 1954. | |
| 1953 | Dana Pani | |||
| 1953 | Daera | Sheetal | ||
| 1954 | Ilzam | Kamlee | ||
| 1954 | Chandni Chowk | Zareena Begum | ||
| 1954 | Baadbaan | The first ever film in India to have been produced by a workers’ cooperative. | ||
| 1955 | Rukhsana | |||
| 1955 | Bandish | Usha Sen | ||
| 1955 | Azaad | Shoba | Nominated - Filmfare Best Actress Award | |
| 1955 | Adl-e-Jehangir | Zareena | ||
| 1956 | Shatranj | Sandhya | ||
| 1956 | Naya Andaz | Mala | ||
| 1956 | Mem Sahib | Meena | ||
| 1956 | Halaku | Nilofer Nadir | ||
| 1956 | Ek Hi Raasta | Malti | ||
| 1956 | Bandhan | Bani | This film was awarded with Certificate of Merit in National Film Awards. | |
| 1957 | Sharada | Sharadha Ram Sharan | Won - Best Actress Bengal Film Journalists' Association Awards | |
| 1957 | Miss Marry | Miss Mary / Laxmi | The film was one of the biggest hits of that year. | |
| 1958 | Yahudi | Hannah | ||
| 1958 | Savera | Shanti | ||
| 1958 | Sahara | Leela | Nominated - Filmfare Best Actress | |
| 1958 | Farishta | Shoba | ||
| 1959 | Shararat | Shabnam | ||
| 1959 | Satta Bazaar | Jamuna | ||
| 1959 | Madhu | |||
| 1959 | Jagir | Jyothi | ||
| 1959 | Chirag Kahan Roshni Kahan | Ratna | Nominated - Filmfare Best Actress Award | |
| 1959 | Chand | Bimla | ||
| 1959 | Char Dil Char Rahen | Chavli | ||
| 1959 | Ardhangini | Chhaya | ||
| 1960 | Kohinoor | Rajkumari Chandramukhi | ||
| 1960 | Dil Apna Aur Preet Parai | Karuna | It is one of the noted acting performances of lead actress Meena Kumari's career. | |
| 1960 | Bahaana | |||
| 1961 | Zindagi aur Khwab | Shanti | ||
| 1961 | Pyaar Ka Saagar | Radha / Rani B Gupta | ||
| 1961 | Bhabhi Ki Chudiyan | Geeta | The film was one of the highest-grossing films of the year at the Indian Box Office. | |
| 1962 | Sahib Bibi Aur Ghulam | Choti Bahu / Sati Lakshmi | Won - Filmfare Best Actress Award/ Nominated in 13th Berlin International Film Festival & Meena Kumari was selected as a delegate. | |
| 1962 | Main Chup Rahungi | Geeta | Nominated - Filmfare Best Actress | |
| 1962 | Aarti | Aarti Gupta | Won - Best Actress Bengal Film Journalists' Association Awards
Nominated Filmfare Best Actress
| |
| 1963 | Kinare Kinare | Neelu | ||
| 1963 | Dil Ek Mandir | Sita | Won - Best Actress Bengal Film Journalists' Association Awards
Nominated Filmfare Best Actress
| |
| 1963 | Akeli Mat Jaiyo | Seema | ||
| 1964 | Sanjh Aur Savera | Gauri | ||
| 1964 | Ghazal | Naaz Ara Beghum | ||
| 1964 | Chitralekha | Chitralekha | ||
| 1964 | Benazir | Benazir | ||
| 1964 | Main Bhi Ladki Hoon | Rajni | ||
| 1965 | Purnima | Purnima V. Lal | ||
| 1965 | Kaajal | Madhvi | Won - Filmfare Best Actress Award | |
| 1965 | Bheegi Raat | Neelima | ||
| 1966 | Pinjre Ke Panchi | Heena Sharma | ||
| 1966 | Phool Aur Patthar | Shanti | ||
| 1967 | Noorjehan | Mehr-un- Nisa / Noorjehan | ||
| 1967 | Majhli Didi | Heema | The film was India's entry to the 41st Academy Awards for Best Foreign Language Film. | |
| 1967 | Chandan Ka Palna | Shoba Rai | ||
| 1967 | Bahu Begum | Zeenat Jahan Beghum | ||
| 1968 | Baharon Ki Manzil | Nanda Roy / Radha Shukla | ||
| 1968 | Abhilasha | Meena Singh | ||
| 1970 | Saat Phere | |||
| 1970 | Jawab | Vidhya | ||
| 1971 | Mere Apne | Anandi | ||
| 1971 | Dushman | Malti | ||
| 1972 | Pakeezah | Nargis / Sahibjaan | Won special Bengal Film Journalists' Association Award and posthumously received her twelfth and last Filmfare nomination. | |
| 1972 | Gomti Ke Kinare | Ganga |
Filmfare Awards
| Year | Film | Role | Result |
|---|---|---|---|
| 1954 | Baiju Bawra | Gouri | Won |
| 1955 | Parineeta | Lalita | Won |
| 1963 | Sahib Bibi Aur Ghulam | Choti Bahu | Won |
| 1966 | Kaajal | Madhvi | Won |
- Filmfare Best Actress Award – Nominations
| Year | Film | Role | Result |
|---|---|---|---|
| 1956 | Azaad | Shoba | Nominated |
| 1959 | Sahara | Leela | Nominated |
| 1960 | Chirag Kahan Roshni Kahan | Ratna | Nominated |
| 1963 | Aarti | Aarti Gupta | Nominated |
| 1963 | Main Chup Rahungi | Geeta | Nominated |
| 1964 | Dil Ek Mandir | Sita | Nominated |
| 1967 | Phool Aur Patthar | Shanti | Nominated |
| 1973 | Pakeezah | Nargis / Sahibjaan | Nominated |
Bengal Film Journalists' Association Awards
Meena Kumari has won several awards at the Bengal Film Journalists' Association Awards (BFJA)
| Year | Film | Role | Result |
|---|---|---|---|
| 1958 | Sharada | Sharada | Won |
| 1963 | Aarti | Aarti | Won |
| 1965 | Dil Ek Mandir | Sita | Won |
| 1973 | Pakeezah | Nargis/ Sahib Jan | Won |
Biography
One of the first biographies of Meena Kumari was written just after her death by Vinod Mehta in 1972. It was titled Meena Kumari: The Classic Biography.
In film
Tigmanshu Dhulia would be making a film on Hindi cinema's Tragedy Queen, a screen adaptation of Vinod Mehta's book, "Meena Kumari The Classic Biography".[102]
Meena Kumari According to her Loved Ones
Following my discussion with Avdi on Meena Kumari's inability to have Children, i remember reading an article where her step son Tajdar Amrohi notes
"People said that Baba didn't let Choti Amni have Children but then how did she have three miscarriages- of which two were abortions?"
Of course i have no idea if its true or not but i really enjoyed reading the article by Meena's near & dear ones including an Ex Lover, her friend and her step son, and as much as i avoid delving into the private lives of my favourite stars, this article was a great read, hence i thought i'd share with you all, especially the Meena Kumari fans, so enjoy the scans below (Click on the links below each scanned page to read the pages clearly)
Click to read here
Click to read here
Click to read here
Click to read here
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