Mala Sinha opens up about her journey

 

Mala Sinha opens up about her journey

The road to stardom was bumpy- 

Mala Sinha opens up about her journey

by Farhana Farook | September 1, 2018, 11:06 IST

The road to stardom was bumpy- Mala Sinha opens up about her journey

Mala Sinhaís bungalow sits right there on the bustling Turner Road in Bandra yet it remains impervious to the world outside. Inside too, there are no ostentatious signs of stardom. The foyer with vintage furniture may have played host to several celebrations. But today, the sprawling residence is home to countless strays and pets, which daughter/actor Pratibha devotedly tends to. Mala Sinha, at 80 plus, has no desperation to cling on to past memories or trophies. Sheís happier travelling back and forth to the mountains of Nepal and to her husband Chidambar Prasad Lohaniís ëresort like homeí there.

Satellite screens regularly give glimpses of her as in the romantic Anpadh, with the classic melody Aap ki nazron ne samjha, her fight as an unwed mother in Dhool Ka Phool, her unapologetic stance as the gold-digger in Pyaasa or her royal adas in Jahan Ara.... From Ashok Kumar to Amitabh Bachchan she has romanced all... cutting across generations and genres. If her women-oriented roles earned her the title of ëDaring Divaí, her dreamy ësensuousnessí mesmerised millions, including filmmaker Mahesh Bhatt. Tell her that and she credits Filmfare for being her ticket to stardom. A journalist in Kolkata came across her photograph profiled in a photo studio and got it printed in the magazine. Filmmaker, Amiya Chakravarty, charmed by her picture, invited her to Mumbai. Through the years, she won Filmfare nominations for her performances in Gumraah, Jahan Ara, Anpadh and Himalay Ki God Mein. But life came full circle when she was honoured with the Lifetime Achievement at the recently held 63rd Jio Filmfare Awards 2018... ìThank you Filmfare,î she says softly... her smile wiping away the years...

Train from Kolkata

Of Nepali origin, Mala Sinha was born and brought up in Kolkata. Hence, she was often mistaken for being a Bengali. She was called Alda Sinha in school but later changed her name to Mala Sinha when she became a child artiste in Bengali films like Jai Vaishno Devi, Roshanara and Dhooli in the í50s. When noted film director, Amiya Chakravarty, came across a photograph of young Mala in Filmfare, he called her to Mumbai and signed her for a three-film contract. ìBut I was no Deepika Padukone, who made it big with Om Shanti Om! I had a bumpy ride. Ami Dadaís Badshah (1954) flopped! He cancelled my contract. He went ahead and made Seema with Nutan and Kathputli with Vyjayantimala instead,î she says. Her other two films, Kishore Sahuís Hamlet (1954) and Ekadashi (1955), also failed. ìWeíd keep looking from the veranda of our house, hoping for a producerís car to drive in. But not a fly came by. We were about to pack up and go back to Kolkata,î she says.

Fortunately, actor Janki Das came to their rescue. Director Lekhraj Bhakri was making Naya Zamana (1957). Janki Das urged him to watch Malaís Hamlet, which though a flop, had won Mala acclaim. ìIíd played Oephilia in it. I was a thin teenager. Kishore Sahuís wife got me padded costumes and wigs,î she smiles. The filmmakers watched the film and signed her for Naya Zamana.

Mala sinha

The turn around

She gives credit to Geeta Dutt for getting her Pyaasa (1957). Those days filmmaker S Mukerji held a huge Durga ustav. Geeta Dutt, who was fond of fellow ëBengalií Mala, asked her to act in a play there. ìGeeta Didi brought along Guru Dutt for the show,î she says. An impressed Guru Dutt signed her up for Pyaasa. Her act as the go-getter, who gives up love for luxury, won her applause. Alongside, films like Balraj Sahniís directorial Lai Batti (1957), Sohrab Modiís Nausherwan-E-Adil (1957) and Ramesh Saigalís adaptation of Dosteovskyís Crime And Punishment, Phir Subah Hogi (1958), established Mala as an avant garde actor. But it was Yash Chopraís directorial debut, Dhool Ka Phool, (1959) that made her a star. ìIt was a bold story of an unwed mother. We celebrated its silver jubilee in 36 cities. I got tired of attending those functions,î she laughs.

Between 1958 and 1962, Mala gave hits like Duniya Na Mane, Hariyali Aur Rasta, Dil Tera Deewana and Anpadh. But what remains her favourite is Jahan Ara (1964). Producer-actor Om Prakash had first approached Meena Kumari for it. ìMeenaji was a poetess and proficient in Urdu and seemed apt for the role. But Kamal Amrohiji said that she didnít have the dates. Meenaji suggested my name to Om Prakashji saying that I had the features and the ada of a Muslim girl,î she recalls. She was nominated for the Filmfare Award for playing the royal character.

Another film she holds dear to her heart is B R Chopraís infidelity drama Gumraah (1963). ìAshok Kumar was my Dadajiís age when he played my hero in Gumraah. Sunil Dutt played my beloved. ëKi bhalo kam kaj karoche (youíve done good work)!í said Dada Moni to me after watching the film,î she says. She also mentions T Prakash Raoís Bahurani (1963), based on the Bengali film Swayam Siddha. Here, she played a fiery village girl, married to a senile man as a path-breaking move.

Mala sinha

Switch-on switch-off

She enjoyed a fortuitous run with several co-stars. With Raaj Kumar, she gave hits like Phool Bane Angaare and Maryada and with Manoj Kumar, Hariyali Aur Rasta and Himalaya Ki God Mein. Her hits with Rajendra Kumar were Dhool Ka Phool, Geet and Lalkar. With Biswajeet, she enjoyed an iconic pairing in 10 films including Aasra, Night In London, Do Kaliyaan, Paisa Ya Pyaar and Phir Kab Milogi. In the í70s, she even paired with newcomers like Rajesh Khanna in Maryada and Amitabh Bachchan in Sanjog (1971).

Given her vibrant onscreen chemistry with co-stars, one would assume she enjoyed friendships off it too. But she begs to differ. ìI couldnít be over friendly with my heroes. It was only kaam se matlab. Iíve always been aloof,î she says adding, ìAnd so it was with Biswajeet too!î She elaborates, ìBiswajeet and I shared good rapport on the set. It was give and take. Off the set there was nothing. I wouldnít share my number with anyone. It was switch on and switch off.î She had a strict code of work ethics. ìNo one dared to crack naughty jokes in my presence. Theyíd say, ëGurkhan aagayee!í I never cracked jokes with anyone either. Why to become thick with anyone?î she asks. ìI took remuneration from my producers. So, if there was an intimate scene, Iíd do it. But ëcutí after that. There was no nonsense, she maintains.

She praises Rajesh Khanna, who was a phenomenon in the í70s. ìRajesh was a jovial personality. Once we were to shoot the song Chupke se dil de de (Maryada).

I had dressed with great care and had worn a backless choli. When

I stepped out of my make-up room, I heard someone whistle. It was Rajesh. He said, ëKya phataka lag rahi ho!íî she laughs. ìHe was the heartthrob - young and old women loved him, his lop-sided smile was a craze! Despite his superstardom, he never threw his weight around.î She adds, ìHe was game for rehearsals. But some actors didnít like rehearsals. Theyíd tell the director, ëMala ko bolo aap ke saath rehearsal karlein!í There was one actor, whoíd be lying with his feet up, while the director sat beside him explaining the scene.î

Another actor, she has admiration for is Amitabh Bachchan. ìHe was so respectful; you knew he came from a good family. He was so punctual, Iíd get scared. So, Iíd begin my make-up at 6 am. Iíd rush to the studio only to find him waiting outside, sitting on the stool with the studio guard. He was that humble. Heíd wish me saying, ëNamaste!í Itís this humility that has taken him so far. I never saw him indulge in idle talk. Heíd always be reading a book.î A regret that still lingers is not being able to work with thespian Dilip Kumar. ìI missed the bus!î she sighs. ìI was offered Mumtazís role in Ram Aur Shyam. But I was busy with South films.î

Mala sinha

MARRIAGE MATTERS

The dreamgirl of millions, Mala Sinha, chose to marry someone out of the industry. While shooting for her only Nepali film,

B S Thapaís Maitighar (1966), she came in touch with co-star Chidambar Prasad Lohani. ìHe was in the customs. But because he was talented and good-looking, they asked him to act,î she says. ìMy parents wanted me to get married as I had turned 26. Baba (father Albert Sinha) believed the industry boys were not trustworthy. Also, ego problems could creep in. Baba wanted a pahadi, a Nepali like us. Baba liked C P,î she shares. Mala and Chidambar got married

in 1966.

A long-distance marriage worked for them, with Chidambar looking after his business in Kathmandu and Mala in Mumbai with their daughter Pratibha. ìMy husband understood my passion for work. And that I couldnít be confined to the kitchen. I was not the club going type either. Iíd have gone crazy. There would have been friction. So, he let me work. Distance, in fact, fostered love,î she smiles.

Mala graduated to character roles between the late í70s and í80s like 36 Ghante, Zindagi, and Karmayogi. She was last seen in Zid (1994). She links her retiring from films to the demise of her dear father in 1987. ìI was daddyís girl. After every shot, Iíd look at Baba for approval. Heíd sleep in the same bedroom as mine on outdoors. Heíd wait outside, when I used the washroom. After Baba passed away, I began to feel a vacuum,î she says.

Mala sinha

Sense & spirituality

Being spiritually inclined has kept her rooted. ìAs a child, I once dreamt of Christ sitting on a rock surrounded by children of every creed. He put his hand on my head,î she recalls. She had another such dream after her first film Badshah flopped. ìWe didnít even have money for rent. One day I dreamt that a beautiful lady has come on the terrace, where I read the Bible. I knelt down and said, ëYouíre Mother Maryí. She asked what I wanted. I said the heart to love her son. My life changed after that,î she says. Malaís not a regular church-goer. ìMy prayer is conversation with God. No use simply reading scriptures. I donít brood. I don't hold grudges. I donít look back at my glory. Iím happy in every situation. Iím just a particle of dust and He blessed me with such brilliance.

Mala sinha

More on: Mala sinha

Bollywood actress Mala Sinha’s acting talent with beautiful and big-hearted Nain made everyone crazy. Even on his 83rd birthday, the same glow remains on his face today. Mala Sinha has been an approved singer of All India Radio, All India Radio. When she was just sixteen years old, she used to sing folk songs in the studios of the Calcutta (now Kolkata) Center of All India Radio. He may not have sung songs for films, but did sing on stage in several languages from 1947 to 1975. He was born on 11 November 1936 in a Christian family in Calcutta. His parents were originally from Nepal. He settled in Calcutta before Mala was born. In childhood, Mala was named Allada, but his friends and friends used to tease him by calling them Dalda (a brand of vegetable oil). Seeing the daughter upset, the parents changed the name to Mala. Mala Sinha had a great interest in song and dance since childhood. Apart from Hindi, he has also worked in Bengali and Nepali films. She is known for her talent and beauty. From the 1950s to the 1960s, he made his acting debut in more than a hundred Hindi films. Mala Sinha started her career as a child artist in a Bengali film ‘Jai Vaishno Devi’. After this she continued to fascinate the audience with her performances in several films and set new records. Mala Sinha was married to Chidambaram Prasad Lohani in Mumbai in 1968. After this, both of them worked together in the Nepali film ‘Maity Ghar’. The couple has a daughter- Pratibha Sinha. Pratibha too got many films, but could not get as much fame as her mother. Memorable films of Mala Sinha are ‘Pyaasa’, ‘Dhul Ka Phool’, ‘Dil Tera Deewana’, ‘Gumrah’ and ‘Himalayan lap’. Apart from this, ‘Paisa Hi Paisa’, ‘Ek Shola’, ‘New Age’, ‘Fashion’, ‘Pyaasa’, ‘Phir Dawn Hogi’, ‘Parvarish’, ‘I am drunk’, ‘Love marriage’, ‘Maya’ ‘,’ Suhag Sindoor ‘,’ Dharmaputra ‘,’ Hariyali Aur Rasta ‘,’ Dil Tera Deewana ‘,’ Suhagan ‘,’ Jahan Ara ‘,’ Pooja Flowers ‘,’ Apne Parye ‘,’ Bahu Beti ‘and’ He also left his acting imprint in films like Nai Roshni.

Mala became a big actress, but no one could show any pride in her. She did not forget her values. She has been the obedient daughter of her father. Mother considered him a domestic girl. He is skilled in domestic work. Even today, she leads a life of simplicity. If someone meets this actress from 1950 to 1960s, in the conversation, she still gives him the same feeling of freshness and fascination. Today’s new actresses can learn a lot from them and move forward in the field of acting.

BOLLYWOOD

Hurt Mala Sinha rejects Phalke Award

Legendary actress Mala Sinha who regaled generations of Hindi cineastes with her powerhouse performance in Guru Dutt's Pyaasa, B R Chopra's Dhool Ka Phool and Gumrah and Ramanand Sagar's Geet is...Legendary actress Mala Sinha who regaled generations of Hindi cineastes with her powerhouse performance in Guru Dutt's Pyaasa, B R Chopra's Dhool Ka Phool and Gumrah and Ramanand Sagar's Geet, is at the moment very angry and upset with the committee that has just bequeathed the Dadasaheb Phalke Academy Award on her.

Speaking exclusively to this writer Mala Sinha says, "They've done grave injustice to me. They haven't even mentioned my name on the invitation card! When members of the Phalke committee including their chairperson came home to me to request me to take the award for being what they called a legendary artiste, I was happy to accept it. But when I saw the invitation card for the event I was shocked. My name was not there with the other winners of award. Asha Bhosle and Pam Chopra (who is to receive the award on behalf of her late husband Yash Chopra)... This is insulting. It would be better if they had straightaway slapped me physically instead of insulting me in this way."

Says Malaji, "They had informed me that I was to get the award a month ago. Though I don't go out too much these days I did agree to come. They had a press conference in a small restaurant on Linking Road to announce the awards. None of their winners not Ashaji not Pam Chopra, came to the press conference. I went. They came home with the invitation last week. Only to insult me in this way. Forget my picture they haven't even put my name in the invitation card. I told them to pick up their invitation cards and leave. I don't want their award. This is an insult to me as an artiste. I can't tell you how upset I am about it. I agree Asha Bhosle and Yash Chopra are great artistes. But am I so small an artiste that my name should be left out? Then don't give me the award. I don't want it."

Looking back on her career Mala says, "Just the other day I was watching Dhool Ka Phool which came in 1959 and I was quite impressed by how ahead of its times it was ...I've done some notable films...

aur mere saath aisa anyaay

?! I've been around from the 1950s and I did films till the end of the 90s. Do you know I got two offers from Hollywood in the 1960s as the main lead. My father who looked after my work refused saying, 'Our culture doesn't allow our daughters to work in that atmosphere of intimacy that prevails in Western cinema. So please excuse us.' That's the kind of respect I got in Hollywood. And look at how I am treated at home! I think I was not given my due.

Kya karoon? Jitna bhagya mein likha utna hi milega na?"

Mala Sinha now 76, lives a life of semi-retirement with her ailing mother and daughter Pratibha who played the lead in the 1980s in some films.

The actress whose beauty and talent wowed audiences in the 1960s says softly, "My father used to look after my work. After his passing away I lost interest in my career. But while he was around I only thought of my work. I knew nothing about the business side of cinema or about marketing myself. I was just a simple artiste who wanted to work, work and work with all my life. I worked in the best of films and repeatedly with filmmakers like B R Chopra, Vijay Anand and Ramanand Sagar ".

Says Malaji, "Once an artiste always an artiste. I do miss the arclights. But one has to make sacrifices. I am happy looking after my mother. My daughter Pratibha also lives with me. She now does social work. I cut down on my work when she was growing up, as I wanted to give my attention to my role as a mother and then as a daughter to my ailing mother. As for me I'm open to roles provided they are not routine mothers' parts. An artiste never dies. My last film was with Govinda and Juhi (Radha Ka Sangam). Daddy passed away. And I became responsible for the entire family. He used to look after the home and my career. Mummy is bedridden, so I can't be too active outside the home. But I'd love to work again."

She singles out B R Chopra's Gumrah and Dhool Ka Phool and Jahan Ara as her most memorable films.

Yesteryear Bollywood actress Mala Sinha says she would have loved to be a heroine in present times as the film industry has taken a huge leap technologically since her days.

The 76-year-old actress ruled the marquee in the 50s and 60s with her disarming smile, charm and performances.

"I think the change (in the film industry) is for good. In our times film making process was slow. Today technology has improved a lot. I wish Mala would have been heroine of today's times then it would have been fun. We would have all used to get to jump and fly and do lots of other things," said Mala Sinha at the press conference of Dadasaheb Phalke Academy Awards.

Another reason why Mala Sinha wants to be a part of the industry today are the awards.

"I see awards on TV, every week there is some award function happening. We used to get award rarely.. We used to wait to get Filmfare award. But today there are so many awards.. I wish I was heroine today and you all would see me getting award on every channel," she said.

The veteran worked in Hindi, Bengali and Nepali films. Recognised for her talent and beauty, she went on to become a popular leading actress in Hindi films from the early 1950s until the late 1970s.

Sinha has starred in over a hundred films including Pyaasa (1957), Dhool Ka Phool (1959), Dil Tera Deewana (1962), Gumrah (1963), Himalaya Ki God Mein (1965), Aankhen (1968) and others.

She feels fortunate and lucky to be part of the industry which welcomed her with open arms.

"If film industry would not have been there then we all artists also wouldn't be here. This film industry is God to us... It gave us name, fame, love of audience. I feel my talent wouldn't have come out if this film industry did not exist," she added.