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.
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.
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
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.
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.
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