A DIVA CALLED MALA SINHA
WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR
EMAIL: sunrise607@rediffmail.com
Mala Sinha’s exuberant persona glitters bright amongst the galaxy of stars of Bollywood that once held the audiences spellbound in the late 50s to 70s. The icon of Hindi films celebrates her seventy sixth birthday on 11th November.
Mala Sinha had an incredible adaptability and staying power. Nobody could have seemed less destined for stardom than Mala .The only child of parents, Mala shifted with her family to Bombay from Calcutta in search of a career in Hindi films
Mala Sinha, writer Vrajendra Gaur and Bimal Roy
After a few inconsequential roles she fgot her big break Pyaasa (’57). She left an indeliable mark on the audience with her performance and smouldering looks. Mahesh Bhatt, who saw Pyasa as a child in a theatre said the impact Mala left on him was hypnotic. “Oh my God the sensuality she exuded!” he has raved. Pyaasa turned Mala into a star. Mala's ascending star status was confirmed as she was paired with Raj Kapoor in three films - Parvarish (1958), Phir Subah Hogi (1958) and Main Nashe Mein Hoon (1959). It was however her tear jerkers like Dhool Ka Phool (’59), Hariyali Aur Raasta (’62) and Anpadh (’62), that won her lasting fame.
In 1963, with the role of a straying wife in Gumraah and the buffoon’s wife in Bahurani, she made it to the A-list. Her other films like —Himalaya Ki God Mein (’65), Aasra (’66) and Do Kaliyan (’68) were big hits too.
Other well-known films of Mala Sinha include Bimal Roy's Apradi Kaun, Ujala (1959),Jaasaaz [1959] Love Marriage (1959), , Maya (1961), Dil Tera Deewana (1962), Apne Hue Paraye (1964), Mere Huzoor (1968), Geet (1970) and Lalkar (1972).
Mala Sinha and Dev Anand in 'Love Marriage'
Mala Sinha had even turned down the Dilip Kumar starrer Ram Aur Shyam as she felt the heroine's role was not pivotal, and also B.R.Chopra’s Waqt where she refused to wear a revealing costume in the film[the role went to Sadhana]. But she willingly worked with lesser names as long as she was the central figure. She scored heavily in films like Humsaya (1968), Do Kaliyan (1968) and Ankhen (1968). By now there were also reports to suggest, she had become a diva.
When the late 60s dictated a rise in the glamour quotient required from heroines, the adaptable Mala acted in films like Aankhen and Maryada. Though well into her 30s, she continued with leading roles into the 1970s pairing with the younger lot of heroes -, Sanjeev Kumar (Kangan (1971)), Rajesh Khanna (Maryada (1971)) and Amitabh Bachchan (Sanjog (1971)) but by now her career as a leading lady was in its last stages. She switched to character roles with films like Rakesh Roshan's Khel 1992 and Zid [1994].
Today Mala Sinha, lives contentedly in retirement in her lavish bungalow at Bandra.
Her greatest achievement lies in holding high, in tumultuous times, the torch of the `women’s picture’.
WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR
WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR
EMAIL: sunrise607@rediffmail.com
Mala Sinha’s exuberant persona glitters bright amongst the galaxy of stars of Bollywood that once held the audiences spellbound in the late 50s to 70s. The icon of Hindi films celebrates her seventy sixth birthday on 11th November.
Mala Sinha had an incredible adaptability and staying power. Nobody could have seemed less destined for stardom than Mala .The only child of parents, Mala shifted with her family to Bombay from Calcutta in search of a career in Hindi films
Mala Sinha, writer Vrajendra Gaur and Bimal Roy
After a few inconsequential roles she fgot her big break Pyaasa (’57). She left an indeliable mark on the audience with her performance and smouldering looks. Mahesh Bhatt, who saw Pyasa as a child in a theatre said the impact Mala left on him was hypnotic. “Oh my God the sensuality she exuded!” he has raved. Pyaasa turned Mala into a star. Mala's ascending star status was confirmed as she was paired with Raj Kapoor in three films - Parvarish (1958), Phir Subah Hogi (1958) and Main Nashe Mein Hoon (1959). It was however her tear jerkers like Dhool Ka Phool (’59), Hariyali Aur Raasta (’62) and Anpadh (’62), that won her lasting fame.
In 1963, with the role of a straying wife in Gumraah and the buffoon’s wife in Bahurani, she made it to the A-list. Her other films like —Himalaya Ki God Mein (’65), Aasra (’66) and Do Kaliyan (’68) were big hits too.
Other well-known films of Mala Sinha include Bimal Roy's Apradi Kaun, Ujala (1959),Jaasaaz [1959] Love Marriage (1959), , Maya (1961), Dil Tera Deewana (1962), Apne Hue Paraye (1964), Mere Huzoor (1968), Geet (1970) and Lalkar (1972).
Mala Sinha had even turned down the Dilip Kumar starrer Ram Aur Shyam as she felt the heroine's role was not pivotal, and also B.R.Chopra’s Waqt where she refused to wear a revealing costume in the film[the role went to Sadhana]. But she willingly worked with lesser names as long as she was the central figure. She scored heavily in films like Humsaya (1968), Do Kaliyan (1968) and Ankhen (1968). By now there were also reports to suggest, she had become a diva.
When the late 60s dictated a rise in the glamour quotient required from heroines, the adaptable Mala acted in films like Aankhen and Maryada. Though well into her 30s, she continued with leading roles into the 1970s pairing with the younger lot of heroes -, Sanjeev Kumar (Kangan (1971)), Rajesh Khanna (Maryada (1971)) and Amitabh Bachchan (Sanjog (1971)) but by now her career as a leading lady was in its last stages. She switched to character roles with films like Rakesh Roshan's Khel 1992 and Zid [1994].
Today Mala Sinha, lives contentedly in retirement in her lavish bungalow at Bandra.
Her greatest achievement lies in holding high, in tumultuous times, the torch of the `women’s picture’.
WRITTEN BY: RAJESH V. GAUR and SUNEEL V. GAUR
