BALRAJ SAHNI (1913-73)
Born in Rawalpindi (now Pakistan), and the best-known film actor to emerge from the post-WW2 Left cultural movements. Studied at the Government College of Lahore, graduating in literature. Started writing poetry in English and involved in ·realist' theatre, absorbing the then prevalent d~sire for both nationalism and Westernisation. Married Damayanti who was a noted theatre actress. Taugl1t Hindi and English at Shaminiketan. Wrote his first compilation of Hindi fiction. Sbahzadonka Drink (1936). Worked as a journalist and briefly as radio announcer for the BBC's Hindi service. Started the Jfonday Jfoming journal in D~lhi. Went to Bombay (1947) and became a key figure in IPTA plays; also director and lead actor in Zubeida (by Abbas) and The Inspector General (both 1944). Ran the Juhu Art Theatre group in the 1960s. After a walk on part in Phani Majumdar's InsaaJ: starred in Abbas's first film, Dharti Ke Lal. Damayanti died in the late 40s and Sahni later married Samosh. Made his reputation as the displaced rickshaw-puller in Bimal Roy's Do Bigba Zameen, continuing the neo-realist style he had adopted for Dharti Ke La!. In . Garam Coat he gave the classic performance of the displaced person as represented in the writings of Rajinder Singh Bedi and Krishan Chander. He embodied the tragedy of the peopl~ of Punjab (partitioned during Independence) and the ethnic groups of the 'lorth West Frontier (e.g. the Pathans) so effectively that his very presence came to signify a host of historical connotations, as in Kabuliwala, in Sane Ki Chidiya where he plays a radical poet and defender of the rights of film extras, or in the war movie Haqeeqat where his acting inflected the film's nationalist chauvinism, and in the Agra-based story Garam Hawa. Wrote the story and dialogues of Guru Dutt'sBaazi (1951). Wrote extensively on many issues, including novels and an autobiography (1971). Remained a Left activist throughout his life and was part of cultural delegations to the Soviet Union and to China. Communist leader P.C. Joshi compiled the book Balraj Sahni: An Intimate Portrait (1974) with Salmi's writings and speeches in addition to Joshi's own recollections of the radical theatre movement.
FILMOGRAPHY(* also d) 1946: Dharti Ke Lal; Insaaf; 1947: Gudiya; 1948: Gunjan; 1951: Humlog; Maldar, 1952: Badnaam; Rabi; 1953: Akash: Do Bigha Zameen; 1954: Au/ad; Bazooband; Chalis Baba Ek Cbor, Jhljboori; 1955: Garam Coat; jau.:ab; joru Ka Bhai; Seema; Tangeu·ali; Vachan; Era Bator Sur: 1956: Taksaal; 1957: Lal Batti*; Pardesi; Bbabhi; Do Roti; Katbputli; Krishna Sudama; Jfai Baap; "Hamata; 1958: Devar Bbabhi: Ghar Grihasthi; Ghar Sansm~ Khazanchi; Lajwanti; Naya Kadam; Sane Ki Cbidiya; 1959: Black Cat; Chand: Chhoti Baheu; CID Girl: Heera Moti; Satta Bazaar; 1960: Auuradba; Bindiya; Dil Bhi Tem Hum Bhi Terl.'; Nai :Hera; 1961: Bhabbi Ki Cbudiyan; Kabuliwala; Sapan Suhane; Suhaag Sindoor; 1962: Anpadb; Shadi; 1963: Akela; 1964: Punar Milan; Haqeeqat; Main Bhi Ladki Huon; 1965: Fa raw~ Waqt: Dak Ghar, 1966: Aaye Din Bahar Ki". Aasra; Laadla: ,veeml Hamari Khwah Tumhare; Pinjre Ke Panchhi; 1967: Aman; Hamraaz; 1\'a;.mibal; 1968 Aabroo; f)uniya; Izzat; Nee/ Kamal; Sangbm·sb; 1969: Do Raaste; Ek Pbool Do Muff; Hum Ek Jfain; Namnha Farishta; Talash; 1970: Dharti; Ghar Ghar Ki Kahani; Holi Aayee Re; Mere Humsafar Naya Raasta; Pavitra Papi; Pehchan; 1971: jawan /vfobabbat; Paraya Dhan: 1972: jungle Mein iHarzgal; jau·ani Diu:ani; Shayar-e-Kashmir Mahjoor; 1973: Chimrzi Ka Dhuan; Daman Aur Aag Garam Hawa: Hanste Zakhm: Hindustcm Ki Kasam; Pyar Ka Rishta; 1975: Amanat.