| 1 | '''Nargis (1929-81)''' |
| 2 | |
| 3 | |
| 4 | Hindi-Urdu megastar born in Allahabad as |
| 5 | Fatima A. Rashid. Daughter of actress, singer |
| 6 | and film-maker Jaddanbai who introduced her |
| 7 | to films aged 5 as Baby Rani in Sangeet Films’ |
| 8 | Talash-e-Haq. Early films with Mehboob |
| 9 | including her first lead role in Taqdeer and as |
| 10 | Hamida Bano in Humayun. Best known as |
| 11 | Raj Kapoor’s romantic lead in some of Indian |
| 12 | cinema’s most enduring melodramas: Barsaat, |
| 13 | Andaz, Awara, Shri 420, and Anhonee in |
| 14 | which she played a double role. Kapoor used a |
| 15 | suggestive image from their Barsaat as the |
| 16 | emblem for his R.K. Films. Both Kapoor and |
| 17 | Mehboob in their later films built upon her |
| 18 | early screen image in historicals and |
| 19 | indigenised Shakespearean love tragedies (e.g. |
| 20 | the Kamal Amrohi-scripted Romeo and Juliet) |
| 21 | where she was often presented as the femme |
| 22 | fatale doomed to destruction by her beauty, an |
| 23 | updated version of a stereotype from Islamic |
| 24 | literature and music. Her performances in e.g. |
| 25 | Babul and Jogan also remained the model for |
| 26 | that stereotype. From the beginning, Nargis’s |
| 27 | performances were authentic to a degree |
| 28 | unprecedented in Indian cinema, giving the |
| 29 | Imperial and Sagar Studios’ Arabian Nights |
| 30 | fantasies new layers of meaning. Mehboob |
| 31 | used her as the pivotal figure in his attempts to |
| 32 | merge the symbologies of feudal patriarchy |
| 33 | into those of capitalism (Andaz) while Raj |
| 34 | Kapoor injected Oedipal impulses into his |
| 35 | encounters with ‘tradition’. The pinnacle of her |
| 36 | career was Mother India, an epic pot-pourri |
| 37 | of psychoanalytic, historic and technological |
| 38 | symbols condensing the All-India Film’s post- |
| 39 | WW2 nationalist sentiment. Turned producer |
| 40 | with Nargis Art, producing films directed by |
| 41 | Akhtar Hussain. Married actor Sunil Dutt |
| 42 | (1959) who played her son in Mother India. |
| 43 | Then virtually retired but remained an |
| 44 | important public figure, becoming a Congress |
| 45 | (I) MP in the early 80s, at one time using that |
| 46 | platform for a scathing attack on Satyajit Ray’s |
| 47 | films for exporting images of India’s poverty. |
| 48 | She was much honoured by the Indian and |
| 49 | Soviet governments. Died of cancer shortly |
| 50 | after seeing her and Sunil Dutt’s son, Sanjay, in |
| 51 | his screen début in Rocky (1981). |
| 52 | |
| 53 | |
| 54 | '''FILMOGRAPHY''' (* as Baby Rani): 1934: |
| 55 | Naachwali*; 1935: Talash-e-Haq*; 1936: |
| 56 | Hridaya Manthan*; Madam Fashion*; 1937: |
| 57 | Moti Ka Haar*; 1942: Tamanna; |
| 58 | Pardanasheen; 1943: Taqdeer; 1944: Anban; |
| 59 | Ismat; 1945: Biswi Sadi; Humayun; |
| 60 | Ramayani; 1946: Nargis; 1947: Mehndi; |
| 61 | Romeo and Juliet; 1948: Aag; Anjuman; |
| 62 | Anokha Pyar; Mela; 1949: Andaz; Barsaat; |
| 63 | Darogaji; Lahore; Rumal; 1950: Adhi Raat; |
| 64 | Babul; Bhishma Pratigya; Birha Ki Raat; |
| 65 | Chhoti Bhabhi; Jaan Pehchan; Jogan; Khel; |
| 66 | Meena Bazaar; Pyar; 1951: Awara; Deedar; |
| 67 | Hulchul; Pyar Ki Baatein; Sagar; 1952: Amber; |
| 68 | Anhonee; Ashiana; Bewafa; Sheesha; 1953: |
| 69 | Aah; Dhun; Pehli Shaadi; Paapi; 1954: |
| 70 | Angarey; 1955: Shri 420; 1956: Chori Chori; |
| 71 | Jagte Raho/Ek Din Raatre; 1957: Miss |
| 72 | India; Mother India; Pardesi; 1958: Adalat; |
| 73 | Ghar Sansar; Lajwanti; 1967: Raat Aur Din. |
| 74 | |
| 75 | [[Actor]] |