Like a million men before me, I fell in love with Waheeda Rehman at age 21. If you’ve watched her movies, especially the early ones, I don’t have to tell you why. Among other things, I think I particularly fell for the way her luxuriant hair seemed to grow all the way past the temples from the sides of her forehead.
There’s so much about Waheeda Rehman on the net and on other blogs that there is scarcely anything original for me to write about. I knew from early on that her origins lay down south. On a visit to the leather industry town of Ranipet many years ago my aunt proudly spoke of her as a ‘Ranipettai girl’. This, I realised only recently, was slightly off the mark for she was actually born in the neighbouring district town of Chengalpattu, or Chingleput as it was known in her time. Minor inaccuracies apart, the fact is that life took her a long way across the Palar, the river that flows past both Ranipet and Chengalpattu en route to the Bay of Bengal. (I imagine that it carried a lot more water seventy years ago than it does today. Industry has killed this river but we’ll talk about it another day.)
Like Vyjayanthimala (see earlier post), her illustrious peer from the south, Waheeda Rehman was a skilled danseuse who put her skills to good use. Unlike her, however, she did not act in a single Tamil (or Malayalam or Kannada) movie even though her career originated in Telugu filmdom in Chennai. (There being no Ramoji Rao Film City in the early 1950s, and the Nizam having become the ex-Nizam, Hyderabad had only the Char Minar.) This was, of course, before she was whisked away, barely two films old, to Bombay by Guru Dutt.
Despite her long innings and rich repertoire as a leading lady it is in the early part of her career that I count my favourite characters. The novitiate debutante brings to the screen a certain energy that remains unmatched in its naivete and freshness. So here we go as Gulabo the prostitute, all grace and risqué elegance, seduces the pensive poet, Vijay, in Pyaasa:
The song was probably shot on a set but the tall columns tend to remind me of the curved stretch between the Mumbai Samachar building and the Central Asiatic Library at Horniman Circle in Mumbai.
Meanwhile, in this evergreen number from Bees Saal Baad, Waheeda is the classic village belle, lively, teasing and coy at the same time, being sung to by Biswajeet:
My favourite song from Bees Saal Baad is actually the hummable Beqarar karke humein yoon na jaiye. Incidentally, this is the song that we find Amitav Ghosh humming to himself as he walks down London Bridge in The Shadow Lines, surprised at having picked on it for he ‘never had the record’. Zara nazron se kehdoji is visually more pleasing though.
Considering that her latest film release was Delhi – 6 earlier this year, it is evident that Waheeda Rehman has enjoyed a remarkably lengthy professional run for a female actor in Indian moviedom. Indeed, from Bharatnatyam-loving daughter of a liberal Muslim father to peerless veteran, this lady has travelled a long way.
Is Boost the secret of your energy, Waheedaji?
There’s so much about Waheeda Rehman on the net and on other blogs that there is scarcely anything original for me to write about. I knew from early on that her origins lay down south. On a visit to the leather industry town of Ranipet many years ago my aunt proudly spoke of her as a ‘Ranipettai girl’. This, I realised only recently, was slightly off the mark for she was actually born in the neighbouring district town of Chengalpattu, or Chingleput as it was known in her time. Minor inaccuracies apart, the fact is that life took her a long way across the Palar, the river that flows past both Ranipet and Chengalpattu en route to the Bay of Bengal. (I imagine that it carried a lot more water seventy years ago than it does today. Industry has killed this river but we’ll talk about it another day.)
Like Vyjayanthimala (see earlier post), her illustrious peer from the south, Waheeda Rehman was a skilled danseuse who put her skills to good use. Unlike her, however, she did not act in a single Tamil (or Malayalam or Kannada) movie even though her career originated in Telugu filmdom in Chennai. (There being no Ramoji Rao Film City in the early 1950s, and the Nizam having become the ex-Nizam, Hyderabad had only the Char Minar.) This was, of course, before she was whisked away, barely two films old, to Bombay by Guru Dutt.
Despite her long innings and rich repertoire as a leading lady it is in the early part of her career that I count my favourite characters. The novitiate debutante brings to the screen a certain energy that remains unmatched in its naivete and freshness. So here we go as Gulabo the prostitute, all grace and risqué elegance, seduces the pensive poet, Vijay, in Pyaasa:
The song was probably shot on a set but the tall columns tend to remind me of the curved stretch between the Mumbai Samachar building and the Central Asiatic Library at Horniman Circle in Mumbai.
Meanwhile, in this evergreen number from Bees Saal Baad, Waheeda is the classic village belle, lively, teasing and coy at the same time, being sung to by Biswajeet:
My favourite song from Bees Saal Baad is actually the hummable Beqarar karke humein yoon na jaiye. Incidentally, this is the song that we find Amitav Ghosh humming to himself as he walks down London Bridge in The Shadow Lines, surprised at having picked on it for he ‘never had the record’. Zara nazron se kehdoji is visually more pleasing though.
Considering that her latest film release was Delhi – 6 earlier this year, it is evident that Waheeda Rehman has enjoyed a remarkably lengthy professional run for a female actor in Indian moviedom. Indeed, from Bharatnatyam-loving daughter of a liberal Muslim father to peerless veteran, this lady has travelled a long way.
Is Boost the secret of your energy, Waheedaji?