Flashback: Filmfare's last interview with the late actress Nimmi

<pre><pre>Flashback: Filmfare's last interview with the late actress Nimmi

A recent photo of Nimmi, with her husband and writer S Ali Raza (above) and with Kishore Kumar in Bhai Bhai (below)

Girls talk

He later did Amar de Mehboob Khan (1954) where he played a milkmaid raped by a lawyer (Dilip Kumar). Narrating an incident regarding Meena Kumari, who would initially be part of Amar. She says: “One day at Central Studio, I found Meena Kumari sitting on a bench crying. "I wanted to make this movie," he said. "Meenaji was slated to play the role of Madhubala in Amar, but his dates collided with the Kamal Amrohi Saab movie." Years later, Nimmi made Char Dil Char Rahen (1959) with the actress. Although she says "Sabse zyada dosti Nargis se thi,quot;, Nimmi also shared a warm equation with others. "There was a rule that no one could sit in Madhubala's chair. But one day, during the filming of Amar, I sat on it. My maid elbowed me saying:" She has come, get up! "Seeing me, Madhubala said, "Sit down. We became friends. Her skin was velvety. She had a long Iranian nose. She was tall and had beautiful hands and feet. Her eyes were ordinary but her smile was extraordinary. The lipstick suited her," she says. of the actress.

The Dilip Kumar saga

Like others, Nimmi was also impressed by the acting skills of the famous Dilip Kumar. “He internalized a scene. So his shot seemed natural. He had academic knowledge of all subjects. He could express things beautifully. It's a miracle of nature. "The duo made five movies together in the 1950s, Aan, Amar, Deedar, Daag, and Uran Khatola. While their unfortunate love on screen captivated audiences, off-screen there were also rumors that They linked them. She explains the "attractiveness of his personality,quot;, "God has blessed Dilip saab with a maqnatis (magnet). Everyone was attracted to him. In fact, a maharani was willing to leave her to be with him. I will not deny that I was also attracted to him. Mujhe bhi woh bahut pasand the. Unke aashiq hum bhi the. I was also his fan, ”she says. "Beautiful women, like Madhubala and others, were in love with him. How could I be on par with them? I would have been heartbroken if I had wanted something unattainable. I stayed away from any such thoughts.
She explains: “Once we were filming a scene for Aan where I, sitting on a horse, had to throw a sword at Dilip Saab. The point of the sword hurt him. Excuse me. But in his poetic style he said: "Hum sochenge zindagi mein ek chot aur khayee (I will consider it as another wound in life)". Hearing this, any girl would have been shot down. That night I also kept thinking about it. I am not an angel, I am human after all. But I recovered thinking: how can you love me? I'm so ordinary. "His realistic posture, he insists, is why he enjoys a,quot; beautiful friendship with him and Saira Banu "today.

Years later
As for the career, an ambitious Nimmi produced the film Danka (1954). Kundan (1955) with Sunil Dutt, gave her a double role as mother and daughter. But in the 1960s, some wrong choices hurt his career. She rejected movies like Sadhna by BR Chopra and Woh Kaun Thi by Raj Khosla? both did wonders for Vyjayanthimala and Sadhana respectively. Mujh pe shaadi ka bhoot sawaar tha. I turned down the movies in hopes of getting married. I even rejected Saraswati Chandra even though my costumes were ready ”, confesses the actor who was in love with the writer S Ali Raza, who had written the dialogue for his Barsaat, Aan and Amar. “Raza Saab wanted to become a filmmaker. He wanted to prove himself before marrying me. She was also offered leadership in Mere Mehboob, but she opted for the role of the sister believing that it was more important. With actors like Sadhana, Nanda, Asha Parekh, Saira Banu, and Mala Sinha moving forward, Nimmi opted for unconventional roles such as that of the blind girl in Pooja Ke Phool (1964) and Ashok Kumar's silent wife in Akashdeep (1965), who it was technically his last movie.

A film that remains important to his career, though for other reasons, is K Asif’s Love And God (1986). It took 26 years to complete it. "Love and God first shot in black and white with Bharat Bhushan. But later, Mughal-E-Azam took precedence. Then it restarted with Guru Dutt. For seven years it remained in the cans. Then Guru Dutt passed away. So Asif Saab took Sanjeev Kumar. But then Asif Saab passed away. It was later heavily edited. The final print seemed like a cut-and-paste job, ”he laments.

MARRIAGE and more
She gives a realistic perspective on her marriage. “No husband performs aarti for his wife, whether you are Queen Elizabeth or a star. You have to nibhao. Khushi and Ranjh are part of life. Not that I have never felt sad. I lost the job. Reza saab used to write during the day and at night enjoyed her drinks with her friends. Principal bewakoof ne kaam chodh diya tha. But I enjoyed taking care of my bungalow in Worli. "However, she never stopped dreaming." I wanted to launch my production house.
He wanted Raza Saab to be a director like Kamal Saab.

I was ambitious, he was just the opposite. But eventually I quit. I didn't want any problems in my marriage. "Later, the couple moved to an apartment in Juhu." Here they diagnosed him with blocked arteries. Raza Saab passed away in 2007. "The couple had no children. But she has been the mother of her sister's son. “My younger sister passed away young. Her last wish was that she raise her son. So I brought Parvez here from Pakistan, ”shares Nimmi, whose Barsaat was to be released at the time. "He now lives in the UK with his family," says Nimmi revealing the most laudable role in his life.



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