Did Nagin (1954) mark your entry into Hindi films?
After AVM’s Bahar became a success in multiple languages, S Mukherjee sent director Nandlal Jaswantlal to sign me for Nagin. Its massive success led to many film offers from Bombay.
What was it like shooting Nagin?
Director Nandlal preferred close-ups and would instruct me to keep my eyes half-closed for a dreamy effect. It was challenging, but I enjoyed the process.
How did Devdas (1955) influence your career?
Devdas changed how people viewed me as more than just a dancer. Bimal Roy brought out the emotional depth in my portrayal of Chandramukhi.
How did your dance background help in acting?
Dance helped convey subtle emotions. As Natyashastra teaches, “The tear should be in the eyes of the beholder, not the dancer.”
What was your experience working with Bimal Roy?
Bimalda was a gentle genius. He had a great eye for cinematic detail and framing. He allowed creative freedom, especially in Madhumati.
Did you interact with Suchitra Sen during Devdas?
No, we didn’t share a scene directly, though there’s one shot where our characters pass and exchange looks. It’s a beautifully crafted moment.
Tell us about your song in Madhumati.
For Ghadi Ghadi Mera Dil Dhadke, I choreographed the movements myself—running like a deer to reflect the character’s innocence.
How was it working with Dilip Kumar?
A career highlight! We starred in seven films together, including Ganga Jumna and Sangam. He was a remarkable co-star.
You were known for being private. Why?
I never socialized much. I preferred spending my time practicing dance. I had no interest in mingling beyond professional life.
Was it difficult to quit films at your peak?
I left films in 1968 after marrying Dr. Bali and later moved to Madras in 1974 after my son was born. Parting with my dance students was the hardest part.
How important is dance in your spiritual journey?
Dance is my path to moksha. It’s a form of devotion. Like Madhumati dealt with reincarnation, I believe dance connects me to the divine.
