DEVIKA RANI — TIMELESS TITAN (1908-1994)
She held Greta Garbo's palette but that was just the beginning. She went on to become the flavor of international and cinematic palettes.
Movies make magic. We agree. Especially when we talk about Devika Rani, who is popular for her sobriquet as the 'first lady of Indian cinema'. An actress-par-excellence, she drew millions, with her enchanting beauty and vulnerability. 'A magical flower of romance', is how Sarojini Naidu described her. Why not? The magic that she cast on the audience, spread over the globe, and her presence on screen has not yet been matched.
The grandniece of Rabindranath Tagore, Devika Rani was born into an upper crust Indo-Anglican family on March, 30 1908 at Waltair (Madras). Her father was Colonel M.N.Chaudhuri who had the distinction of being the first Indian surgeon general.
As a child, Devika was a brilliant student and showed great promise. Tagore saw a bright future for her and described her as "a bud in the sunshine." Tagore, therefore, advised her parents to encourage the flowering of her talent. So as a teenager, Devika was sent to England on a scholarship to study Architecture. On completing her Diploma in Architecture, she was immediately absorbed as a costume designer by Bruce Wolfe, on English film producer.
Her maiden venture, the unforgettable movie, 'Karma', received on overwhelming response when it premiered at Marble Arch Pavilion, London . Interestingly, it was Himanshu Rai's (he went on to marry her) last screen appearance as a hero. 'Karma' ran for eight months and was well received by the English audience. Rai met her in London while she was still a student at the Royal Academy of Dramatic Arts. He later invited her to India to work with him in his film company, designing costumes for his movie - 'The Light Of Asia', in 1925. Later, love blossomed between the two, when Himanshu Rai cast Devika Rani in his next film 'Shiraz', in collaboration with UFA of Germany and British Instructional Films of England. They worked together even during the making of A Throw of Dice.' The duo planned to get married, while shooting among the temples and architectural monuments of South India . The year was 1929, and their visit to Germany was a business trip as well as a planned honeymoon. Here the duo did further study in the craft of film making, at the prestigious UFA studios.
Devika Rani went on to take a course in acting from the London School of Drama, under the famous producer, Max Reinhardt. In fact, within a short span of time, she acquired all the necessary skills of filmmaking.
In 1934, Devika Rani and Rai came back to India and founded the Bombay Talkies, which launched, produced and released a series of highly successful films in the 30s and 40s. Devika Rani not only played the female lead in all these movies till the end, but she also assisted her husband in controlling the production work of the company. Franz Osten, a German filmmaker, directed all the movies. Niranjan Pal, a writer who worked with Rai in 'The Light of Asia', later joined Bombay Talkies.
'Jowani Ki Hawa' (1935) was the first Bombay Talkies movie. She played the female lead, while Nojam-ul-Hassan played the mole lead. It was followed by 'Mamata' and 'Always Tell Your Wife', subtitled 'Miyo Biwi' (comedy) the next year. After this come the biggest hit 'Jeevan Naiyo' that gave the Indian screen one of its first major stars - Ashok Kumar. The next film, Achut Konyo', based on a story titled, 'The Level Crossing' by Niranjan Pal, immortalized Devika Rani in the annals of Indian Cinema. Saraswathidevi's (pseudonym of Khoshed Minocher-Homji — one of the Homji sisters who entered the film industry) music coupled with Devika Rani's acting, stole the show.
'Janam Bhoomi', 'Izzaf and 'Savitri' came next. Devika was cresting the wave of success and their company, Bombay Talkies became a prestigious name in Bollywood. Her last movie was 'Homari Boat' opposite Jairoj.
Besides making Ashok Kumar a star, Devika Rani also holds the distinction of introducing Dilip Kumar to the film industry. The thespian, recalling his first meeting with Devika Rani says, "My meeting with her was quite accidental. I was in Nainital on a business trip, when I bumped into her as she had come there on location hunting along with her director, Amiya Chakravarty. One look at me, and she immediately offered me her visiting card and invited me to meet her when I was back in Bombay. Full of excitement, no sooner did I land in Bombay, I first went to her studio. But imagine my shock, when I realized it was a Sunday and the office was closed. However, the next day I got a chance to meet her, and she immediately appointed me, on a salary of Rs 500/- per month. With her blessings, I began my journey into filmdom with the movie 'Jwar Bhata'”.
During her tenure as the reigning heroine, Devika Rani had to bear the brunt of yellow journalism such as rumors regarding her relationship with Najmun-ul-Hassan, during the shooting of the movie, 'Jeevan Naiya'.
After the death of Himanshu Rai in 1940, Devika Rani took over Bombay Talkies and tried to maintain the high standards of the company. Some years later, Devika Rani left, leaving Bombay Talkies in a financial mess. Ashok Kumar and his teammates bought Bombay Talkies and produced 'Majboor', 'Mahal', 'Mashaal', 'Ziddi' and other such classics. Eventually it had to be closed down.
In 1945, after marrying the Indian domiciled Russian artist, Dr Svetoslav Roerich, she bid adieu to tinsel town, settling in her spacious bungalow in Bangalore . Besides working with several cultural organizations, Devika Rani also worked with the Censor Board for sometime. Besides the Soviet Land Nehru Award and the Jubilee Medal of the Bulgarian People's Republic, she also received special medal from Indira Gandhi in 1981, instituted by the Indian Academy of Motion Picture Art & Science, in recognition of her contribution to Indian Motion Pictures.
The Government of India honored her as the first recipient of the Dado Saheb Phaike Award, for her 'outstanding services to the film industry', in 1970. And last but not the least she was honored with the title of - 'First Lady of Indian Screen', an honor that was later bestowed on Nargis Dutt.
Despite leading a royal life, Devika Rani had to lead her last few years in bitterness and agony, fighting tooth and nail to save her bungalow, which was a topic for controversy. Nevertheless, she did not budge from her bungalow until her demise in 1994.
Today, Devika Rani rests in peace, in on open field at Nagar in Kullu Volley. Above her lies a slab with the inscription -'Devika Rani, Achut Kanyo'. Apt for the star who had reached unreachable heights indeed!
Sunday Pictorial – "She was one of the most delicately glamorous cinema stars we have ever seen".
News Chronicle raved that she was gifted with handsome features, eloquent eyes and a voice capable of subtle modulation, and that she totally eclipsed ordinary film stars.
"Devika Rani's large, velvety eyes can express every emotion. Her expressive mouth needs no words to convey its meaning. Culture is her birthright", announced The Era .
According to the Daily Despatch, Devika Rani was just about the loveliest woman who had graced the screen. "She is so lovely that she puts the stereotyped charms of Hollywood Blondes completely in the shade".
Birmingham Post wrote reams on her lyrical grace and charm, while The Star exhorted the filmgoers to go and hear the English spoken by her. "You will never hear a lovelier voice of diction. Or see a lovelier face. Devika Rani has a singular beauty which will dazzle all London". And to top it all, The Morning Post certified her, 'The Greatest Star the talking films have yet produced'.
1. KARMA (1933)
2. JAWANI KI HAWA (1935)
3. JEEVAN NAIYA (1935)
4. ACHUTKANYA (1936)
5. JANAM BHOOMI (1936)
6. MAMTA (1935)
7. MIYABIWI (1935)
8. IZZAT (1937)
9. JEEVAN PRABHAT (1937)
10. PREMKAHANI (1937)
11. SAVITRI (1937)
12. NIRMALA (1938)
13. VACHAN (1938)
14. DURGA (1939)
15. ANJAM (1941)
16. HAMARIBAAT (1943)
(Excerpts from: M.A.KHAN
RAVE, NOVEMBER 2002
VOL. 1, ISSUE 9)
