Remembering the Goddess of Tragedy

31st March 1972

A red-letter day for Indian Cinema..... a day Indian Cinema would not forget it a hurry.

It was a day that opened up sunny and warm... and ended up with deep black clouds of pain and sadness, filled with tears of a lifetime, hanging on it's brows. The tears would not stop and why should they have stopped - the one they called the greatest tragedienne of Hindustani cinema had finally left the abode of Cinema for her new abode somewhere up there - in the skies....

Meena Kumari - the legendary Meena Kumari was no more.

Some said Talent was no more, others said Emotions were no more.... maybe those words were hyperbole but the truth was that the one who could so heartbreakingly define pain and love was no more.

The world sensed the pain of the separation and her last film - Pakeezah rocked to the top of charts - like a final farewell of a departing lover, like the final tears of an unforgettable affair, like the final words of an unwilling heart and then ....then... there was silence and the silence continues unabated.

But the fact remains - look into those deep eyes - they will tell - was there anyone who could look so heart-achingly beautiful with tears in her eyes, was there anyone who could translate grief into resonating and pulsating intonations of a dialogue delivered through tears?

No... there was only one Meena Kumari - there have been many other actresses - some good, some better but there could be no second Meena. She was one of a class and her death ended a sort of umbilical cord of the time when a look, a twitching of the eyes, a curling of a hair meant a lot.

What should I write about Meena? She is one who epitomized pain and made it look cathartic.... she made you feel that the pain you felt was nothing but a stoic reminder of how much you could bear - a silent reminder of your own inner strength and fortitude

I can just close my eyes and feel her shouting her frustration - the frustration of a deeply conservative Hindu wife of the early 20th century voicing her pain and anguish in measured tones to a shameless Rehman in one of the greatest classics of Hindustani Cinema, Sahib Bibi Aur Ghulam: Kyaa Kabhi Pee Hai Kissi Hindu Ghar Ki Bahu Ne Sharaab?

The words define the performance .... and of course as on cue, you have one of the best Geeta Dutt numbers to add pain to the feeling ....

Koi Door Se Aawaaz De, Chale Aao!

And then there is that one song that describes the feelings of sexual desire in so beautiful terms.... Again Geeta Dutt in her sweet velvety voice....

Piyaa Aiso Jiyaa Mein Samaayee Gayo Re
Ke Mai Tan Man Ki Suddh-Budhh Ganvaa Baitthi
Har Aahaat Pe Samjhoon Hoon Aai Gayo Raho
Jhat Ghungataa Mein Mukhdaa Chuppa Baitthi

And this was just one of her many powerful portrayals .... whether it was Sahib Bibi Aur Ghulam (1962), Pakeezah (1972), Daera (1953), Sharda (1957), Parineeta (1954), Phool Aur Pathar (1966) or Baiju Bawra (1953), Meena Kumari carried the film and the story on her strong shoulders - shoulders that would never droop nor would they tire।

It's testimony to her greatness that even though she had started doing character roles since the early 70s, till the end, roles were specifically written for her and even in supporting roles she often decided the flow of the film ..... a good example would be Mere Apne (1971) and Dushman (1971) where though she was not in the lead, she was definitely the soul of the movie.

It's sad that though both Dilip Kumar and Meena Kumari were acknowledged masters of tragedy, they never matched each other in tragic roles - Meena rejected offers as strong as Mughal-E-Azam (1960) and Amar (1955) ..... (There is also a grapevine that insists she rejected the greatest film ever made in India - Mother India (1957) but that's another story)

The only time they came together for a tragic movie, the result was sheer magic - Zia Sarhady did the impossible when he managed to have both Meena and Dilip together for his path-breaking socio-tragic commentary on a falling dream of an independent India in Footpath (1957) - one should watch that movie to see sheer charisma unravel

Of course, on the way there were some of the greatest comedies ever - Kohinoor (1960) with Dilip Kumar, Miss Mary (1959) with Kishore Kumar that give credence to the fact that this tragedienne had great comic timing as well - and romance....?

Well..... who can forget the Dilip Kumar - Meena Kumari starrer Azaad? And that beautiful romantic duet sung by C Ramachandra and Lata Mangeshkar

Kitnaa Haseen Hai Mausam, Kitnaa Hasen Safar Hai
Saathi Hai Khoob-Soorat, Ye Mousam Ko Bhi Khabar Hai

Mind-blowing! That's magic....

About her relationship with Kamal Amrohi, I won't say a word - let it remain as it is - a story of two people who loved each other deeply but also were victims of an ego that refused to let go.... She was a great actress; he a great writer.... the irony was that in their togetherness they could have created magic together - the truth was that in their togetherness, they destroyed each other ......

As Gulzar said long after in a song in another landmark movie.....

Bahot Khoob-Soorat Hai Har Baat Lekin Agar Dil Bhi Hota! To Kya Baat Hoti
Likhi Jaati Phir Daastaan-E-Mohabbat, Ek Afsaane Jaise Shuruvaat Hoti

To no one does this signify more, than the most unfortunate marriage that ever was - the love was true ... but so was the ego

So here's to the great Meena Kumari - a modest self-effacing personality who being a good poet herself wrote the following lines for her own life-story

Tum Kyaa Karoge Sunakar Mujhse Meri Kahaani
Be-Lutf Zindagi Ke Qisse Hain Pheeke Pheeke

Meena will always be remembered and if there is someplace where she can hear me, let me tell her you are not forgotten neither was your life 'Be-lutf'.... it was anything but 'Be-lutf'

Tumko Naa Hum Bhool Paayenge.....

Lord Voldemort II