Impish, flirtatious, pouty and perky….one way or the other Nimmi was the unique Mumtaz and Aruna Irani, if that makes any sense.
Vivacity got here naturally to Nimmi. It wasn’t a trait she cultivated. It was a part of her DNA. That’s why they solid her repeatedly because the chulbuli gao ki gori or the rebellious lady who received’t kick off her excessive heels at a kirtan sammellan.
Nimmi’s passing away is, frankly, of little relevance to cinematic historical past. Among the many nice classical actresses of her time she was by no means a topnotch participant, by no means within the league of her edified contemporaries like Nargis, Meena Kumari, and Madhubala.
The formidable filmmaker Mehboob Khan solid her repeatedly in his movies. In considered one of her best-known roles in Mehboob Khan’s Amar Nimmi was solid as a rape survivor. It was a job no one other main actress of the time would contact. Legend has that Madhubala was provided the selection of each the feminine leads in Amar by Mehboob Khan. She mentioned a flat no to the function of the illiterate village lady who will get raped by Dilip Kumar and as a substitute performed the educated refined lady who will get justice for the wronged rape sufferer.
“It was by no means concerning the ‘appropriate’ function or the dimensions of the function for Nimmiji. She was at all times forward of her time. She was gutsy and rebellious sufficient to tackle roles different extra typical actresses wouldn’t dare and he or she excelled in them,” says filmmaker Sanjay Leela Bhansali who needs he might work together with her. “However I did work with considered one of Nimmiji’s closest mates Begum Para in Saawariya and it was a pleasant expertise.”
The enduring Lata Mangeshkar who has ghost-voiced many songs for Nimmi remembers her as spirited and sociable. “She was well-read vigorous and enjoyable to be with. I first met her when Raj Kapoor Saab solid her in Barsaat in 1949. All of us change into one group of pushed dedicated fun-loving artists—Raj Saab, Nargisji, Nimmi, (music composers) Shankar-Jaikishan, (lyricist) Shailendra, (lyricist) Hasrat Jaipuri, Mukesh Bhaiyya(singer Mukesh)…throughout Barsaat.”
Lataji remembers Nimmi emoting to considered one of her most beloved songs of all instances. “In Barsaat the music Jiya beqaraar hai chayee bahaar aaja morey balma tera intezar hai was a super-hit. And Nimmiji did full justice to it. She was the portrait of a younger lady in love. The title music Barsaat mein humse miley tum sajan tumse miley hum was additionally filmed on her. And once more she did full justice to my voice.”
Lataji additionally remembers Nimmi emoting to considered one of her most favorite songs of all instances. “In Mehboob Saab’s Amar I sang what I take into account considered one of my greatest written and composed songs Na milta gham toh barbadi ke aphsane kahaan jaate…It’s a very troublesome music to venture on the display. However Nimmiji did. Unko mera salaam.”
Nimmi’s most memorable movies embody Barsaat, Sazaa (wherein she for a change, she performed the lead, and emoted to the immortal music Tum na jaane kis jahan mein kho gaye), Aan, Daag, Mere Mehboob and Basant Bahar. She was final seen in Ok Asif’s posthumous Love & God which took a grueling 23 years to be accomplished. This re-telling of the Laila-Majnu love-legend was began with Nimmi and Guru Dutt who died halfway and was changed by Sanjeev Kumar. Then he too died.
“Laila lived however Majnu saved dying,” Nimmi as soon as joked after which broke into her full-throated laughter.
And now Laila too is gone. Nimmi beloved to sing. However sang for herself solely as soon as in a 1951 movie Bedardi. The music Nanadiya jane na de was composed by Roshan.