From Bharatanatyam Prodigy to Bollywood’s First Female Superstar
Born into an orthodox Tamil Brahmin Iyengar family in Chennai, Vyjayanthimala defied tradition to become Bollywood’s first female superstar. A Bharatanatyam dancer turned actress, she transitioned from Tamil cinema to Hindi films, dominating the 1950s and 60s with her versatile performances. Her commanding presence rivaled contemporaries like Meena Kumari, Madhubala, Nargis, Suchitra Sen, and Waheeda Rehman, leaving an indelible mark on Indian cinema.
Overcoming Early Struggles and Body Shaming
Vyjayanthimala debuted at 16 in the Tamil film Vaazhkai (1949), but her journey wasn’t without hurdles. In her memoir Bonding, she revealed facing body shaming from Nagin director Nandlal Jaswantlal, who mocked her as an “idli” and criticized her “round face” that “filled the screen.” These remarks, often made in front of the crew, left her in tears. Yet, her resilience shone through as she carved her path to stardom.
Shattering the ‘Dancing Doll’ Stereotype with Devdas
Initially pigeonholed as a “dancing doll” due to her dance background, Vyjayanthimala silenced critics with her poignant performance in Devdas (1955) alongside Dilip Kumar. She wrote, “Till Devdas happened, critics kept harping that I was a dancer, not an actress. But after its release, I received terrific reviews.” The film’s success earned her critical acclaim, leading to roles in iconic films like Ganga Jamuna (1961), Amrapali (1966), and Sangam (1964).
The Dilip Kumar Rift: Ego Clashes and Reconciliation
Vyjayanthimala and Dilip Kumar’s on-screen chemistry in films like Naya Daur (1957), Madhumati (1958), and Gunga Jumna (1961) fueled rumors of a romance, which both denied. However, their professional bond soured when she was replaced by Waheeda Rehman in Dilip’s Ram Aur Shyam (1967) due to a scheduling conflict between Sangam and Leader (1964). Vyjayanthimala attributed this to an ego clash between Dilip Kumar and Raj Kapoor, writing, “I was caught in the crossfire.” The rift lasted years until Dilip’s wife, Saira Banu, facilitated a reconciliation.
The Raj Kapoor Controversy: Rumors and Denials
Managed strictly by her grandmother Yadugiri Devi, who disapproved of Raj Kapoor’s reputation, Vyjayanthimala faced persistent rumors of an affair with the married star. In her memoir, she dismissed these as a publicity stunt orchestrated by Kapoor, accusing him of “manufacturing the romance” for attention. However, Rishi Kapoor’s autobiography Khullam Khulla claimed his mother, Krishna Kapoor, briefly left Raj during this period, moving with Rishi to Natraj Hotel and later Chitrakoot. Vyjayanthimala and Raj Kapoor collaborated in only two films, Nazrana (1961) and Sangam (1964).
Quitting at the Peak for Love and Legacy
In 1968, at the height of her career, Vyjayanthimala shocked the industry by marrying Dr. Chamanlal Bali, Raj Kapoor’s family doctor, and retiring from films. She wrote, “I made the wisest decision of my life. I left films at the right time. I have no regrets because I worked with some of the best.” Post-retirement, she continued performing live dance shows, keeping her passion for Bharatanatyam alive.
