Latest news with #DevAnand
India.com
3 hours ago
- Entertainment
- India.com
This actress earned much more than many heroes, fell madly in love with Dev Anand but refused to become his wife, quit film industry at 34, she is…
Girls used to be desperate to get a glimpse of Hindi cinema superstar Dev Anand. Famous actresses of his era were crazy about Dev Anand. Both of them met on the sets of a film. That beautiful actress of the 40s-50s, who used to charge more than the hero of her time. This actress was so crazy in love with Dev Anand that she remained alone for him all her life. Once, Dev Anand even slapped this actress. Who is this actress whom Dev Anand slapped? The extremely beautiful actress we are talking about is none other than the talented actress of her time, Suraiya. Apart from being a superstar actress of her time, she was also a famous singer. Very few people know that before or along with Dev Anand, Dilip Kumar was also a fan of Suraiya's beauty and art. Suraiya never got associated with him in that way, but there was a lot of talk about this in the film industry. Both Dev and Dilip liked her. Dev Anand's chemistry with Suraiya Dev and Suraiya first met in 1948 when the film 'Vidya' was released. During the shooting of this film, the closeness between the two started increasing on the set. Seeing Suraiya's beauty and simplicity, Dev fell in love with her at first sight. When was Suraiya born? Suraiya was born on this day, i.e. on 15 June 1929. In 2004, when Suraiya said goodbye to this world at the age of 74, everyone expected that Dev Anand would definitely go to see her for the last time. But this did not happen and this love story ended. Why Suraiya's relationship didn't work with Dev Anand Suraiya's grandmother did not approve of her relationship with Dev Anand. She would not let Suraiya and Dev Anand unite and that is exactly what happened. Eventually, Dev Anand married Kalpana Kartik, but Suraiya remained a virgin throughout her life, in love with him. Dev Anand wanted to marry Suraiya. But Suraiya's grandmother was a villain between the two. Then both of them decided to do a court marriage. But Suraiya could not do a court marriage, and after explaining many times, Dev Anand even slapped her once. But later he realized his mistake and apologised to Suraiya. Suraiya was one of the highest-paid actresses of that era. She brought life to her characters in films like 'Anmol Ghadi', 'Mirza Ghalib', 'Phool' and 'Khoobsurat'. The actress who ruled the industry for more than 4 decades never found love.
Economic Times
4 hours ago
- Entertainment
- Economic Times
She outearned top Bollywood stars, met a Hollywood hearthrob but grandmother's decision led to lonely death
Suraiya was one of the biggest stars of Bollywood's golden era, earning more than legends like Dilip Kumar and Ashok Kumar. A gifted singer and actress, she captivated audiences and even caught the attention of Hollywood icon Gregory Peck, who visited her during a trip to India. Her relationship with actor Dev Anand ended after her grandmother disapproved of their marriage. Suraiya never married, stepped away from films at just 34, and spent the rest of her life in solitude. She died in 2004, remembered as a star who gave up everything but remained unforgettable. Tired of too many ads? Remove Ads A Hollywood Encounter That Made Headlines Love, Defiance, and Heartbreak Tired of too many ads? Remove Ads Early Exit from Fame and a Lonely End In the golden era of Hindi cinema, when male superstars ruled the industry, Suraiya emerged as a rare female icon who eclipsed even the biggest names of her time. During the late 1940s and early 1950s, she commanded higher fees than legends like Dilip Kumar and Ashok Kumar, earning her the reputation of being the highest-paid actress of her generation. Known for her graceful screen presence and soulful voice, she was referred to as Malika-e-Husn (queen of beauty) and Malika-e-Adakara (queen of acting).Suraiya didn't set out to become an actor. Born in Lahore in 1929 and raised in Bombay, she was introduced to the film world at a young age thanks to her maternal uncle, actor M. Zahoor. She first gained attention as a child singer on All India Radio, which led to her playback debut at the age of 12. Her acting career began by chance when she was cast as young Mumtaz Mahal in the film Taj Mahal (1941). From there, she became a household name with hits like Pyar Ki Jeet (1948), Badi Behen (1949), and Dillagi (1949).In 1952, Suraiya's popularity crossed international borders. When Hollywood director Frank Capra visited India for the first International Film Festival, Suraiya gave him a signed photograph for actor Gregory Peck, whom she deeply admired. Much to her surprise, Peck later visited her home in Mumbai. The two chatted for over an hour, and their meeting became fodder for headlines, with the media fueling speculation about a budding romance. Though the rumors were unfounded, the encounter added a new chapter to Suraiya's already star-studded most talked-about relationship was with Dev Anand, a rising star at the time. Their love story began on a film set and quickly turned serious. Dev Anand even proposed to her, buying a diamond ring despite financial constraints. However, their relationship faced fierce opposition from Suraiya's maternal grandmother due to religious differences. Her grandmother not only rejected the match but went so far as to throw the engagement ring into the sea and demand romantic scenes between the two be removed from Dev Anand's willingness to leave the industry to be with her, Suraiya ultimately ended the relationship. She later admitted she lacked the courage to go against her family, even as she continued to carry the emotional weight of that decision throughout her life. She never breakup with Dev Anand marked a turning point in both her personal and professional life. Her subsequent films underperformed, and despite a brief comeback with Mirza Ghalib (1954)—a role praised even by Jawaharlal Nehru—her film Rustam Sohrab (1964) flopped. Disheartened, Suraiya chose to retire from the industry at just remained away from the limelight and lived with her mother until her passing. After her mother's death, Suraiya became increasingly isolated. She made no public appearances, never returned to playback singing or acting, and stayed out of media attention entirely. She passed away in 2004 at the age of 74 due to chronic health her life ended in solitude, Suraiya's legacy as a pioneer for women in Indian cinema remains unmatched. At a time when few actresses had bargaining power, she stood as a figure of strength and success.
Time of India
6 hours ago
- Entertainment
- Time of India
She outearned top Bollywood stars, met a Hollywood hearthrob but grandmother's decision led to lonely death
In the golden era of Hindi cinema, when male superstars ruled the industry, Suraiya emerged as a rare female icon who eclipsed even the biggest names of her time. During the late 1940s and early 1950s, she commanded higher fees than legends like Dilip Kumar and Ashok Kumar, earning her the reputation of being the highest-paid actress of her generation. Known for her graceful screen presence and soulful voice, she was referred to as Malika-e-Husn (queen of beauty) and Malika-e-Adakara (queen of acting). Suraiya didn't set out to become an actor. Born in Lahore in 1929 and raised in Bombay, she was introduced to the film world at a young age thanks to her maternal uncle, actor M. Zahoor. She first gained attention as a child singer on All India Radio, which led to her playback debut at the age of 12. Her acting career began by chance when she was cast as young Mumtaz Mahal in the film Taj Mahal (1941). From there, she became a household name with hits like Pyar Ki Jeet (1948), Badi Behen (1949), and Dillagi (1949). A Hollywood Encounter That Made Headlines In 1952, Suraiya's popularity crossed international borders. When Hollywood director Frank Capra visited India for the first International Film Festival, Suraiya gave him a signed photograph for actor Gregory Peck, whom she deeply admired. Much to her surprise, Peck later visited her home in Mumbai. The two chatted for over an hour, and their meeting became fodder for headlines, with the media fueling speculation about a budding romance. Though the rumors were unfounded, the encounter added a new chapter to Suraiya's already star-studded life. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Elegant New Scooters For Seniors In 2024: The Prices May Surprise You Mobility Scooter | Search Ads Learn More Love, Defiance, and Heartbreak Suraiya's most talked-about relationship was with Dev Anand, a rising star at the time. Their love story began on a film set and quickly turned serious. Dev Anand even proposed to her, buying a diamond ring despite financial constraints. However, their relationship faced fierce opposition from Suraiya's maternal grandmother due to religious differences. Her grandmother not only rejected the match but went so far as to throw the engagement ring into the sea and demand romantic scenes between the two be removed from films. Despite Dev Anand's willingness to leave the industry to be with her, Suraiya ultimately ended the relationship. She later admitted she lacked the courage to go against her family, even as she continued to carry the emotional weight of that decision throughout her life. She never married. Early Exit from Fame and a Lonely End Suraiya's breakup with Dev Anand marked a turning point in both her personal and professional life. Her subsequent films underperformed, and despite a brief comeback with Mirza Ghalib (1954)—a role praised even by Jawaharlal Nehru—her film Rustam Sohrab (1964) flopped. Disheartened, Suraiya chose to retire from the industry at just 34. She remained away from the limelight and lived with her mother until her passing. After her mother's death, Suraiya became increasingly isolated. She made no public appearances, never returned to playback singing or acting, and stayed out of media attention entirely. She passed away in 2004 at the age of 74 due to chronic health issues. Though her life ended in solitude, Suraiya's legacy as a pioneer for women in Indian cinema remains unmatched. At a time when few actresses had bargaining power, she stood as a figure of strength and success.
Indian Express
8 hours ago
- Entertainment
- Indian Express
Bollywood Golden Era star earned more than Dilip Kumar, said no to becoming Dev Anand's wife, received Jawaharlal Nehru's praise; only to quit films at 34
Much before pay parity became a topic of discussion among leading female actors, the Hindi film industry witnessed the rise of superstar Suraiya, who left legendary stars like Dilip Kumar, Dev Anand, and Ashok Kumar behind when it came to remuneration. While Suraiya was known for her roles in films like Omar Khayyam (1946), Pyar Ki Jeet (1948), Badi Behan (1949), and Dillagi (1949), which took her career to new heights, she didn't initially enter the film industry to become an actor. Instead, she was first recognised by music director Naushad for her beautiful voice, which led to many playback singing offers. It all started when Suraiya was just 12 years old and would frequently visit film sets with her uncle. During one such visit to the set of Taj Mahal, she was picked by the director to play the role of young Mumtaz Mahal. After starring in several children's programmes for All India Radio, Suraiya's singing talent was discovered by Naushad, who gave her a chance to sing in the film Sharda (1942) for the legendary actor Mehtab. She soon became synonymous with musicals like Phool, Samarat Chandragupta, Aaj Ki Raat, Dard, Dillagi, Natak, Afsar, Kajal, Dastan, Sanam, and Char Din. Suraiya was a huge admirer of Hollywood heartthrob Gregory Peck and got a chance to meet him when he visited India. It all began in 1952 when Suraiya gave her autographed photo to Hollywood director Frank Capra—who was visiting India during the first International Film Festival of India—to pass on to Gregory Peck. The Hollywood actor received the photo and made it a point to visit Suraiya when he came to India. He went to Suraiya's home in Mumbai and the two chatted for an hour. Speaking about the meeting, she had said, 'We spoke for an hour. I didn't sleep at all that night. Nobody believed I'd met him. For two months newspapers carried our 'love stories'. I enjoyed it!' At the peak of her professional career, Suraiya fell in love with Dev Anand, with whom she starred in seven films. He even borrowed money to buy her a diamond ring. At that time, Suraiya was a bigger star than Dev Anand, and since he was also a Hindu, Suraiya's maternal grandmother didn't approve of their relationship. Suraiya's grandmother controlled her life and her career. She even threw the ring Dev Anand bought for her into the sea and instructed filmmakers to cut the romantic scenes between them. Dev Anand wanted to marry Suraiya and even quit acting, which wasn't acceptable to her, so they eventually parted ways. However, the relationship had such a deep impact on Suraiya that she never married. Dev Anand, meanwhile, married Kalpana Kartik in 1954. 'When I refused to marry Dev, he called me a coward. Maybe I was one. I admit I didn't have the courage to take a step I was not absolutely sure of. Perhaps it was a folly, perhaps a mistake or perhaps destiny?' Suraiya told Stardust. After her breakup with Dev Anand, Suraiya's professional career also took a hit. Her films in the 1950s didn't perform well. However, she did experience a brief resurgence with her Mirza Ghalib in 1954, which was a huge hit. She even earned praise from Jawaharlal Nehru, who told her, 'Tumne Mirza Ghalib kii ruuh ko zindaa kar diyaa (You brought Mirza Ghalib's soul alive)'. But her 1964 film Rustam Sohrab, co-starring Prithviraj Kapoor, turned out to be a major flop. Witnessing the curtain fall on her career, Suraiya took voluntary retirement in 1963 and stepped away from the limelight. She was never seen on the big screen again and also did not return to playback singing. She passed away in 2004 due to health-related issues.
Time of India
2 days ago
- Entertainment
- Time of India
The silence of the reels: Why Hindi cinema never faced the Emergency
Power games: The few filmmakers who did deal with the subject, either directly or indirectly, faced bans and attacks For an industry that prides itself on chronicling the nation's struggles, Hindi cinema's silence about the Emergency is more revealing than any film could ever be. The 21 months between June 1975 and March 1977, when Indira Gandhi suspended civil liberties, censored the press, and jailed thousands without trial, were arguably the most consequential in India's modern political history. Yet, in the decades since, Hindi cinema—the self-appointed mirror of Indian society—has barely mustered a smudge to reflect it. This conspicuous absence did not arise from creative oversight or timidity alone. In the early decades of Independence, popular cinema was never truly free. Nehruvian socialism shaped public policy and the ideological contours of the industry. The so-called golden triumvirate—Dilip Kumar, Raj Kapoor, Dev Anand—crafted personas that echoed Pandit Nehru's vision of the self-sacrificing, morally upright everyman. Dilip Kumar's dialogue seemed like leftovers from Nehru's speeches, Dev Anand's rebellious charm served the establishment's romantic socialism, and Raj Kapoor's everyman heroes peddled idealism to the masses. Such intimacy with power set the template. The state could inspire cinema, but never the other way around. When that same state turned authoritarian, the industry found itself unprepared and unwilling to challenge it. In the Emergency years, the machinery of coercion extended directly into the corridors of Bombay. V C Shukla, Indira's information & broadcasting minister, became infamous for exerting his influence over the film industry. Wielding the Maintenance of Internal Security Act like a scythe through the industry, the political establishment wasn't breaking new ground—it was merely weaponising an existing dependency. Kishore Kumar, the mercurial genius whose voice had soundtracked a generation's dreams, was banned from All India Radio and Doordarshan for refusing to perform at a Youth Congress rally. Dev Anand, tricked into attending a Sanjay Gandhi event and asked to praise his 'dynamism', found his films blacklisted when he refused to comply. When he sought an explanation from the I&B Minister, he was told with chilling matter-of-factness that it was 'a good thing to speak for the govt in power.' Shatrughan Sinha , then one of cinema's busiest stars, saw his films banned for the cardinal sin of supporting Jayaprakash Narayan. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like The Most Unwelcoming Countries in the World, Ranked BigGlobalTravel Undo Gulzar's 'Aandhi', merely suspected of drawing inspiration from Indira Gandhi's life, while most argued it'd taken a few chapters from the life of Tarkeshwari Sinha, was banned for the duration of the Emergency, releasing only after the Janata victory restored a semblance of democratic normalcy. 'Maha Chor' starring Rajesh Khanna casually inserted a 'Vote for Congress' graffiti into a musical sequence. Most telling was the fate of Amrit Nahata's 'Kissa Kursi Ka', a political satire that dared to mock the Emergency's absurdities. All prints of the film were destroyed allegedly by Sanjay Gandhi at a factory in Gurgaon. This was not subtext—it was brazen collusion between art and authority. Yet what happened after the Emergency lifted reveals the true depths of the industry's moral bankruptcy. When the time came to reckon with the period—its absurdities, its tragedies, its moral squalor—Hindi cinema fell silent. There was an almost immediate return to sycophantic normalcy. Feroz Khan's 'Qurbani' (1980), the biggest hit of the year when Indira Gandhi returned, opened with a short film eulogising Sanjay Gandhi, narrated by Khan himself as he dedicated his film to the memory of the 'Prince' and bowed in reverence to the 'Mother'. If films between 1977 and 1980 did not address the Emergency, to expect that to happen after Indira Gandhi returned would perhaps be hoping for a miracle. This wasn't just political calculation—it was the instinctive reaction of an industry that had learned to worship power. Some filmmakers attempted to address the Emergency but it was often through the refuge of allegory—Hrishikesh Mukherjee's 'Kotwal Saab' and 'Khubsoorat' chose not to cast a direct look; the latter managed to justify the Emergency as a necessary evil. Mukherjee's 'Naram Garam' gave Hindi cinema's smartest comment on the era in the form of a nervous joke — Om Prakash, told to hurry because of some emergency, haplessly comments, 'Phir se?' While not Hindi cinema, Satyajit Ray's 'Hirak Rajar Deshe' and Jabbar Patel's 'Jait Re Jait', used the same route. Parallel cinema, too, largely skirted the challenge and despite their social conscience, filmmakers preferred the microcosm to the macro. Over the years, some films such as 'Ghashiram Kotwal' based on a Vijay Tendulkar play and directed by K. Hariharan, Mani Kaul, Kamal Swaroop, Saeed Mirza were cited as a film about the Emergency. However, it was written in 1972 as a response to the rise of a local political party in Maharashtra. There are structural reasons for this reticence. Hindi cinema has always struggled with ambiguity, preferring neat endings where heroes redeem all. The Emergency, by contrast, offered no catharsis—only a nation capitulating to authoritarianism without resistance. The definitive Emergency film still eludes the screen even as we enter the fiftieth year of the Emergency. The exceptions remain sparse: Sudhir Mishra's 'Hazaaron Khwaishein Aisi' would not arrive until 2005, nearly three decades later. Even then, it couched its indictment within the personal journeys of three idealistic young people, careful not to indict the broader complicity of society. Even today the few who try to confront the past are harassed —Madhur Bhandarkar's 'Indu Sarkar' provoked shrill attacks and legal threats simply for attempting a fictionalised retelling. The Emergency may have ended in 1977, but its most lasting victory was psychological: the creation of a cultural establishment that polices itself more effectively than any censor ever could. Perhaps it was simpler to pretend nothing happened. After all, if cinema cannot process a trauma, maybe the nation never really did. (Chintamani is a film historian and author)
