Throwback: Filmfare’s last interview with late actress Nimmi

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Dilip Kumar ke aashiq hum bhi the

A recent photo of Nimmi, With husband and author S Ali Raza (top) and with Kishore Kumar in Bhai Bhai (bottom)

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She later did Mehboob Khan's Amar (1954) where she played a milk girl raped by a lawyer (Dilip Kumar). Tells an incident about Meena Kumari who was originally supposed to be part of Amar. She says: “One day in Central Studio I found Meena Kumari sitting on a bench and crying. "I wanted to make this movie," she said. "Meenaji was scheduled to play Madhubala's role in Amar, but her dates conflict with Kamal Amrohi Saab's film." Years later Nimmi did Char Dil Char Rahen (1959) with the actress. Although she says, "Sabse zyada dosti Nargis se thi," Nimmi shared a warm equation with others as well. “It was a rule that no one could sit on Madhubala's chair. But one day, during Amar's shooting, I happened to be sitting on it. My maid picked me up and said, "She's come, get up!" When he saw me, Madhubala said, "Sit down." We were friendly. Her skin was velvety. She had a long Iranian nose. She was tall and had beautiful hands and feet. Her eyes were ordinary, but her smile was extraordinary. Lipstick suited her, she says of the actress.

The Dilip Kumar saga

Like others, Nimmi was horrified at the dizzying Dilip Kumars acting skills. "He internalized a scene. That's why his shot looked so natural. He had scientific knowledge of all subjects. He could express things beautifully. He is a miracle of nature. "The duo made five films together in the 50s, Aan, Amar, Deedar, Daag and Uran Khatola. While their fateful on-screen love attracted the audience, there were also off-screen rumors that connected them. She explains" the attractiveness of his personality " , "God has blessed Dilip saab with a maqnatis (magnet). Everyone was drawn to him. A maharani was actually willing to leave her all to be with him. I will not deny that I was also drawn to him. Mujhe bhi woh bahut pasand the. Unke aashiq hum bhi the. I was his fan too, ”she hisses. “Beautiful women – like Madhubala and others were in love with him. How could I ever be on par with them? I would have been heartbroken if I had wanted something unattainable. I stayed away from such a thought. "
She elaborates, “Once we took a scene for Aan where I, sitting on a horse, had to throw a sword at Dilip Saab. The tip of the sword hurt him. I was apologetic. But in his poetic style he said: 'Hum sochenge zindagi mein ek chot aur khayee (I would consider it another wound in life)'. When I heard this, any girl would be thrilled. That night I thought about it too. I am not an angel, after all I am human. But I gathered and thought 'how can he ever like me. I'm so ordinary. “Her realistic attitude, she insists, is why she enjoys a 'beautiful friendship with Saira Banu and him' today.

Later years
Career wise, an ambitious Nimmi produced the movie Danka (1954). Kundan (1955) with Sunil Dutt gave her a dual role as mother and daughter. But in the 60s, a few wrong choices hurt her career. She rejected films like BR Chopras Sadhna and Raj Khoslas Woh Kaun Thi? both of which did wonders for Vyjayanthimala and Sadhana respectively. “Mujh pe shaadi ka bhoot soa tha. I refused movies in the hope of getting married. I even refused Saraswati Chandra, even though my suits were ready, "proclaims the actor who was in love with author S Ali Raza who had written the dialogue for Barsaat, Aan and Amar. “Raza Saab wanted to become a filmmaker. He wanted to prove himself before he married me. “She was also offered the lead role in Mere Mehboob, but she chose her sister's role in thinking it was more important. With actors like Sadhana, Nanda, Asha Parekh, Saira Banu and Mala Sinha leading the way, Nimmi chose successful roles as the blind girl in Pooja Ke Phool (1964) and Ashok Kumar's mute wife in Akashdeep (1965), who was technically her latest movie.

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One film that remains significant in her career, though for other reasons, is K Asif's Love and God (1986). It took 26 years to complete. “Love And God was first shot in black and white with Bharat Bhushan. But later Mughal-E-Azam took precedence. It was then restarted with Guru Dutt. For seven years it remained in boxes. Then Guru Dutt passed away. So Asif Saab took Sanjeev Kumar. But then Asif Saab went away. Later it was heavily edited. The final print seemed like a cut lime job, she complains.

Marriage and more
She gives a realistic perspective on her marriage. “No man performs the art of his wife – whether you are Queen Elizabeth or a star. You have to nibhao. Khushi and ranjh are part of life. It's not that I never felt sad. I missed a job. Reza Saab used to write during the day, and in the evening he enjoyed his drinks with his friends. Head guard ne come chodh diya tha. But I liked taking care of my bungalow in Worli. “However, she never stopped dreaming. “I wanted to launch my production house.
I wanted Raza Saab to be a director like Kamal Saab.

I was ambitious, he was the opposite. But over time I withdrew. I didn't want problems in my marriage. “Later, the couple moved to an apartment in Juhu. “Here he was diagnosed with blocked arteries. Raza Saab died in 2007. “The couple did not have children. But she has been the mother of her sister's son. “My sister passed away young. Her last wish was for me to raise her son. So I brought Parvez here from Pakistan, ”shares Nimmi that Barsaat was to release then. "He lives in the UK with his family now," says Nimmi, who reveals the most praiseworthy role in her life.

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