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Born  |
Nawab Bano
Agra, United
Provinces of Agra and Oudh, British India, (present-day Uttar Pradesh, India) |
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Died |
25 March
2020 (aged 87) Mumbai, Maharashtra, India |
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Years active |
1949–1965 |
Nimmi
Nawab Bano (18 February 1933 - 25 Walk 2020), better realized by her stage name Nimmi, was an Indian screen entertainer who accomplished fame during the 1950s and mid 1960s in Hindi movies. She was one of the main entertainers of the "brilliant time" of Hindi film.
She acquired prevalence by playing energetic town beauty characters, yet has showed up in different types like dream and social movies. Her best exhibitions are viewed as in the movies Sazaa (1951), India's most memorable technicolor film Aan (1952), Uran Khatola (1955), Bhai (1956), Kundan (1955), Simple Mehboob (1963), Pooja Ke Phool (1964), Akashdeep (1965), and Basant Bahar (1956). Raj Kapoor changed her name from Nawab Bano to "Nimmi"
Profession
In 1948, by means of the association with her mom Wahidan who had worked with him during the 1930s, the renowned movie producer Mehboob Khan, welcomed the youthful Nimmi to watch the creation of his ongoing creation Andaz at Focal Studios. She had shown an interest in motion pictures and this was a chance to comprehend the film making process. On the arrangements of Andaz, Nimmi met Raj Kapoor, who was featuring in the film.
Around then, Raj Kapoor was shooting his creation of Barsaat (1949). Having proactively projected the renowned entertainer Nargis in the female lead job, he was watching out for a little kid to play the subsequent lead. In the wake of noticing Nimmi's unaffected and modest way of behaving as a visitor on the arrangements of Andaz, he cast the teenaged Nimmi in Barsaat inverse the entertainer Prem Nath. Nimmi assumed the part of a blameless mountain shepherdess in affection with a merciless city man. Barsaat, delivered in 1949, made film history. It was a marvelous and business achievement. Notwithstanding the presence of laid out and famous stars Nargis, Raj Kapoor and Prem Nath, Nimmi had an exceptionally noticeable and generally welcomed job and was a moment hit with the crowds.
Ascend to fame
After Barsaat, Nimmi was overflowed with film offers. She unobtrusively cleaned her dramatic capacities and fostered a mannered however successfully extraordinary way of acting. The minor entertainer, with her saucer molded expressive eyes, immediately won a steadfast fan base with her extreme and expressive exhibitions.
1950s
She worked with top legends like Raj Kapoor (Banwara), and Dev Anand (Sazaa, Aandhiyan). For her extraordinary potential benefit, Nimmi framed an extremely well known and reliable screen pair with Dilip Kumar, after the progress of movies like Deedar (1951) and Daag (1952). Beside Nargis with whom she co-featured in Barsaat and Deedar, Nimmi additionally showed up close by numerous remarkable driving women including Madhubala (Amar), Suraiya (Shama), Geeta Bali (Usha Kiran), and Meena Kumari (Scorch Dil Roast Rahen (1959). Nimmi was likewise a vocalist and sang her own melodies in the film Bedardi (1951) in which she additionally acted. Notwithstanding, she never kept singing, and recorded tunes just for this film.
Mehboob Khan was close to project her in Aan (1952). The film was made with a very huge financial plan. Nimmi played one of the female leads. Such was Nimmi's prevalence right now that when a first alter of the film was displayed to the film's lenders and merchants, they protested that Nimmi's personality passed on too soon. A lengthy dream arrangement was added to give Nimmi more noticeable quality and screen time in the film. Aan was quite possibly the earliest Indian film to have an overall delivery. The film had a very luxurious London debut which Nimmi joined in. The English variant was entitled Savage Princess. On the London trip, Nimmi met numerous western film characters including Errol Flynn. At the point when Flynn endeavored to kiss her hand, she pulled it away, shouting, "I'm an Indian young lady, you can't do that!" The episode stood out as truly newsworthy and the press went on and on about Nimmi as the "... unkissed young lady of India".
Nimmi further uncovered in a 2013 meeting, that at the London debut of Aan, she got four serious proposals from Hollywood, including one from Cecil B. DeMille who enormously respected the film and Nimmi's performance.[1] Nimmi declined these offers, deciding to zero in on her prospering profession in India. After the extraordinary film industry progress of Aan, Mehboob Khan requested that she show up in his next film Amar (1954). Nimmi played a poor, milkmaid tempted by a legal counselor (Dilip Kumar). The film likewise featured Madhubala as Kumar's violated life partner. Its disputable subject of assault was far relatively radical and albeit the film was not a business achievement, Nimmi's serious exhibition and the film were praised by pundits. It stayed the most loved film of Mehboob Khan among his own creations. She acted and turned maker with the famous film Danka (1954) which was delivered under her own creation flag. Kundan (1955), delivered by Sohrab Modi co-featuring novice Sunil Dutt, gave Nimmi a significant twofold job as mother and girl. Her delicate depiction procured her further acknowledgment as a capable and energetic entertainer. In Uran Khatola (1955), her last of five movies with Dilip Kumar, she featured in one of the greatest film industry accomplishments of her vocation.
Nimmi next had two major triumphs in 1956 with Basant Bahar and Bhai. In 1957, at 24 years old, Nimmi got the pundit's honor for best entertainer for her part in Bhai. These movies were likewise outstanding for her melodies which were named by Lata Mangeshkar. By this point, with a generally reliable run of progress in the cinematic world, Nimmi had solidly set up a good foundation for herself as perhaps of the most bankable and famous driving woman in Hindi film.
In the last part of the 1950s, Nimmi worked with prestigious chiefs Chetan Anand (Anjali ), K. A. Abbas (Singe Dil Roast Rahen) and Vijay Bhatt (Angulimala). Ready to face challenges, Nimmi took on questionable portrayals, like the whore of Roast Dil Singe Raahen (1959). It was during this stage that Nimmi turned out to be exceptionally specific as she took a stab at better quality tasks and jobs. Be that as it may, her judgment was some of the time problematic when she dismissed films like B. R. Chopra's Sadhna (1958), and Woh Kaun Thi? (1963), the two of which proceeded to be huge victories for Vyjayanthimala and Sadhana, individually.
Culmination of Affection and God
Right now, Nimmi decided on exiting the workforce and marriage, however not prior to putting her earnest attempts into one final film creation. Chief K. Asif had begun his rendition of the Laila-Majnun love legend, Love and God even prior to finishing his perfect work of art Mughal-e-Azam (1960). Nimmi trusted that Adoration and God would be a fitting last curtain call to her vocation and her case to timeless popularity similarly as Mughal-e-Azam had deified its driving woman, Madhubala. K. Asif had issues projecting the male lead before at long last choosing Master Dutt as Nimmi's co-star. Be that as it may, Master Dutt's unexpected and sudden passing put a stop to the film's shooting. Sanjeev Kumar was given a role as his substitution yet the movie was racked by and large when the chief K. Asif passed on.
Nimmi had resigned from films for throughout twenty years when K. Asif's widow Akhtar Asif delivered Love and God on 6 June 1986 in deficient form.[2] The film experiences gravely compromised altering trying to cover the way that few critical scenes and an unmistakable peak were not shot before Asif kicked the bucket. In any case, the recording that Nimmi finished before the film was racked showed she had conveyed an unpretentious and touchy depiction and looked lovely in Technicolor and the period outfits.
In 2013, in an uncommon meeting with Rajya Sabha television, Nimmi related her total Hindi movie vocation, from her starting points as a youngster in Agra, her most memorable break in Barsaat to the ongoing day, and her encounters during this time
filmography
|
Year |
Film |
|
1949 |
Barsaat |
|
1950 |
Wafaa |
|
Raj Mukut |
|
|
Jalte Deep |
|
|
Banwra |
|
|
1951 |
Sazaa |
|
Buzdil |
|
|
Deedar |
|
|
Bedardi |
|
|
Badi Bahu |
|
|
Sabz Baag |
|
|
1952 |
Daag |
|
Aan |
|
|
Aandhiyan |
|
|
Usha Kiran |
|
|
1953 |
Humdard |
|
Aabshar |
|
|
Alif Laila |
|
|
Dard-E-Dil |
|
|
Mehmaan |
|
|
1954 |
Amar |
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Pyaase Nain |
|
|
Kasturi |
|
|
Danka |
|
|
1955 |
Society |
|
Uran Khatola |
|
|
Kundan |
|
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Bhagwat Mahima |
|
|
Shikaar |
|
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1956 |
Rajdhani |
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Bhai-Bhai |
|
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Basant Bahar |
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Jayshri |
|
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1957 |
Anjali |
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Chotte Babu |
|
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Arpan |
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1958 |
Sohni Mahiwal |
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1959 |
Pehli Raat |
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Char Dil Char Rahen |
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1960 |
Angulimaal |
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1961 |
Shamma |
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1963 |
Mere Mehboob |
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1964 |
Pooja Ke Phool |
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Daal Me Kala |
|
|
1965 |
Akashdeep |
|
1986 |
Love & God |
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