ai kaash jo mil kar rote, kuchh dard to halake hote
bekaar na jaate aa.Nsuu, kuchh daaG jigar ke dhote
phir ra.nj na hotaa itanaa, hai tanahaaI me.n jitanaa
ab jaane ye rastaa Gam kaa, hai aur bhii lambaa kitanaa
haalaat kii ulajhan sulajhaauu.N aisii merii taqadiir kahaa.N
terii aa.Nkh ke aa.Nsuu pii jaauu.N
kyaa terii zulf kaa leharaa, hai ab tak vohii sunaharaa
kyaa ab tak tere dar pe, detii he.n havaae.n paharaa
lekin hai ye khaam-o-khayaalii, terii zulf banii hai savaalii
mohataaj hai ek kalii kii, ik roz thii phuulo.n vaalii
vo zulfe.n pareshaa.n mahakaauu.n aisii merii taqadiir kahaa.N
terii aa.Nkh ke aa.Nsuu pii jaauu.N..
MALA SINHA --
If anyone held the torch of the 'woman's picture' it was Mala Sinha. She refused to play inconsequential roles opposite the biggest of heroes and willingly acted with smaller names, provided her role was the pivot around which the film evolved. She turned down Ram aur Shyam (1967) opposite Dilip Kumar and acted opposite then-still upcoming actors like Dharmendra (Anpadh (1962)) and Manoj Kumar (Hariyali aur Rasta (1962)) where she carried these films entirely on her shoulders alone. And it is to her credit that she did have a career as leading lady lasting two decades.
She was born Alda Sinha in 1936. Noticed in a school play, she made her acting debut in a Bengali film Roshanara (1953). She then broke through first making a mark in 1954 with a supporting role in the Suchitra Sen starrer, Dhuli (1954). The same year also saw her make her Hindi debut with Amiya Chakravarty's Badshah (1954) supporting Usha Kiron, Pradeep Kumar and Ulhas. Though she got other offers like Kishore Sahu's Hamlet (1954), where incidentally she got the only positive review in the film from the hard-to-please Baburao Patel, she was going nowhere with mythologicals like Ekadashi (1955). Geeta Bali, spotting tremendous potential in her, took her under her wing and recommended her to Kidar Sharma who cast her in Rangeen Raten (1956) and groomed and polished her as well.
Mala became a star with Guru Dutt's Pyaasa (1957). Guru Dutt's masterpiece of a struggling poet in a materialistic world saw an extremely competent performance from Mala, in a role that originally Madhubala was to play, as Guru Dutt's college sweetheart who marries a big publishing baron opting for material comfort over love. It is generally rumored that her role was based on Guru Dutt's acquaintance, Sushila Rani Patel. Though having negative shades, Mala's role is frankly the more interesting role in the film as compared to Waheeda Rehman's standard prostitute-with-the-heart-of-gold role and ranks as one of her best ever performances.
Still, though well into her 30s, a dreaded age period for Hindi film heroines, she continued with leading roles into the 1970s pairing with the younger lot of heroes - Premendra (Holi Aayi re (1970), Sanjeev Kumar (Kangan (1971)), Rajesh Khanna (Maryada (1971)) and Amitabh Bachchan (Sanjog (1971)) but by now her career as a leading lady was in its last stages. Meanwhile, she had done a Nepali film Maiti Ghar opposite Nepali actor CP Lohani whom she married. The couple had a daughter, Pratibha.
Mala then made the switch to elderly and mother roles from the mid 1970s onwards. However all the roles she essayed in this period were largely undemanding ones that she did efficiently enough with her most memorable film in this period being Zindagi (1976) co-starring Sanjeev Kumar. She continued to be seen on the screen on and off with her last appearances being in Rakesh Roshan's Khel (1992) and Zid (1994).
Today Mala, a re-discovered Christian, lives contentedly in retirement in her sprawling bungalow in Bandra. Daughter Pratibha did try an acting career in Bollywood in the 1990s but couldn't make much headway.
Other well-known films of Mala Sinha include Detective (1958), Chandan (1958), Ujala (1959), Love Marriage (1959), Patang (1960), Maya (1961), Gyarah hazar Ladkiyan (1962), Dil Tera Deewana (1962), Apne Hue Paraye (1964), Mere Huzoor (1968), Geet (1970) and Lalkar (1972).