#Nimmi #NimmiBiography #NimmiSongs #NimmiMovies
She worked with top heroes like Raj Kapoor (Banwara), and Dev Anand (Sazaa, Aandhiyan). To her great advantage Nimmi formed a very popular and dependable screen pair with Dilip Kumar, after the success of films like Deedar (1951) and Daag (1952). Aside from Nargis with whom she co-starred with in Barsaat and Deedar, Nimmi also appeared alongside many notable leading ladies including Madhubala (Amar), Suraiya (Shama), Geeta Bali (Usha Kiran), and Meena Kumari (Char Dil Char Rahen (1959).
A little known fact is that Nimmi was also a singer and sang her own songs in the film Bedardi (1951) in which she also acted. However, she never continued singing, and recorded songs only for this film
After the great box-office success of Aan, Mehboob Khan asked her to appear in his next film Amar (1954). Nimmi played a poor, milk maid seduced by a lawyer (Dilip Kumar). The film also starred Madhubala as Kumar's wronged fiancé. Its controversial subject of rape was way ahead of its time and although the film was not a commercial success, Nimmi's intense performance and the film were applauded by critics. It remained the favorite film of Mehboob Khan amongst his own productions. Nimmi also turned producer with the popular film Danka (1954) which was released under her own production banner, and she gave a striking and off beat performance.
Kundan (1955), produced by Sohrab Modi co-starring newcomer Sunil Dutt, gave Nimmi a memorable double role as mother and daughter. Her sensitive portrayal earned her further recognition as a talented and spirited actress. In Uran Khatola (1955), her last of five films with Dilip Kumar, she starred in one of the biggest box-office successes of her career. The films songs have remained popular to the present day.
Nimmi next had two big successes in 1956 with Basant Bahar and Bhai-Bhai. In 1957, at the age of 24, Nimmi received the critic's award for best actress for her role in Bhai Bhai. These films were also notable for her songs which were dubbed by Lata Mangeshkar. Nimmi was fortunate throughout her career to have some of the most popular and enduring songs picturised on her, and appeared in films with exceptional music scores.
In the late 1950s, Nimmi worked with renowned directors Chetan Anand (Anjali ), K. A. Abbas (Char Dil Char Rahen) and Vijay Bhatt (Angulimala). Prepared to take risks, Nimmi took on controversial characterizations, such as the prostitute of Char Dil Char Raahen (1959). It was during this phase that Nimmi became very selective as she strove for better quality projects and roles. However her judgment was sometimes questionable when she rejected films like B. R. Chopra's Sadhna (1958), and Woh Kaun Thi? (1963), both of which went on to be big successes for Vyjayanthimala and Sadhana, respectively.
Some feel that she erred with the film Mere Mehboob (1963). Nimmi was first offered the coveted female lead in the film which was tipped for big box-office success. It was to be shot in colour and on a very big budget. Nimmi would be part of a large star cast which included prominent actors such as Ashok Kumar, Rajendra Kumar, Ameeta, Pran, and comedian Johnny Walker. Nimmi recalled in an interview with Movie magazine : "Initially I was offered Sadhana's role and Bina Rai was to do my role. However I opted for the role of the sister as I felt it was the back bone of the story and had scope for acting. Though it didn't turn out the way I had visualised it." In rejecting the female lead, opposite a hugely popular leading man, Rajendra Kumar, for what was ostensibly a character role, Nimmi lost a valuable chance at making the successful transition into the new phase of films that were then evolving. The role Nimmi rejected was played by Sadhana and was instrumental in placing her among the most successful heroines of the 1960s. Nimmi did receive a Filmfare award nomination for best supporting actress for her performance and Mere Mehboob went on to be one of the biggest hits of 1963 at the box-office.
These detrimental choices were not helped when in the 1960s, a new breed of Mod actresses like Sadhana, Nanda, Asha Parekh, Mala Sinha and Saira Banu changed the concept of the Hindi film heroine. Although she retained her star status and continued to be credited above the title, junior actresses like Nanda and Mala Sinha were cast as the romantic leads, while Nimmi's roles alongside these actresses were more unconventional parts such the blind girl in Pooja Ke Phool (1964) and Ashok Kumar's mute wife in Akashdeep (1965). With the younger generation of actresses emerging to dominate the industry, although Nimmi's popularity as a star began to fade, her performances had matured considerably and critical reviews in this final phase of her career were largely positive.
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