Why Vyjayanthimala has ‘nothing to say’ about today’s heroines

In a room overlooking the runway of the Mumbai airport, Vyjayanthimala Bali relaxes on a couch, signing away autographs and posing for pictures with her fans.

“I always cribbed about having such a long name and my grandmother would say that nobody else will be called ‘Vyjayanthimala’,” she says, signing an autograph.

The actress was in Mumbai to release a four-DVD collection of her best films. She holds the DVD set close and inspects each of the four films — Madhumati, Devdas, Naya Daur and Sangam.

“I am surprised to see this DVD. Now that I see it, I am happy that Shemaroo has chosen nice films, but most of my films those days were big hits. These are all very well-known ones but I couldn’t choose one favourite if I had to,” admits one of Bollywood’s first South Indian beauties.

“There were so many different characters that I have played. Radha in Sangam was a very sophisticated woman and the setting was very refined, while in Dhanno in Gunga Jumna was rustic, a village belle. Even the language was different,” says the actress, who still remembers struggling to get her Bhojpuri dialogues right.

“As it is, being a South Indian I used to say my own lines and everybody marveled at it, and then to learn Bhojpuri… Dilipsaab was very helpful,” she says, with the smile intact.

Vyjayanthimala, a trained classical dancer, played leading lady opposite the three most powerful actors of her time.

“The big three!” she corrects us. Whether it is the multi-faceted Shaloo in Jewel Thief or the silent Radha of Sangam, Vyjayanthimala has wonderful memories of her film and co-stars.  

“Raj Kapoor was a true showman. He knew exactly what he wanted from me and Rajendra Kumar in Sangam, whereas Devsaab (Anand) had his own style his own mannerisms. I learnt so much from Dilipsaab especially mannerisms, like the way of delivering my Bhojpuri lines.”

Revisiting Sangam the actress has a confession to make. “I swim like a dead fish. So all those shots in a swimsuit were taken in a swimming pool and the long shots were done by my double.”

“Sangam had many firsts. The first technicolour film, the first film to have two intervals — in a way I was a part of history,” beams a wide-eyed Vyjayanthimala. 

While she worked in both black & white and colour films, Vyjayanthimala still considers the former a far more graceful medium of expression. “There was a lot of drama, and black and white cinema was far more impactful,” she cites the example of Bimal Roy’s Madhumati, where the shadows added to the spooky effect thanks to the black & white aesthetic.

“My first colour sequence was in what was then called ‘Gehva Colour’ for the dream sequence in Nagin,” she adds.

Dancing was second nature to the actress who introduced Bollywood to semi-classical dances.

“I was a well-travelled person. Whenever I visited any place, I’d watch folk performances. You watch it and it comes naturally when there’s a need to use it,” she says.

Quiz her about her favourite song and she’s quick to add that it’s “not a dance at all”. “‘Buddha Mil Gaya’ was very natural. Picking up the lampshade, dancing on the stool, it was all very impromptu. It was not a dance, it was a parody.”

Vyjayanthimala is also proud of the fact that her dances have always had either a classical or a folk influence. “My dances were not like today’s, which have progressed with an Indian and Western combination or fusion which has become repetitive. You cannot tell one dance from the other. Everyone wants to be Michael Jackson,” she laughs. “But I like some of them like that ‘Radha kaise na jale’ from Lagaan. I like classical stuff.”

Busy with her dance practices, the veteran actress watches very few films, mostly those recommended by her son. “I love Aamir Khan’s films. He is a very dedicated, sincere person and it shows in his work,” she says.  

Ask her about the classic Devdas which was remade and she waves a hand, “I saw trailers, but Madhuri is good. She is a combination of good looks, dancing, acting and she is one of the few actresses who can carry Indian and Western looks very well.”

The veteran actress considers Madhuri Dixit and Sridevi to be talented, however of the new lot, she dodges the question, then adds she has “nothing to say”.

“Today’s dancers are not dignified. There’s a lot of talent but they are getting ample help. In our time you had to get the steps right, the words right and the movement right. Otherwise you had to start all over again. Today even if they miss a step it can be adjusted at the editing,” she says.

Neither the dance nor the music of the twenty-first century agree with the star of the golden era. “I don’t know if I am wrong, but  singing slightly out of sur is also in vogue these days. And these pelvic movements and gestures are too much for me,” says the actress.

Dismissing it as a passing trend of today, the actress smiles and quotes Shakespeare “The one remains, many change and pass.”

The visibly satisfied Vyjayanthimala, readjusting her checkered saree, is full of life even at 75. When the conversation steers to a more serious topic of politics, Vyjayanthimala chooses to tread slowly. Talking her into revealing details about her dramatic exit from the Congress in 1999 isn’t as easy even after all these years. “After Rajiv’s (Gandhi) going away I drifted away. And when I joined politics people told me it wasn’t the same as the Independence era, so you can imagine how it has become now. It’s such a sad thing. Instead of taking to the country to a higher level we are going downwards.”

The smile disappears and a more conscious Vyjayanthimala comes to the fore. But mention Anna Hazare and the eyes light up. “Anna Hazare is good. If I could have left Chennai at that time, I would have joined his fast! With no political backing, and the cause he’s fighting, he is an honest man,” she says.

What about Sonia Gandhi’s leadership and the ways of the UPA government? She laughs heartily, saying, “This is my favourite question but you won’t get an answer. I wish Soniaji well. She has just come back. Let her settle down.” And no amount of coaxing helps get more out of Vyjayanthimala.

On a parting note we ask her if she wishes to have starred opposite one of today’s dashing Khans? “The thought never even crossed my mind. During my time I starred opposite the best – Dilip saab. He is also a Khan after all.” The smile only widens.