Vyjayanthimala Quotes

Indian actress, dancer and parliamentarian

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Vyjayanthimala Bali ( Raman; born 13 August 1933), known mononymously as Vyjayanthimala, is an Indian parliamentarian, dancer and former actress. Regarded as one of Hindi cinema's finest actresses and dancers, she is the recipient of several accolades, including four Filmfare Awards and two BFJA Awards. Considered the first female superstar of Indian Cinema, she made her screen debut at the age of 16 with the Tamil film Vaazhkai (1949), and followed this with a role in the Telugu film Jeevitham (1950). Her first work in Hindi cinema was the social guidance film Bahar (1951), which she headlined, and achieved her breakthrough with the romance Nagin (1954). She garnered widespread critical acclaim for her role in the period drama Devdas (1955), where she played Chandramukhi, a tawaif with a heart of gold. The film and her acting were highly praised, later considered to be her magnum opus. For Devdas, she won the Filmfare Award for Best Supporting Actress which she refused, stating that she played a leading role equal to that of Suchitra Sen, her co-star, and so she could not accept the award for a supporting role. She went on to star in series of commercial successes, which include the romance New Delhi (1956), the social drama Naya Daur (1957) and the comedy Aasha (1957). Her roles in the social drama Sadhna (1958) and the paranormal romance Madhumati (1958), each earned her a nomination for the Filmfare Awards for Best Actress, winning for the former which makes her the first ever actor to receive dual nominations in an acting category in the same year. The nominations also makes her the first-ever multi-nominee across all categories. This win makes her the first performer in Filmfare history to win in both leading and supporting categories. In the 1960s, the crime drama Gunga Jumna (1961) saw Vyjayanthimala playing a rustic village belle, Dhanno, a role which won her the Filmfare Award for Best Actress. She won the award again for the musical romantic drama Sangam (1964). She went on reinvent her image, earning a mixed reception after notably appearing in a one-piece swimsuit in a film role. She later achieved acclaim for her performance in the historical drama Amrapali (1966) which was based on the life of Nagarvadhu, royal courtesan of Vaishali, Amrapali. Her notable successes following were the swashbuckler film Suraj (1966), the heist film Jewel Thief (1967), the Bengali art film Hatey Bazarey (1967), the action drama film Sunghursh (1968) and the epic film Prince (1969). In 1968, she was awarded the Padma Shri by the Government of India, the fourth-highest civilian honor. After a starring role in the film Ganwaar (1970), Vyjayanthimala retired from the acting industry. She has since gained popularity for her dancing, particularly for her work in Bharata Natyam, a form of Indian classical dance, and was later given the Sangeet Natak Akademi Award, the highest Indian recognition given to practising artists. In 2024, she was awarded the Padma Vibhushan, the second-highest civilian honor granted by the Government of India.

From: Wikiquote (CC BY-SA 4.0)

Native Name: வைஜெயந்திமாலா

Alternative Names: Vyjayanthimala Bali

From Wikidata (CC0)

If Bharatanatyam helped my movies, I cannot say the same about films helping my Bharatanatyam.

There were no acting schools or workshops then. What came naturally to you, is all you had. But Bharata Natyam taught me everything.

She says she was the only south Indian actress who could speak Hindi without a South Indian accent, at the time.

I was cast as a college girl and that wasn’t really hard to play as I was very young then. I was treated as a child on the sets. When the movies finally hit the theatres, all the newspapers carried reviews that said, ‘What natural acting.

I was cast as a college girl and that wasn’t really hard to play as I was very young then. I was treated as a child on the sets. When the movies finally hit the theatres, all the newspapers carried reviews that said, ‘What natural acting.'

We came from a conservative family, many of whom had never even gone to school. But I was sent to a convent and everyone was very proud that I was educated. So once while I was performing in Madras, a director from AVM studios spotted me. They were looking for a fresh face and they immediately wanted to cast me, and my grandmother grudgingly accepted.

I was surrounded by dance, music and religious chants, so it was that kind of a mood. Our family was very culturally-minded, especially my grandmother. She was also quite the disciplinarian. She made sure I practiced daily for hours.

But first I was made to learn music, because music and dance go together. You can sing, but you can’t dance without music...

I think I was born to dance. That’s what my grandmother told me. So it was always in my system.

I always cribbed about having such a long name and my grandmother would say that nobody else will be called ‘Vyjayanthimala'.