Vyjayanthimala remains one of the most celebrated stars of Indian cinema, remembered for her acting, Bharatanatyam and remarkable run as one of Hindi cinema’s biggest female stars. On her birth anniversary, her career also brings back memories of the long-running rumours surrounding Raj Kapoor and the personal choices that eventually took her away from films.
According to NDTV, Vyjayanthimala began her acting career in 1949 with the Tamil film Vaazhkai and later became a major star across Tamil, Telugu and Hindi cinema. Her performance as Chandramukhi in Bimal Roy’s Devdas brought her national recognition. She later starred in films including Nagin, Madhumati, Naya Daur, Gunga Jumna and Sangam.
Born on 13 August, Vyjayanthimala grew up in Madras, now Chennai. She was introduced to classical dance at a young age and was raised largely by her mother, actor Vasundhara Devi, and her grandmother. Before establishing herself as a film star, she had already made a name as a Bharatanatyam dancer.
Her career flourished through the 1950s and 1960s. She worked with many of the leading actors and filmmakers of the era and became known for combining commercial appeal with strong performances and exceptional dancing.
Among her most talked-about collaborations was Sangam, directed by and starring Raj Kapoor. The 1964 film also starred Rajendra Kumar and became a major commercial success.
The film later became linked to persistent rumours about Vyjayanthimala and Kapoor. Rishi Kapoor recalled in his autobiography that his mother, Krishna Raj Kapoor, had temporarily left the family home during a difficult period when his father was allegedly involved with Vyjayanthimala.
Vyjayanthimala, however, repeatedly rejected claims that she had a romantic relationship with Raj Kapoor. She maintained that the stories were untrue and that she had been unfairly linked to the filmmaker.
Her personal life eventually took a different direction. She met Dr Chamanlal Bali, a physician who was also close to Raj Kapoor, after consulting him as a patient. Their friendship gradually developed into a relationship.
The relationship attracted attention because Dr Bali was already married and had children. It also faced criticism from sections of the media and opposition from within Vyjayanthimala’s family.
Despite the scrutiny, she stood by her decision. She believed Dr Bali’s marriage had already broken down before their relationship became serious.
After Dr Bali’s divorce was finalised, the couple married in 1968. The marriage marked a major change in Vyjayanthimala’s life.
At the height of her career, she chose to leave mainstream cinema and focus on her personal life. Offers from prominent filmmakers continued to come, but she remained firm in her decision.
She did not, however, give up dance. Vyjayanthimala continued performing Bharatanatyam on stage and remained closely associated with classical dance.
The couple later settled in Chennai and welcomed their son, Suchindra. Dr Bali eventually moved away from medical practice and pursued business interests. Their marriage lasted until his death in 1986.
Vyjayanthimala’s decision to leave films at the peak of her career remains one of the defining choices of her life. Her legacy extends beyond the screen to her contribution to Bharatanatyam and her influence on generations of Indian performers.
More than six decades after her rise to stardom, she remains remembered not only for films such as Devdas, Madhumati and Sangam, but also for choosing her own path despite years of public scrutiny.
