The Enigmatic Journey of Geeta Bali: A Dazzling Film Career and Its Heartbreaking Conclusion

New Delhi, Nov 30 (NationPress) When Shammi Kapoor croons Tumne mujhe dekha hokar ke mehrban in the stylish murder mystery Teesri Manzil (1965), the song serves not merely as a gesture towards his irritated heroine but as a poignant homage to his recently departed wife - the vibrant, spontaneous, and widely celebrated Geeta Bali.

His admiration for her was well-founded; after their union, his fortunes altered remarkably, transitioning from a series of 15 unsuccessful films to stardom, ultimately establishing the iconic Shammi Kapoor persona, characterized by a lively and carefree romantic hero. Their son, Aditya Raj Kapoor, described his father's dance style as a reflection of his mother's spirited nature.

Throughout her brief life of 34 years, Geeta Bali made a significant impact in the film industry, showcasing her talent while dancing with the legendary Bhagwan Dada in the faux Hawaiian Shola jo bhadke from Albela (1951). She captivated audiences with her performances alongside top stars of her era, including Dev Anand and Dharmendra, and even convinced Guru Dutt to act in front of the camera. Her formidable presence left contemporaries like Madhubala and Suraiya in awe, and even the illustrious Meena Kumari was impressed by her remarkable versatility.

Despite her numerous achievements and the accolades that came her way, Geeta Bali, born on this day (November 30) in Amritsar in 1930, never secured a defining role akin to her illustrious peers—Nargis in Mother India (1957), Madhubala in Mughal-e-Azam (1960), and Meena Kumari in many acclaimed performances. Her quest to rectify this absence eventually led to her untimely and painful demise.

Born Harkirtan Kaur Bali to granthi Pandit Kartar Singh Bali, her upbringing in a liberal environment allowed her to explore music, dance, riding, and gatka from an early age, a rarity for her time. At just nine years old, she performed publicly in Lahore with her sister, but faced community backlash, necessitating police intervention for their safety.

The following year, she secured a position at AIR Lahore, hosting children's shows, and made her debut as a child artist in the Punjabi film The Cobbler (1942), with her adult debut occurring in Badnaami (1946). Her talent caught the eye of actor-director Mazhar Khan, who invited her to Bombay in 1948, where she and her family temporarily resided in a dilapidated mansion's large bathroom.

As Khan's project stalled, Geeta Bali attracted the attention of renowned filmmaker Kidar Sharma, who recognized her potential beyond her unconventional beauty. Despite initial reservations regarding her Punjabi accent, Sharma believed in her capabilities, allowing her to shine in Suhaag Raat (1948) alongside Bharat Bhushan and Begum Para.

Though her career nearly faltered due to her accent, Sharma's faith in her talent paid off, leading to a successful film that established her as a star. However, her mother's influence, driven by the allure of money, led Geeta Bali into a slew of lesser films that jeopardized her career. She eventually returned to Sharma, who disregarded her mother's interests, and together they produced Bawre Nain (1950), reviving her reputation.

Geeta Bali continued to share her earnings with her mother while retaining the right to select her projects. She captivated audiences in Baazi (1951) as a nightclub singer, where the song Tadbeer se bigdi taqdeer became a blessing for both her and singer Geeta Dutt, and played memorable roles in films like Jaal (1952) and Anand Math (1952), delivering a spirited performance of Vande Mataram.

After being pursued by Shammi Kapoor during their collaboration in Miss Coca Cola (1955), she eventually agreed to his advances in 1955. Yet, she remained an outlier in the Kapoor family, where working daughters-in-law were rare, even while raising two children.

Her aspiration to create a unique role in Rano, an adaptation of Rajinder Singh Bedi's Ek Chadar Maili Si, turned tragic when she contracted smallpox during filming in a Punjab village. She was brought back to Bombay but succumbed to her illness in early January 1965, resulting in the film's abandonment.

(Vikas Datta can be contacted at vikas.d@ians.in)