Devika Rani: How Bombay Talkies Co-Founder Paved Way For Women In Cinema

Devika Rani, an illustrious figure in Indian cinema, left an indelible mark on the industry during the 1930s. Her journey from a London-educated Bengali actor to a pioneering filmmaker revolutionised the landscape of Indian films, setting new standards of excellence and creativity.

Before Devika Rani's emergence, Indian cinema faced a stigma, with actors predominantly hailing from Bombay's red-light areas. However, Rani's decision to pursue a career in film challenged societal norms, bringing a sense of respectability to the medium. Her background as Rabindranath Tagore's great-niece and the daughter of India's first surgeon-general added a unique dimension to her persona, elevating her status as an icon in Indian cinema.

Rani's entry into the world of films was destiny. While studying acting and music in London, she crossed paths with Himanshu Rai, a lawyer turned filmmaker. Rai, impressed by Rani's talents, invited her to collaborate on his film projects. This chance encounter marked the beginning of a remarkable partnership that would shape the course of Indian cinema.

Meet Devika Rani, India's First Empress Of Cinema

Rani's collaboration with Rai extended beyond the screen, leading to the establishment of Bombay Talkies in 1934. The studio quickly gained prominence as one of India's best-equipped filmmaking hubs, attracting exceptional talents like the German director Franz Osten and cameraman Carl Josef Wirsching. Under Rani's leadership, Bombay Talkies became a breeding ground for future stars like Ashok Kumar, Dilip Kumar, and Raj Kapoor, laying the foundation for their illustrious careers.

The Birth Of Bombay Talkies & Breaking Barriers On Screen

Rani's on-screen persona shattered stereotypes and challenged societal norms. In films like Achhut Kanya, she tackled sensitive issues like caste discrimination with nuance and empathy, earning acclaim for her powerful performances. Thanks to Devika Rani's influence, Bombay Talkies produced numerous other films delving into the challenges faced by Indian women. Jeevan Prabhat (1937) showcased a role reversal, featuring Rani as a doomed upper-class Brahmin woman. Nirmala (1938) explored the anguish of a childless woman, while Durga (1939) delved into the life of an orphan.

Following these were films like Janambhoomi (1936), Kangan (1939), Bandhan (1940), Jhoola (1941), Vachan (1941), Anjaam (1941), and Hamari Baat. Rani achieved significant success as an actor, with movies like Basant and Punar Milan enjoying unprecedented 50-week runs at the box office. What distinguished Bombay Talkies' productions was their moral strength and social relevance.

In 1940, Rai suffered a nervous breakdown and passed away within a month. It fell upon his young widow to lead the studio, and she did so remarkably well. Under her guidance, Bombay Talkies became known for its discipline and innovative approach.

Despite her professional success, Rani's personal life was marked by upheavals. The untimely demise of Himanshu Rai in 1940 left her to navigate the challenges of running Bombay Talkies alone. However, her resilience and determination ensured that the studio continued to thrive, producing groundbreaking films like Kismet and Jwar Bhata.

In 1944, she encountered the artist Svetoslav Roerich, son of the renowned Russian painter Nikolai Roerich. Within a year, she divested her shares in Bombay Talkies and bid farewell to her acting career. They exchanged vows in 1945. Her marriage to Roerich marked the beginning of a serene and fulfilling phase away from the glitz and glamour of the film industry.

Devika Rani breathed her last on March 9, 1994, in Bangalore. Despite her departure, Devika Rani's legacy endures as that of a trailblazer who redefined Indian cinema and paved the way for future generations of filmmakers and actors.