The Life and Times of Nargis

Review of the book ‘The Life and Times of Nargis’, authored by T.J.S. George and published by Harper Collins India

Reviewed by Zaffar Junejo

Like many readers, I am also drawn to autobiographies and biographies. Is there anything particularly unique about my preferences? Perhaps not, except for one significant detail: I have always chosen the life stories of ordinary individuals—sportsmen, artists, scientists, poets, and political workers—who, through sheer hard work, dedication, and unwavering belief in their ideas, earned respect and carved out their own space on the often crowded and populist stage of life. I have always pondered why this inclination towards ‘ordinariness’ holds such a strong pull for me. In this regard, an incident at the Department of Educational Psychology and Counselling, University of Malaya, solved this parabola.

One day, I stepped into the library of the department. My aimless search through books prompted the librarian to offer assistance. My impromptu response was that I was interested in ‘counseling.’ After showing me some titles on her computer screen, which I couldn’t quite decide on, she suggested I consult Professor Dr. Lau Poh Li if I was looking for a specific book.

I found Professor Lau’s office, which she shared with colleagues, and introduced myself as a PhD student from the Department of History. After a brief self-introduction, she surprisingly began asking me detailed questions about my sleeping patterns, eating habits, and mood swings. I quickly realized she assumed I was experiencing stress — common for a PhD student away from family. It was then that I decided to clarify my purpose, seeing it as a stroke of luck and an opportunity. A long-standing question flashed into my mind: ‘Why am I interested in reading biographies of ordinary persons?’

She listened intently, asked further probing questions, and meticulously noted my responses. After a forty-minute session, she smiled and concluded that my interest wasn’t merely about curiosity; it was about seeking connection, learning, and finding meaning in the everyday human journey. This insightful observation confirmed that my psychological framework had, over the years, indeed driven me to explore the lives of ordinary people who later became legends and icons.

I can never forget the first book in this category that I read, admired, and subsequently recommended to friends—Ali Nawaz Nizamani, Kalal Khaskhely, and Khaliq Junejo: Marilyn Monroe’s autobiography, My Story (with Ben Hecht, 1974). Following that, I turned the pages of Vinod Mehta’s Meena Kumari: The Classical Biography (1972). Most recently, I completed reading T.J.S. George’s biography of the iconic Indian actress, Nargis. I had purchased this book from a venerable old bookstore in Frere Hall, Karachi. Soon, this book—like others—became one of those ‘purchased-forgotten’ books. I glean them with a silent promise of future attention—a promise that, for many books, goes unfulfilled as new titles arrive and years pass.

Last week, during a visit to my village, I finally picked up The Life and Times of Nargis. I was there for a couple of days, and in just three sittings, I devoured its 224 pages. The book is structured into twelve chapters, preceded by a prologue and followed by an epilogue, and includes an annexure listing all the films Nargis appeared in.

The prologue, penned by the legendary Faiz Ahmed Faiz, immediately sets a contemplative tone. The first chapter masterfully establishes the historical context of Indian cinema, spotlighting its early Golden Age and introducing Devika Rani, the actress and producer, who became known as the ‘First Lady of Indian Cinema.’ This glorious period, the author notes, concluded around 1940. Within these pages, George introduces the young, convent-educated, and book-loving Nargis, who initially showed little interest in cinema. Interestingly, prior to her emergence, the beauty queens of the late 1940s and early 1950s were primarily Madhubala and, to some extent, Vyjayanthimala. Yet, Devika Rani and Nargis distinctly carved out their own special places in the Indian film world.

The chapter titled ‘The Wonder That Was Jaddan Bai’ tells a lot about the far-sighted and decisive nature of Nargis’s mother, Jaddan Bai. Her astute decisions paved the way for both herself and her daughter in the competitive world of Bombay cinema. Jaddan Bai, an aspiring singer, was chosen by Mohan Babu, who abandoned his plans to become a medical doctor in England to marry her. Jaddan Bai was already a mother to two boys, Akhtar Hussain and Anwar Hussain; her third child was a girl who would later become one of Indian cinema’s most revered figures.

The author eloquently states that ‘a curled-up lip of Nargis conveyed more sexuality than most actresses who, in those times, might have shown square inches of cleavage and thighs

Nargis‘s cinematic journey began in Bombay in 1935, when she was barely six years old, appearing in Talashe Haq under the screen name Baby Rani. Film chroniclers value this film for two key reasons: Jaddan Bai directed its music, making her the first female music director in Indian cinema, and it marked Nargis’s debut. While her initial appearances were as a child star, producers and directors in Bombay kept a keen eye on her. Nargis enjoyed a relatively carefree life around Marine Drive until 1943, when Mehboob successfully signed her as a heroine for Taqdeer. She was just 14—a convent-school prodigy with minimal interest in acting, yet she was destined for greatness.

Even today, the iconic image of Raj Kapoor holding Nargis in his arms in the film Barsaat (1949) remains an electrifying scene for generations of subcontinent cinema-goers. The author eloquently states that ‘a curled-up lip of Nargis conveyed more sexuality than most actresses who, in those times, might have shown square inches of cleavage and thighs.’ George emphasizes the mythic effect of the Raj Kapoor and Nargis pairing, which transcended mere on-screen chemistry.

Nargis undoubtedly deserves a compelling biography, and T.J.S. George has delivered precisely that. He employs a traditional, timeline-based approach—often referred to as the classical biographical technique—yet his narrative is refreshingly free of judgment or contextual distortion. While George’s writing is empathetic, he skillfully traces Nargis’s family and professional life: from the ‘undistinguished origins of her mother (Jaddan Bai),’ through Nargis’s marriage to Sunil Dutt and her subsequent domestication, to her later public life, including her controversial support for the Emergency and her critical views on Satyajit Ray. Despite these varied aspects, the book convincingly demonstrates how she ascended to the pinnacle of Indian cinema and steadfastly maintained that position.

Nargis’s final film was Raat Aur Din (1967), marking an incredible 32-year career in Indian cinema. In the fullness of her days, she evolved into many roles: wife, mother, social worker, and even a nominated Member of Parliament. Yet, at heart, she remained a woman of profound caring and commitment, well-rounded in every way. Without doubt, for three decades, she reigned as a queen of the golden age of Indian cinema, leaving an indelible legacy that continues to inspire.

Even today, the enchanting lyric ‘Pyar Hua, Ikrar Hua’ from Shree 420 and the Raj Kapoor-Nargis scene with the umbrella equally ignite a passionate fire in the hearts and minds of both the old generation who enjoyed the silver screen days of pre-Partition and today’s digital-age generation. The scene depicts a timeless moment where romance blossomed under a shared umbrella, symbolizing love’s enduring magic. I have found myself listening to that song on repeat—it is truly beautiful. I wonder if you have heard it. If not, I highly recommend you copy and Google the link so you can watch and enjoy this beautiful song, especially in this rain.

It is a wonderful listen, especially as we embrace the monsoon weather.

Read: The Power of One: Story of Asha Parkari

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Dr. Zaffar Junejo has a Ph.D in History from the University of Malaya. His areas of interest are post-colonial history, social history and peasants’ history. He may be reached at junejozi@gmail.com