Shola Jo Bhadke...

Tracing Geeta Bali's sparkling film career and its tragic climax

When Shammi Kapoor sings Tumne mujhe dekha hokar ke mehrban in the slick whodunit Teesri Manzil (1965), the serenade is not just meant for his peeved heroine, but a heartfelt tribute to his (then) recently deceased wife – the vivacious, spontaneous, and much-admired Geeta Bali.

And he had good reason to laud her. His luck had turned after their marriage, and after over 15 flops, he hit big time and the Shammi Kapoor persona – of a jiving and carefree romantic hero – was born. Their son Aditya Raj Kapoor termed his father's dancing a reflection of his mother's personality.

In her short lifespan of 34 years, and a film career which spanned two-thirds of it, Geeta Bali had made waves as she danced with the legendary Bhagwan Dada, especially in the faux Hawaiian shola jo bhadke from Albela (1951), matched histrionics with all the top heroes of her time from Dev Anand to Dharmendra, persuaded Guru Dutt to step in front of the camera, stood her ground against the likes of Madhubala and Suraiya, and left even Meena Kumari awestruck at her capability and versatility.

An early start and a sparkling debut

However, despite her successes and the acclaim she enjoyed, Geeta Bali, born November 30, 1930, in Amritsar, missed one defining role like her top contemporaries – Nargis in Mother India (1957), Madhubala in Mughal-e-Azam (1960), and Meena Kumari in countless performances. It was her attempt to remedy this contributed to her untimely and agonizing death.