My Aunt, Pratima Devi, who Once Declined an Offer from Bombay Talkies: Shiraz Sherief | Cinema Memory Project

Well-known TV host and scriptwriter, Shiraz Sherief shares insights into the life and times of his aunt, Khairunnisa Suleman, known onscreen as Pratima Devi, known for largely playing mother onscreen over 43 years. 

Much time has passed, but I have crystal clear memories of my aunt, Khairunnisa Suleman, who, under the screen name Pratima Devi, worked as a supporting actress in approximately 200 Hindi films over more than 40 years, from 1938 to 1981. Dev Anand famously said of her that she had the face of a mother; no other role would suit her as well. As a young lad of 16-17, I would accompany my aunt on her shooting schedules, gaining a ringside view into the film world. She would also share many anecdotes with us, some of which I will recount in this article. 

From Khairunnisa Suleman to Pratima Devi
My aunt was born Khairunnisa Suleman in 1910. She was the eldest of three sisters, including my mother Gulbano and Shireen, the youngest. Their father’s name was Suleman Shivji and they hailed from Chanda, Gujarat. Later, the family moved to erstwhile Bombay for better prospects.

My aunt was married to a Khoja gentleman, who was a distant relative. However, the marriage was not a success—he was violent—and they separated. She even had a son; unfortunately, he died within 12 hours of being born. 

Living in the city, one day one of my aunt’s friends, who wanted to act in films, insisted on my aunt helping her to get access to Bombay Talkies. My aunt took the help of an acquaintance - Mr Acharya, who worked for the Bombay Talkies studio, to set up a screen test for her friend. They visited the studio together and her friend gave the screen test. However, it was not found to be up to the mark and the lady wasn’t selected. As luck would have it, Bombay Talkies founder-owner Himanshu Rai noticed my aunt—she was extremely photogenic—and asked her if she would be willing to do a screen test instead. My aunt declined as she was not at all interested in films. Hearing this, Rai said to her,  “Aap se mil kar aur aap se baat kar ke mujhe aesa lagta hai ke aap kahin aur kaam nahin kar sakengi, isiliye main kehta hoon ke kabhi bhi aap ka man badle aur chaahe to mere studio mein aa jaana; samajhna ke aap ke bhai ke darwaaze khule hain aap ke liye (After meeting you and speaking to you, I feel you will not be able to work elsewhere, if you ever change your mind, come to my studio; the doors of your brother’s studio will always be open to you.) My aunt thanked him and returned home. Meanwhile, word quickly spread that a grand lady had refused to work for Bombay Talkies! It was a strange occurrence for everyone within and outside the studio, as Bombay Talkies was the most prestigious and well-known studio of its time.

Joining Bombay Talkies
However, in time, my aunt’s situation worsened, as she was a divorcee. She decided to go back and meet Rai. In 1938, she joined Bombay Talkies and the first time she faced the camera was for the film Nirmala, starring Dada Moni (Ashok Kumar) and Devika Rani. The film, released in 1938, saw her play the mother of the lead character Ramdas essayed by Ashok Kumar. A social drama film, it was directed by Franz Osten and produced by Bombay Talkies.

Her work at Bombay Talkies began at a salary of Rs 75 per month. She used to visit Bombay Talkies daily, sit there till evening, and return home. When Mr Rai noticed this, one day he called her and said, ‘Aap rozaana kyon aati hain, hum apne artists ko extra mein kabhi khada nahin karte, agar aap ki zuroorat hogi to company ka aadmi aap ko inform karega, sirf pehli taarikh ko aayein aur apni salary le jaaein’. (We do not call our artistes on the sets when not required. When you are needed for a scene we will inform you in advance. Otherwise, simply come to collect your salary on the first of every month). This says a lot about ’Himanshu Rai’s greatness as a studio owner and boss.

It was in 1940, when Kishore Sahu was making Bahurani, that he insisted that my aunt leave Bombay Talkies and join Kishore Sahu Productions, which she did. The film was made but it flopped badly, and the same year Himanshu Rai also passed away. Now there was no work at all for her, for six months or so.

After that the work began, and there was no looking back. My aunt became busy with Prabhat Film Company, and with other production companies. She has approximately 200 films to her credit. She essayed the mother onscreen to all the leading stars of the time, from Dilip Kumar, to Raaj Kumar, Dev Anand, Shammi Kapoor, and Rajendra Kumar, Mala Sinha, and others in a range of films. Ironically, she even played mother to Om Prakash, who belonged to her own age group!

Some memorable films which she acted in were Albela (1951), Devdas (1955), Paigham (1959), Sangdil (1952), Jogan (1950), Do Phool (1958), Adalat (1976), Parineeta (1953), Bombay Ka Chor (1962), Palki (1967), Dil Apna Aur Preet Parai (1960), Dastan (1950), Dulari (1949), Natak (1947) - all A R Kardar productions. 

In Seema (1955), she played the role of the head of a women’s ashram. The film was a huge success, and was also the first success of Nutan as well as the debut film of Shubha Khote.

She featured in Baraat (1960), Delhi Junction (1960) and Tower House (1962), all three starring Shakila and Ajit, and in Jailor (1958) with Sohrab Modi, Geeta Bali and Abhi Bhattacharya. 

With Dev sahab she featured in Shair (1949), Sanam (1951) which also starred Suraiya and Meena Kumari, Pocket Maar (1956), Mahal (1970), Manzil (1960), Jewel Thief (1967) and Tere Ghar Ke Saamne (1963). 

In the Dilip Kumar-Nargis starrer Jogan (1950) she played the head of the jogans (Hindu female ascetics). Her other important films are Naya Daur (1957), Zindagi Aur Khwab (1961), Saathi (1968), Professor (1962), Rail Ka Dibba (1953) which was Shammi Kapoor’s first film, and Vasu Films’ Saas Bhi Kabhi Bahu Thi (1970). In 1972, she featured in Victoria No. 203 starring Ashok Kumar, Pran and Saira Banu, which was a golden jubilee hit. Other films include Jurmana (1979), Khushboo (1975), Benaam (1974), and Pukaar (1983), which happened to be her last film with Amitabh Bachchan.

She played a positive role in Kamal Amrohi's "Pakeezah" (1972) but the film was edited in such a way that all her scenes were disappeared, mother of Raaj Kumar in "Dil Apna Aur Preet Parai" (1960), mother of Nasir Khan in Kamal sahab's first production "Daaera" (1953), badi bahu in Guru Dutt's "Sahib Bibi Aur Ghulam" (1962) in which she appeared in only two scenes but significantly remembered by viewers even today.

Inside stories
In A R Kardar’s popular film Dard (1947), she played the wife of character actor Badri Prasad. Now, her character had a constant headache onscreen, in response to which her onscreen husband would tell the doctor, ‘Doctor sa’ab, aisi dawai do ke inka sar rahein na sardard!’ This line became so popular that on spotting my aunt in public, fans would enquire, ‘How is your headache?’ That was really quite funny. Incidentally, the film included the popular song Afsana likh rahi hoon rendered by Uma Devi/ Tun Tun picturised on Munawar Sultana.

When my aunt shot for Mere Lal (1948), which was made by V Shantaram’s make-up man, she was in her late twenties. However, she played an elderly woman of 80 in the film. The first day, of shooting, the director and the unit waited for Pratima Devi to arrive on set for the shot – and were shocked to eventually realise that she was none other than the ‘old’, white-haired lady already sitting among them since a while!

In Dr Kotnis Ki Amar Kahani (1946), my aunt played mother to V Shantaram onscreen. She wore the traditional nauvari – the nine-yard sari and the nath, the nose ring, and perfectly looked the part of a Maharashtrian mother. However, during the filming of a puja scene, while doing the aarti, she kept circling the puja thaal in the anti-clockwise direction! That’s when the unit realised, to their amazement, that she was not a Hindu by religion and didn’t know the right way to do the aarti. After a few retakes, she was able to do the scene correctly. 

She was also a part of Albela (1951), playing Bhagwan Dada’s mother. The film was replete with songs. This did not impress potential distributors and the film lay in the cans, unsold and unreleased for months. One day, my aunt happened to meet Bhagwan Dada and jokingly asked him what he would gift her when the film became a hit. Bhagwan Dada replied that the film had not even been sold yet and its chances looked bleak. However, soon after, he managed to sell the film which went on to celebrate its golden jubilee. Bhagwan Dada sold his car to have small gold medals made which he presented to all the artistes and technicians associated with the film. 

Her role in Sone Ki Chidiya (1958) was an exception to the benign motherly roles she largely played all through her career. She played a negative role, essaying the cruel guardian in the film which was directed by Shaheed Latif and written by Ismat Chughtai. It starred Talat Mahmood, Balraj Sahni and Nutan. 

In the Madras-based studio Gemini Films’ Ghunghat (1960), she played mother to Bharat Bhushan and had a key role. I remember, she featured prominently on the billboard of the film at the Royal Opera House in Bombay, which screened films at the time. 

Pyar Ka Bandhan (1963), in which she played Raaj Kumar’s mother, also featured a song that was picturised on her - Bojh uthale saathi, bojh uthale. It depicted her encouraging the construction workers. In the same year, in the film Bahurani she was the Daima – the subject of the song Kya bole daima picturised on Guru Dutt. She also worked in Guru Dutt’s Kaagaz Ke Phool (1959), essaying his mother-in-law onscreen.

For her role as Seeta (Hema Malini)’s wheelchair-bound grandmother in Seeta Aur Geeta (1972), my aunt was paid a lumpsum of Rs 5,000 for her work in the film. Later, an additional Rs 2,000 was sent across to her by producer and director Ramesh Sippy, as the duration of shooting had exceeded the original number of days. That was very fair and gentlemanly of Sippy sa’ab. When the film became a jubilee hit, she also received a trophy from the makers. 

Once, I had accompanied her on the sets of Benaam (1974). That day, leading man Amitabh Bachchan arrived rather late (at 5pm) for a 2pm – 10pm schedule. Naturally, the rest of the cast and crew were all ready and awaiting his arrival. When Mr Bachchan reached, he greeted my aunt respectfully, gesticulating to touch her feet. My aunt, ever frank and forthright, commented that they were old-timers and had reached well in time to be ready for the shooting, adding that they had no choice but to adjust to his timing! At this, Bachchan apologised for his tardiness. He went on to become one of the most punctual stars the industry has ever seen!

I also recall her saying that actor Rehman sa’ab used to often require several retakes during the shots. She would praise director Mahesh Kaul, saying there was no other director like him, in her opinion. 

A fondness for rummy
My aunt was sometimes short-tempered. She was outspoken; whatever was in her heart, was always out one way or the other. She always carried small silver boxes containing supari (betel nut), 120 Zaffran, and chuna which she would consume and also share with those who wanted it. 

She had a great fondness for rummy. In fact, she would always carry two packs of cards in her handbag when she went on the sets for shooting. Kamal (Amrohi) sa’ab’s sets, for instance, were invariably standing for years and hardly one or two shots were taken in a day. They would play rummy during the long breaks. I also developed a fondness for rummy, and I remember S U Sunny’s production controller, Taqi, protesting saying it wasn’t right to teach a child to play cards!

On Saturdays, my aunt would come for a rummy party at my parents’ house, while on Sundays, we, along with her circle of friends, would gather for a rummy party at her place. Sundays were reserved for chicken – a luxury in those days, unlike today. She was a great cook and prepared very tasty dishes that were never overloaded with spice or oil, but perfectly balanced. Her bajre ki roti and alu-methi sabzi were utterly delicious. In fact, she was the best cook of her sisters. 

Many film personalities were always to be found at my aunt’s Jacob Circle house. Her friend circle included Lalita Pawar, Baalam, C S Dubey, and Raja Nawathe, to name a few. She lived in the same lane as dancer Herman, at Saat Rasta. I remember Lalita Pawar as being a very sharp woman, and a great artiste at work; she was also known for her thriftiness!

My aunt shared a close friendship with Meena Kumari and her husband, filmmaker Kamal Amrohi. She would visit their apartment at Rembrandt, Pali Hill, where they would have rummy sessions together. Meenaji would always remind my aunt to bring along the dish of fried chillies which she adored. 

My aunt never remarried. She remained close to her family and friends, carving a successful career as a supporting actress over many years.

My tryst with radio
As a child, I worked in two films, namely Naya Kadam (1958), starring Balraj Sahni and others; I also featured in a song in Satyamev Jayete. I had also acted in a Quran session scene in Shikwa in the 1950s, starring Dilip Kumar and Nutan, which was never completed.

My career started in 1980, when I joined the ace broadcaster of India, janaab Ameen Janmohammed Sayani. I was introduced to Ameen sahab by his sister-in-law Zarina Habib Sayani. Zarina aapa was a family friend of ours; her mother Kulsumbai Padamsee (mother of Alyque Padamsee) always treated me as a son and used to invite me twice a week to her terrace apartment at Kulsum Terrace in Colaba.

When Ameen sahab realised the extent of my interest and knowledge of Indian music, he introduced me to the Bombay branch of radio advertising service Radio Ceylon and requested them to hire me as a record librarian. I maintained and reshuffled the entire record and cassettes library for Radio Ceylon; almost 6,000 records, 78 rpms and 45 rpms, 33 rpms and the audio cassettes as well. When Ameen sahab started his own Sayani Radiotel advertising, I worked for him as a script writer, assistant, and record librarian till 1993. At that point, I shifted to Dubai where I got married and worked for Radio Asia for five years as a voice artiste and host of the sponsored programmes, namely Ahmed Maan Jaaiye, Kilkaari, Meri Pasand and Hum Haazir Hain.

Success in television
When I stepped into the United States, I started working with TV Asia - the Asian channel started by Amitabh Bachchan in 1993 which was sold to a Gujarati businessman. Almost 2,000 shows were created, scripted and presented by me, entitled Abhi To Main Jawaan Hoon. In the course of this show, I did special interviews with renowned music personalities including Javed Akhtar, Manna Dey, Shabana Azmi, M F Husain, Pankaj Udhas, Dev Anand, Waheeda Rehman, Naushad sa’ab, Mehmood bhai, Kader Khan, Ustad Imrat Khan, Ustad Amjad Ali Khan, Ghulam Ali, Sudha Malhotra, Rati Agnihotri, Prem Chopra, Asha Parekh, Pandit Jasraj, Moeen Akhtar, Razia Butt, Raj Kumar Rizvi, and Runa Rizvi, to name a few. Countless admirers even today remember and appreciate the immortal work I have done for Indian music.

I have also worked with Zee TV as the host and scriptwriter of 200 episodes of the musical show Haseen Yaadein over two years which was very well-appreciated by viewers. 

I also worked with JusPunjabi and presented nearly 100 musical shows titled Dil Se Dil Tak. Many musical stage shows were also hosted by me in and around the United States. 

Currently, I have shot 70 episodes of the programme Kabhi Alvida Na Kehena for ITV Gold, on Sling. The show, based on timeless music in Hindi films, has been created, written and hosted by me. I receive a lot of letters from fans of the show, telling me how much they enjoy and appreciate it. 

Presently, I am residing in New Jersey, USA, and I am involved in conducting and anchoring musical stage shows in and around the United States. On 26 October 2024, I will be presenting the stage show Geetmala Ki Yaadein, in which I will pay tribute to Mr Ameen Sayani, my mentor and well-wisher, who has left us but memories of whom will be with me forever.

I have also presented many stage shows like Abhi To Main Jawaan Hoon, Sher-e-Naghma, Yaadon Ki Mehfil, Guzra Huwa Zamana and Yaadmein Majrooh Ki in Florida, Michigan, Atlanta, Kentucky and Los Angeles as well.