Saira Banu - A Devoted Wife

 

Saira Banu in an interview once said" I  was all in love with Dilip Kumar right from the age of 12 after watching 'Aan' I was not just another girl smitten by Dilip Kumar. For me, it was no castle in the air because I had given my dream the strong foundation of faith- faith in myself and faith in God.”

She was only 16, had gone for the show, hoping to get a glimpse of her favorite hero in person. But she was heartbroken as Dilip Kumar was unable to come to the premiere. She still remembers her first encounter with Dilip Kumar “When he smiled at me and remarked that I was a pretty girl, I could feel my whole being taking wing and flying rapturously. I knew somewhere deep within me that I was going to be his wife.”

After the release of Junglee, her first film in 1961, she became a big star, she was offered heroine roles with all the big stars of that time. Dilip Kumar in his biography told that a few films were offered to him with Saira but he refused because he felt to be her too young as his heroine.

It is said that it was Naseem Banu, her mother played the role of the cupid between Dilip and Saira. She got them closer, thanks to which love blossomed between the two. Dilip Kumar mentioned in his biography that when he fell in love with Saira. It was during a party thrown to celebrate her birthday. The actor revealed, "When I alighted from my car and entered the beautiful garden that leads to the house, I can still recall my eyes falling on Saira standing in the foyer of her new house looking breathtakingly beautiful in a brocade sari. I was taken aback because she was no longer the young girl She had indeed grown to full womanhood and was, in reality, more beautiful than I thought she was. 

It was one day when Saira Banu was shooting for the film'Jhuk Gaya Aasman' Dilip Kumar proposed Saira. He simply stepped forward and shook her hand and proposed. Dilip Saab said, "Saira, you are not the kind of girl I want to drive around with or be seen around with... I would like to marry you... Will you be my wife?" Promptly came the response from Saira, "And how many girls have you said this to?" She, however, said yes.

They married on 12th Oct 1966 and celebrated the Golden Jubilee of their marriage in 2016. She remained her pillar of strength throughout all these years. There was a time when Dilip Kumar married another lady but Saira continued to look after him. The second marriage lasted for two years since then the two have stood beside each other like a rock, considering one another to be the greatest gift of God. 

Saira Banu continued to work in films after the marriage, in fact, Dilip Kumar encouraged her to do films but she restrained herself to one or two films a year. Aman (1967), opposite Rajendra Kumar, was her first release after marriage to the thespian. She acted in three films with Manoj Kumar, Shaadi, Purab Aur Paschim, and Balidan. Cult film Padosan, in 1968, opposite Sunil Dutt, catapulted her to the top league and she continued to play the heroine for several years after that. Victoria No. 203 with Navin Nischol is her biggest hit. She acted in three films with her husband: Gopi. Sagina and Bairaag. Only Gopi was successful at the box office. She acted in three films with Manoj Kumar, Shaadi, Purab Aur Paschim, and Balidan and six with Dharmendra: Jwar Bhata, Aadmi Aur Insaan, Resham Ki Dori, Pocket Maar, International Crook and Chaitali.

She worked with Amitabh Bachchan in Amitabh Bachchan in Zameer and Hera Pheri. Nehle Pe Dehla. She never worked with Rajesh Khanna though once she was offered the role in Chhoti Bahu in 1971 but couldn't do it due to illness. 

Dilip Kumar told in an interview that she was signed for the role that Mumtaz did in Ram Aur Shyam but he himself asked her not to do that role. She appeared in a cameo opposite her husband in Duniya (1984), wherein the song "Teri meri Zindagi" became very popular. Faisla which was eventually released in 1988 and is officially her last film.

Song of Junglee (1961)

Song of Bluff Master(1963)

Song of Ayee Milan Ki Bela (1964)

Song of Pyaar Mohabbat (1966)

Song of Shagird 1967

Song of Padosan (1968)

Song of Jhuk Gaya Aasman (1968)

Song of Purab Aur Paschim (1970)

Song of Victoria No 203 (1972)

Song of Jwar Bhata 1973

Song of  Gopi 1973

The Story behind the song "Jalte Hain Jiske Liye" from Sujata

This song was written by Majrooh Sultanpuri and composed by S D Burman, was picturised on Sunil Dutt and Nutan for the film Sujata 1959. It is a “phone” song, where Sunil Dutt rings up Nutan and sings this song on phone. Well, there were very few phones in 1959 ( exactly sixty years ago) and singing a song on phone was not good for one’s telephone bills those days unless one was doing it for very important reasons. 
Bimal Roy, the producer-director of the film wanted this song to be sung by Mohammad Rafi but Burman Da was not in favour, then the name of Manna Dey was suggested but Burman Da was looking for someone else.
SD Burman was always very particular about the voice of his singer to be matched with his composition. For this song, he asked Rafi, Manna Dey to sing back the tune to him over the phone. He was not satisfied with the texture he wanted for this song.
It is said that it was Jaidev who was his assistant in that film suggested the name of Talat Mahmood for this song. Burman Da agreed and asked Talat to sing the tune over the Telephone. On listening to the tune on the phone Burman da immediately decided that this song will be sung by Talat only.
And indeed, the soft silken voice of Talat sounds so wonderful in this song that made the song immortal
The beauty of this song is not only: its music, its words but also its picturization, Talat’s incomparable singing, Nutan’s acting—and, though often overlooked, also Sunil Dutt’s acting. 
Watch in the first verse, for instance, the earnestness in his face as he sings: as if he’s trying to be absolutely word-perfect, not one note out of place, focusing on his song and yet also addressing that girl he loves, who’s listening at the other end of the line. Then, as the song progresses, he begins to relax—not just physically stretching out, but also smiling more easily, letting himself feel more comfortable, more confident that she’s liking his song…