An ode to beauty

M L Dhawan

The book, as is evident from its title, is a ‘labour of love’ by an ardent fan. The writer, S P Singh, a former IAS officer, who eulogises Sadhana, has traced her cinematic journey from her debut Love in Simla (1960) to Ulfat Ki Nayee Manzilen (1994). The yesteryear’s beauty catapulted to stardom right after her first movie and cast a hypnotic spell on filmgoers with her beauty, glamour, histrionics and inimitable ada. She was at the peak of career, when she was afflicted with thyroid. It affected her much admired eyes that could cast a magic spell on the audience.

Despite treatment, the illness affected her once-beautiful eyes and marred the perfect symmetry of her face. Her career was cut short in her prime and she shut herself away in secret secluded place, shunning the public glare to fight her medical demons. It was a courageous act for someone who had basked in limelight, to let go it all suddenly and live the life of a recluse.

The author has analysed her all films quite earnestly — though his bias is evident despite a critical evaluation of her creative prowess but then it is the bias of a diehard fan. The book is, undoubtedly, an ode to Sadhana.

Karachi-born Sadhna Shivdasani made her screen debut in Abana (1958) the first Sindhi film. Her appearance as heroine’s sister caught the attention of many, including Sashidhar Mukerjee of Filmalaya who asked his director R K Nayyar to consider her for the heroine’s role in his next film Love in Simla. Sadhana made a memorable debut as the bespectacled tomboyish heroine. This was followed by Ek Musafir Ek Hasina (1962).

The author has divided Sadhana’s film journey into four phases. The first phase was from 1960 to 1962, when she established herself as an actress both as a glam girl in (Love In Simla, Hum Dono, Asli-Naqli), and in non-glamorous roles in Parakh, Manmauji. The second phase — her peak years — stretches from 1963 to 1966. This period had super hits like Ek Musafir Ek Hasina, Mere Mehboob, Woh Kaun Thi, Rajkumar, Aarzoo, Waqt, Budtameez and Mera Saaya. She touched the peak of popularity in these films. During the third phase between 1967 and 1969 she was afflicted with thyroid. Though she acted in Anita, Intequam, Ek Phool Do Mali, etc. her looks had been affected. The once much-admired eyes bulged out unbecomingly. But she still managed to give her best.

The fourth phase from 1970 to 1978 and later in 1994 in films like Sachchai, Ishq Par Zor Nahin, Aaye Din Bahaar Ke, Dil Daulat Aur Duniya, Geetaa Mera Naam, Vandana, Amaanat, Chhote Sarkaar, Mahfil, Aap Aaye Bahaar Aayee, etc saw her desperately trying to cling on to now elusive stardom. But the writing was clear on the wall. Her days of stardom were over. The offers stopped coming. That was an end to the phenomenon called Sadhana.

Hindi films have always influenced the way India dresses. Waqt was one such movie. Sadhana became a trend-setter, her style imitated by women across country. But she is best credited with introducing a hairstyle that has been named after — the fringes worn on forehead — old-timers still call it the Sadhana cut.

Unfortunately, ill health continued to bother the actress. After thyroid, she developed an eye disease which caused blindness for a few months, though vision was restored in her one eye after treatment. In December 2014 Sadhana had to undergo an emergency surgery due to a bleeding oral lesion in at the K J Somaiya Medical College. She reportedly died of cancer on December 25, 2015, in Hinduja Hospital, Mumbai, after being hospitalised with high fever.

Sadhana had a transient stardom. If thyroid had not struck her at the peak of her popularity when she was barely 24-25, she had the beauty and talent that could have achieved superstardom.