A trailblazing actress, producer, and co-founder of Bombay Talkies, Devika Rani shattered conventions and laid the foundation for Indian cinema as we know it today
At a time when the world had barely reconciled itself to the idea of women in public life, Devika Rani, the first lady of Indian Cinema who was born on March 9, proved to be a woman far ahead of her age. An actress, an institution-builder, a producer, and a pioneer who shaped Indian cinema’s formative years, her presence was commanding, her choices revolutionary, and her legacy undeniable.
Born in 1908 into an illustrious Bengali family, Devika Rani had an independent spirit that set her apart. She was Rabindranath Tagore’s grandniece, but refused to be defined by lineage alone. Educated in England from a young age, she trained at the Royal Academy of Dramatic Art (RADA) and apprenticed under the legendary Elizabeth Arden, acquiring an artistic sophistication that would later shape her cinematic vision. In an era when Indian women were expected to conform to social norms, she dared to dream of a life on the stage and screen.
Her exposure to European theatre and film provided her with a cosmopolitan sensibility that few in the Indian film industry possessed. She was not just an actress who memorised lines — she was a storyteller, a performer who understood the nuances of expression, lighting, and narrative. This artistic depth became evident when she came to cinema as a woman ready to redefine its very foundations.
Breaking boundaries, one kiss at a time
If cinema thrives on moments that define eras, Devika Rani’s four-minute kiss in Karma (1933) was one such milestone. When she locked lips with her husband and collaborator Himanshu Rai, she shattered taboos, setting off a cultural storm. While conservative Indian audiences balked, European critics hailed her as ‘a star of the first magnitude.’ It wasn’t just about the kiss — it was about a woman claiming autonomy over her craft, her image, and her place in the world.
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At a time when actresses were often stigmatised and seen as social outcasts, Devika Rani carried herself with grace and dignity, proving that cinema was not just an indulgence but a serious art form. She played characters that challenged social norms. In Achhut Kanya (1936), she essayed the role of a lower-caste woman in love with a Brahmin man, daring to tackle the rigid caste system on screen when such conversations were unthinkable. Her portrayal was layered, sensitive, and poignant, making the film a landmark in Indian cinema’s history.
Devika Rani did not shy away from playing flawed, complex women, a rarity in an era when female characters were often confined to the roles of dutiful daughters and devoted wives. Instead, she took on roles that mirrored real-life struggles and aspirations, pushing the boundaries of what Indian cinema could achieve.
Bombay Talkies, the first professional studio
In 1934, she co-founded Bombay Talkies with Himanshu Rai, creating India’s first truly professional film studio. The nascent years of cinema were chaotic and unstructured, but Bombay Talkies brought German cinematographers, technicians, and a level of discipline that transformed the industry. The studio introduced the concept of scripted narratives, rehearsals, and method acting, shaping the future of Hindi cinema.
Devika Rani wanted to institutionalise cinema in India, bringing it on par with global standards. Under her leadership, Bombay Talkies nurtured future legends, most notably Ashok Kumar, whose chemistry with her became iconic. The studio’s films were culturally significant. Achhut Kanya tackled caste discrimination, Jeevan Naiya (1936) addressed widow remarriage, and Durga (1939) portrayed strong-willed women who defied norms.
She was also one of the first Indian filmmakers to recognise the power of film as a nationalistic medium. Bombay Talkies championed films that resonated with the struggles and aspirations of pre-independence India. While mainstream cinema largely focused on mythological themes, Devika Rani steered the industry toward realism, human drama, and pressing social issues.
A woman who owned her destiny
When Himanshu Rai passed away in 1940, many assumed Bombay Talkies would collapse. But Devika Rani took charge, an unprecedented move in a male-dominated industry. She became the studio’s driving force, making crucial financial and creative decisions, proving that a woman could not only lead but thrive in the business of cinema. However, internal conflicts and industry politics forced her departure in 1945. Still, by then, she had already paved the way for future generations of women in Indian cinema.
Her personal life, too, was unconventional. After leaving Bombay Talkies, she married Russian painter Svetoslav Roerich and moved to Bangalore, choosing a life away from the limelight. Yet, even in seclusion, she remained a legend. The Dadasaheb Phalke Award (1969) and Padma Shri (1958) recognised her contributions, but her true reward lay in the cinematic legacy she had built.
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Though she stepped away from the industry, her influence endured. The actresses, producers, and filmmakers who followed her walked a path she had courageously paved. Even in her absence, she remained a figure of fascination — of strength, and defiance.
The Devika Rani effect
Devika Rani wasn’t just the First Lady of Indian cinema because she was the first; she was the First Lady because she set the rules for those who followed. In an industry where women were often confined to the margins, she stood at the centre, not as an ornament but as an architect. She kissed on screen when it was unheard of, played progressive roles when it was dangerous, and ran a studio when no woman dared. She proved that cinema wasn’t just a space for entertainment — it was a space for revolution.
Devika Rani’s legacy is not merely about the films she made or the roles she played. It is about the countless women in Indian cinema today who stand on her shoulders, who see film as more than just a profession but a medium for change. On this International Women’s Day, we recognise that without her audacity, Indian cinema might not have become what it is today. And for that, she will always be its first lady, its rebel queen, and its eternal muse.
