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She played Radha, a hospital nurse employed by a progressive psychiatrist, Pahadi Sanyal and is expected to develop a personal relationship with male patients as part of their therapy. One of Suchitra’s best known performances was in Deep Jweley Jai (1959). Ofcourse it adhered to the Raj Kapoor pattern of film making with lots and lots of glamour and female anatomy on display. As was expected from Raj Kapoor, who was out to prove his meattle again, the film was a stupendous success the kind of success. Raj Kapoor, just to prove that he had not his cinematique genius, made a light romantic film Bobby starring his young son Rishi Kapoor and cast opposite another brand new comer Dimple Kapadia. It was the costliest Indian film at the time. Raj Kapoor’s-Mera Naam Joker, which he had made in two parts, had besides Soviet artistes and circus, about half the Indian film industry in its cast.
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Mughal‑E‑Azam was released in 1960 and had taken nine years in the making). It was the costliest film released in India till the time of Sangam. Asif’s Mughal‑E‑Azam, starring Dilip Kumar, Prithviraj Kapoor and the Venus of the Indian screen, Madhubala. Sangam actually set the trend for big‑budget films (an earlier attempt but after Chandralekha-was K. His films showed his political leanings, and somehow, none of his later works came up to the standard of his earlier Dharti Ke Lal and Munna. It was about the housing problem in the city of Bombay Hamara Ghar, a children’s film Char Dil Char Rahen starring Meena Kumari on National Integration Aasman Mahal starring Prithviraj Kapoor (best performance award at the Karlovy vary festival), about the Maharajas and Princes Bambai Raat Ke Bahon Mein about smuggling racket, starring Miss India, the exquisite Persis Khambatta and his last Saat Hindustani again on National Integration. This film got Abbas the President’s Gold Medal for being the best film of the year. Abbas, who had earlier made an impressive debut with Dharti Ke Lal, followed by Munna, made a few more films like Shehar Aur Sapna starring Dilip Raj and Surekha-both new faces on the screen. More so those assoiated with the IPTA – Indian People’s Theatre Movement.
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Nationalism has always been important to Indian film makera of that era.