My voice, My face = My hits
With Baiju Bawra, the suffering Indian woman found a new face in Meena Kumari (For the film she adopted the name Meena Kumari). The heroine in the film is ever ready to negate herself for the material and spiritual advancement of the man she loves and is even willing to annihilate herself to provide him the experience of pain so that his music would be enriched. It was a strong performance and fetched her the inaugural Filmfare Award for Best Actress in 1953. With Daera (1953), Ek Hi Raasta (1956), Sharda (1957) and Dil Apna Aur Preet Parayi (1960), Meena went from strength to strength playing the suffering woman, the martyr to prefection. It is a pity that Meena was known for her tragic roles and she too chose more such roles to cultivate her image of being the great tragidienne because in the few light-hearted films she did in-between like Azaad (1955), Miss Mary (1957), Shararat (1959), and Kohinoor (1960) she displayed an unhibitedness that was refreshing to say at least. In these films, her physical moments are free and unrestrained and her dialogue delivery absolutely normal, a stark contrast to the studied mannerisms and passive postures of her tragic roles.