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Babita
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Babita Shivdasani Kapoor (née Babita Hari Shivdasani; born 20 April 1947),[2] also known mononymously as Babita,[2] is an Indian retired actress who appeared in Hindi-language films.
Key Information
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The daughter of character actor Hari Shivdasani and the cousin of actress and her contemporary Sadhana Shivdasani, Babita's debut film was the successful drama Dus Lakh (1966), but it was the romantic thriller Raaz (1967), opposite Rajesh Khanna, that gained her recognition. From 1966 to 1973, she starred in nineteen films as the lead heroine, including the box office successes Farz (1967), Haseena Maan Jayegi, Kismat (both in 1968), Ek Shriman Ek Shrimati (1969), Doli (1969), Kab? Kyoon? Aur Kahan? (1970), Kal Aaj Aur Kal (1971) and Banphool (1971). Following her marriage to actor Randhir Kapoor in 1971, she acted in Jeet (1972) and Ek Hasina Do Diwane (1972). Her subsequent release in 1973 was an average success, after which she decided to leave her career and became a housewife.[3]
Background
[edit]Babita was born in Karachi to actor Hari Shivdasani, who was from a Sindhi Hindu family (settled in Bombay prior to and after the partition of India) and a British Roman Catholic mother, Barbara.[1][4] The iconic actress Sadhana Shivdasani was her paternal cousin and contemporary.[5]
Career
[edit]Babita appeared in nineteen films. Her first film to release was the 1966 successful film Dus Lakh, which also starred Sanjay Khan, Om Prakash and her future sister-in-law, Neetu Singh. However, the first film she had signed was actually Raaz co-starring Rajesh Khanna, which was released in 1967. Her biggest box office successes were Dus Lakh, Ek Shrimaan Ek Shrimati and Haseena Maan Jayegi (1968), (with her future uncle-in-law) Shashi Kapoor, Farz, Banphool and Ek Hasina Do Diwane with Jeetendra, Doli with Rajesh Khanna, Tumse Achha Kaun Hai (1969) with her future uncle-in-law Shammi Kapoor, Kismat with Biswajeet, Kab? Kyoon? Aur Kahan? (1970) with Dharmendra and Pehchaan with Manoj Kumar. In 1971, she acted opposite her future husband Randhir Kapoor, as well as father-in-law Raj Kapoor and grandfather-in-law Prithviraj Kapoor in Kal Aaj Aur Kal. After her marriage to Randhir, they were cast together by director K. Shankar in Jeet, which was the remake of En Annan, starring M. G. Ramachandran and Jayalalithaa. She left the film industry in 1973 following her husband's family tradition of women not working in the acting profession.[6]
Personal life
[edit]
Babita fell in love with Randhir Kapoor, while working with him in the film Kal Aaj Aur Kal (1971). They married in a lavish ceremony on 6 November 1971.[7] They have two children, actresses Karisma Kapoor and Kareena Kapoor Khan.[8][9][10]
In the 1980s, Randhir's career as an actor started to decline and things soured between them. She and Randhir lived in separate homes for several years, even though they are still legally married and had no intention of divorcing. The couple reunited in 2007 after living separately for several years.[7]
Filmography
[edit]| Year | Film | Role | Notes |
|---|---|---|---|
| 1966 | Dus Lakh | Rita | Debut film |
| 1967 | Raaz | Sapna | |
| Farz | Sunita | ||
| 1968 | Kismat | Roma | |
| Haseena Maan Jayegi | Archana (Archie) | ||
| Aulad | Bharti | ||
| 1969 | Tumse Achha Kaun Hai | Asha | |
| Ek Shrimaan Ek Shrimati | Deepali Lakhanpal | ||
| Doli | Asha | ||
| Anmol Moti | Manisha | ||
| Anjaana | Rachna Malhotra | ||
| 1970 | Kab? Kyoon? Aur Kahan? | Asha Prasad | |
| Pehchan | Barkha | ||
| 1971 | Kal Aaj Aur Kal | Monica (Mona) | Appeared with Randhir Kapoor in his debut film[11] |
| Bikhre Moti | Indrani | ||
| Banphool | Gulabi | ||
| 1972 | Jeet | Koyli / Rasili | |
| Ek Hasina Do Diwane | Neeta | ||
| 1973 | Sone Ke Haath | Prema |
References
[edit]- ^ a b "Babita". Cinemaazi. Archived from the original on 27 September 2021. Retrieved 17 August 2021.
She was born Babita Hari Shivdasani on 20 April, 1947, to a British-born mother Barbara and an Indian actor father, Hari Shivdasani, who belonged to a prominent Bombay-based Sindhi family.
- ^ a b "Kareena Kapoor Khan and Saif Ali Khan at Babita Kapoor's 70th birthday" Archived 19 August 2018 at the Wayback Machine. Vogue India. 20 April 2017.
- ^ Sone Ke Haath (1973) - Trivia - IMDb, archived from the original on 27 November 2024, retrieved 25 February 2024
- ^ "Saif to join girlfriend Kareena and her family for midnight mass". Mid-Day. 23 December 2008. Archived from the original on 1 July 2015. Retrieved 1 July 2015.
- ^ "I don't acknowledge Babita: Sadhana - Times of India". The Times of India. 2 December 2013. Archived from the original on 17 August 2018. Retrieved 3 May 2020.
- ^ "An ode to Bollywood's yesteryear superstar Babita Kapoor". filmfare.com. Archived from the original on 1 February 2020. Retrieved 13 May 2020.
- ^ a b Monika Rawal Kukreja (25 April 2017). "Why should I want to divorce Babita?' asks Randhir Kapoor about his estranged wife". Hindustan Times. Archived from the original on 11 August 2013. Retrieved 22 April 2017.
- ^ Meena Iyer (24 February 2010). "Kareena: Yes, I eat!". The Times of India. Archived from the original on 11 August 2013. Retrieved 16 October 2012.
- ^ "Kareena, Saif at St Andrew's Church in Mumbai". The Times of India. 26 December 2011. Archived from the original on 17 December 2013. Retrieved 17 October 2012.
- ^ "Kareena, family and friends go to midnight mass at St Andrews". Mid-day.com. 26 December 2008. Archived from the original on 13 January 2010. Retrieved 10 October 2012.
- ^ "Kal Aaj Aur Kal will always be my favourite: Randhir Kapoor". Hindustan Times. 16 April 2016. Archived from the original on 28 August 2018. Retrieved 28 August 2018.
External links
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Babita
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Early life
Family background
Babita was born on 20 April 1947 in Karachi, British India (now Pakistan), to Hari Shivdasani, a Sindhi Hindu actor known for character roles in Hindi cinema, and Barbara Shivdasani, a British Christian woman.[7][8][9] Her father's career in films, spanning from the 1930s, provided an early connection to the entertainment world, while her mother's background introduced Western cultural elements into the family dynamic.[5] The partition of India in August 1947 prompted the family's relocation to Bombay (now Mumbai), where Hari Shivdasani had already established himself in the industry before the event and continued working afterward.[8] This move integrated the family into the burgeoning Hindi film scene in India, with Babita growing up amidst the vibrancy of post-independence Bombay.[7] She was the first cousin of actress Sadhana Shivdasani, whose rise to stardom in the 1960s as a leading style icon and performer exerted a key influence on Babita, encouraging her interest in acting.[5] Raised in a household that blended Sindhi Hindu traditions with British Christian influences, Babita benefited from this multicultural environment, which fostered her adaptability, alongside direct exposure to film production through her father's on-set activities and industry connections.[7][5]Entry into the film industry
Babita was born in Karachi but raised in a prominent Sindhi family settled in Bombay, with deep ties to the Hindi film industry through her father, character actor Hari Shivdasani. Her family had migrated from Karachi following the partition of India, establishing themselves in the city's burgeoning cinema scene.[1] She received her early education at St. Joseph's Convent School in Panchgani, Maharashtra, completing her schooling there before forgoing higher education to pursue acting.[10] Motivated by the success of her paternal cousin and contemporary actress Sadhana Shivdasani, whose stardom in 1960s Hindi films highlighted the possibilities within the industry, Babita developed a strong self-driven interest in cinema despite limited formal training beyond school.[11] Leveraging her father's industry connections, Babita transitioned from family life in Bombay to professional opportunities in the mid-1960s Hindi film landscape. Hari Shivdasani arranged a screen test for her with producer G. P. Sippy, who immediately recognized her star quality after a single shot and signed her on, marking her formal entry as a leading actress.[11] This pivotal moment bridged her familial background with the competitive world of Bollywood, where she emerged as an aspiring talent amid the era's evolving narrative-driven cinema.Career
Debut and early films (1966–1968)
Babita made her acting debut in the 1966 comedy-drama Dus Lakh, directed by Devendra Goel, where she played the female lead opposite Sanjay Khan in a story about a middle-class family's sudden windfall from a lottery prize of ten lakhs rupees.[12] The film was a commercial success at the box office, introducing Babita as a fresh face with an air of elegance that drew positive attention from audiences and critics alike.[13] Her performance was noted for its natural poise, marking her as a promising newcomer in Bollywood, though the film itself leaned more on comedic elements than dramatic depth.[14] Babita achieved her breakthrough the following year with the romantic thriller Raaz, directed by Ravindra Dave, where she starred alongside Rajesh Khanna, who played a double role, portraying a young woman (Sapna) entangled in a web of mystery and romance.[12] Produced by G. P. Sippy, the film highlighted her graceful screen presence and chemistry with Khanna, whose intense portrayal complemented her soft, ethereal beauty, earning praise for their on-screen rapport. Raaz received acclaim for its suspenseful narrative and became one of the notable successes of 1967, solidifying Babita's position as an emerging leading lady.[13] She followed this with Farz, an action-oriented film directed by Ravikant Nagaich, pairing her with Jeetendra as a secret agent's love interest amid espionage and intrigue; the movie was the third-highest grossing Hindi film of 1967, with Babita's poised handling of both romantic and tense scenes contributing to its cult status despite initial slow starts at the box office.[15] Critics appreciated her ability to blend glamour with emotional subtlety in the action genre, further enhancing her reputation.[12] In 1968, Babita appeared in three more films that diversified her roles into romantic and family drama territories, building on her glamorous image as a versatile actress. In Kismat, directed by Manmohan Desai, she starred opposite Biswajeet in a tale of fate and adventure, which proved to be a box office hit and showcased her charm in lighter, whimsical scenarios.[12] Haseena Maan Jayegi, under Prakash Mehra's direction, featured her alongside Shashi Kapoor in a comedic family drama about mistaken identities and romance, emerging as one of the year's biggest successes and highlighting her effortless poise in ensemble dynamics.[16] Finally, in Aulad, a family-oriented drama directed by Kundan Kumar, Babita played a supportive lead role opposite Jeetendra, exploring themes of legacy and relationships, which received favorable reception for her sincere portrayal amid the film's emotional core.[12] These early outings, totaling six films by the end of 1968, established Babita as a glamorous newcomer whose beauty and chemistry with leading men like Rajesh Khanna and Jeetendra were frequently lauded in contemporary reviews, setting the stage for her rising stardom—facilitated initially by her family's industry ties.[17]Peak career and notable roles (1969–1973)
During the peak of her career from 1969 to 1973, Babita established herself as a versatile leading actress in Bollywood, delivering standout performances in romantic, dramatic, and family-oriented films that showcased her range across genres. She starred in leading roles in Tumse Achha Kaun Hai (1969), a romantic comedy directed by Pramod Chakravorty, where she portrayed Asha opposite Shammi Kapoor, blending charm and wit in a story of mistaken identities and budding romance.[18] That same year, in Doli (1969), Babita played the central role of a woman navigating marital misunderstandings and societal pressures alongside Rajesh Khanna, contributing to the film's success as one of his consecutive hits during his superstar phase.[16] Her dramatic versatility shone in Anjaana (1969), opposite Rajendra Kumar, where she depicted a sophisticated urbanite entangled in class differences and family conflicts, with the film achieving solid box-office returns as the 18th highest-grossing Indian movie of the year.[19] In Pehchan (1970), directed by Sohanlal Kanwar, Babita took on the role of Barkha, a strong-willed woman supporting the protagonist's journey through unemployment and redemption, paired with Manoj Kumar in this socially conscious drama.[20] Babita's appeal extended to family dramas, exemplified by Kal Aaj Aur Kal (1971), a multi-generational saga that brought together three Kapoor family members—Prithviraj, Raj, and Randhir Kapoor—alongside her as Monica, highlighting themes of tradition versus modernity and marking a commercial hit that resonated with audiences for its emotional depth.[21] She further demonstrated her romantic flair in Banphool (1971), directed by Vijay Bhatt, playing Gulabiya opposite Jeetendra in a tale of forbidden love amid tribal and urban divides, leveraging their prior chemistry from earlier successes to deliver a genre-blending entertainer with popular songs.[22] These roles solidified her status as a top heroine, with frequent pairings alongside stars like Randhir Kapoor and Jeetendra enhancing her on-screen chemistry and box-office draw. Her final films during this period included Jeet (1972), a crime drama remake where she starred as Rasili opposite her husband Randhir Kapoor, portraying a resilient woman in a narrative of sacrifice and justice that underscored her dramatic prowess.[23] In Ek Hasina Do Diwane (1972), Babita led as the titular heroine caught between two suitors—Jeetendra and Vinod Khanna—in a story of love and deception, noted for its engaging ensemble and musical numbers.[24] She concluded her active phase with Sone Ke Haath (1973), opposite Sanjay Khan, in a drama about corruption and redemption, though it underperformed commercially.[25] Over her career, Babita appeared in 19 Hindi films, with several from this era achieving hit status across romantic and dramatic genres, cementing her as one of the era's most bankable leading ladies.[25]Retirement and post-retirement involvement
Babita retired from acting in 1973 following the release of her final film, Sone Ke Haath, choosing to prioritize family life after her 1971 marriage to Randhir Kapoor. This decision aligned with the Kapoor family tradition at the time, which discouraged women from continuing in the film industry post-marriage. She expressed no regrets about stepping away, viewing it as an opportunity to focus on domestic responsibilities. Throughout her post-retirement years, Babita did not resume on-screen roles but remained influential in Bollywood through her daughters' careers. In the 1990s, she actively managed Karisma Kapoor's early professional path, accompanying her to film shoots, handling schedules, and helping secure roles, which Kareena later credited as pivotal to Karisma's success during that decade. Her involvement extended to Kareena's debut around 2000, though it was less intensive, reflecting evolving industry norms for "star mothers." Babita has made occasional public appearances tied to family milestones and Bollywood events, such as attending Raj Kapoor's centenary celebrations in 2024 alongside Randhir and Karisma, where she participated in family tributes without engaging in promotional or acting capacities. These rare outings underscore her transition to a more private existence, sustained by her enduring connection to the Kapoor lineage and its cinematic heritage.Personal life
Marriage and family
Babita married actor Randhir Kapoor on 6 November 1971 in a traditional Punjabi ceremony held at the Kapoor family residence in Mumbai.[26] The union was arranged by Randhir's parents, Raj Kapoor and Krishna Kapoor, following the couple's romance that blossomed on the sets of the 1971 film Kal Aaj Aur Kal, though Randhir later admitted he never formally proposed.[27] The marriage occurred amid considerations of interfaith dynamics, as Babita came from a mixed Hindu-Christian background—her father, Hari Shivdasani, was a Sindhi Hindu, while her mother was British Christian—though the ceremony adhered to Hindu traditions.[7] The couple welcomed their first daughter, Karisma Kapoor, on 25 June 1974, followed by their second daughter, Kareena Kapoor, on 21 September 1980.[26] Both daughters were raised within the Kapoor household, where Babita transitioned from her acting career to focus on family life, in line with the Kapoor family's longstanding tradition of women prioritizing domestic roles after marriage.[26] This shift allowed her to integrate fully into the prominent Kapoor film dynasty, a multigenerational powerhouse in Bollywood led by figures like Prithviraj Kapoor and Raj Kapoor. In the early years of their marriage, Randhir and Babita enjoyed a harmonious partnership, bolstered by their shared connections in the film industry—Randhir as a leading actor in over 100 films and Babita from her successful stint in 19 movies.[26] Living in the bustling Kapoor household, they navigated family life amid the dynasty's creative environment, with Babita adapting to the close-knit, tradition-bound setup while contributing to its cultural legacy through her presence and eventual influence on the next generation.[27]Separation and reconciliation
Babita and Randhir Kapoor separated in 1988 after 17 years of marriage, primarily due to Randhir's excessive drinking and late-night habits, which created irreconcilable lifestyle differences.[28][29] Despite the split, the couple never pursued a formal divorce and prioritized co-parenting their daughters, Karisma and Kareena, maintaining an amicable relationship for their upbringing.[30][31] The separation drew significant public attention within the Kapoor family, fueling media speculation about internal family dynamics and the pressures of stardom on personal lives.[26] Reports often highlighted the contrast between the family's glamorous public image and the private strains, including Randhir's struggles with alcohol, which he later acknowledged as a key factor in the rift.[32] This coverage intensified scrutiny on the Kapoors, portraying the split as emblematic of Bollywood's marital challenges amid career demands.[33] Reconciliation efforts began in 2007, when the couple reunited emotionally after decades apart, though they continued living in separate homes to preserve independence.[26] As of 2023, Babita moved in with Randhir in Bandra, marking a fuller renewal of their partnership without legal remarriage, and they continue to live together as of 2025.[34][35] Their daughter Kareena later described this as a choice for "peace over divorce," emphasizing the couple's enduring bond despite past hardships.[35] The period of separation and reconciliation profoundly affected the family's privacy, as ongoing media interest forced Babita and Randhir to navigate personal matters under constant public gaze, ultimately reshaping their public image from a fractured union to one of resilient partnership.[30] This evolution highlighted the Kapoors' commitment to discretion, with the couple rarely commenting publicly until recent revelations underscored their focus on family unity.[33]Role in daughters' careers
Babita Kapoor played a pivotal role in facilitating her daughters Karisma and Kareena Kapoor's entry into Bollywood, leveraging her own industry experience to provide professional guidance and emotional support. For Karisma's early career, Babita actively managed her debut and subsequent projects, accompanying her to every shoot in the 1990s, traveling with her, and handling logistical aspects of her films, earning her the moniker "star mother."[36] This hands-on involvement was evident during the filming of Karisma's breakthrough film Raja Hindustani (1996), where Babita sat through the entire three-day shoot of a controversial kissing scene with co-star Aamir Khan, ensuring a professional environment without interfering creatively.[37] In guiding Kareena's launch, Babita advised her to withdraw from Kaho Naa... Pyaar Hai (2000) due to concerns over the project's direction, steering her toward the debut role in Refugee (2000) opposite Abhishek Bachchan, which marked a strategic entry into the industry.[38] Drawing from her own successful tenure as a leading actress in the 1960s and 1970s, Babita instilled resilience in both daughters, defying the Kapoor family tradition that discouraged women from pursuing acting careers and encouraging them to prioritize their ambitions.[38] Her support remained off-screen, focusing on nurturing their independence while offering counsel based on her insights into Bollywood's demands. Babita's influence extended to their long-term success as leading ladies, with family members crediting her as the primary nurturer of their talents amid personal family challenges.[39] Karisma has stated, "Whatever I am today is because of my mother," while Kareena described her as "like God," underscoring the emotional backbone Babita provided without seeking personal spotlight.[38] This maternal guidance helped both daughters navigate early career hurdles and establish themselves as prominent figures in Indian cinema.Legacy
Influence on Bollywood and the Kapoor family
Babita Kapoor, born Babita Shivdasani into a prominent film family as the daughter of actor Hari Shivdasani and first cousin of actress Sadhana Shivdasani, integrated the Shivdasani and Kapoor lineages upon her marriage to Randhir Kapoor in 1971.[5] This union not only connected two influential Bollywood families but also positioned her as a key figure in the multi-generational Kapoor dynasty, spanning from Prithviraj Kapoor to her grandchildren across five generations. Her contributions to the Kapoor family's enduring prominence are most evident through her daughters, Karisma Kapoor and Kareena Kapoor Khan, whom she raised largely single-handedly and actively managed into stardom.[36] Despite the longstanding Kapoor tradition prohibiting women from acting after marriage—which Babita ultimately adhered to by retiring in 1973 shortly after her marriage—she defied this norm by preparing and encouraging both daughters to pursue film careers, challenging family conventions and ensuring the continuation of the dynasty's influence in Hindi cinema.[5] Babita served as a strategic force behind the scenes, particularly for Karisma's 1990s breakthrough, accompanying her to shoots, securing projects, and handling logistics, which Kareena later described as making their mother the "backbone" of Karisma's success and a "lioness" in protecting their professional paths.[36] This hands-on guidance propelled Karisma and Kareena to become leading ladies, solidifying the Kapoor clan's multi-generational dominance in Bollywood.[2] Post-retirement, Babita played a pivotal role in maintaining and evolving Kapoor family traditions in Hindi films by fostering her daughters' involvement while upholding the emphasis on familial unity and cinematic legacy.[5] A notable example of this collaborative spirit is the 1971 film Kal Aaj Aur Kal, directed by and starring Randhir Kapoor in his debut, which brought together three generations—Prithviraj Kapoor as the patriarch, Raj Kapoor as the middle-generation lead, and Randhir as the young protagonist—alongside Babita in the role of Monica, his on-screen and real-life love interest.[21] Produced under RK Films, the movie highlighted intergenerational themes and family dynamics, reinforcing the Kapoors' iconic status in Indian cinema through this rare ensemble effort.[40]Public perception and cultural impact
Babita Kapoor emerged as an enduring icon of beauty and grace in 1960s and 1970s Bollywood, celebrated for her slim silhouette, glamorous presence, and trendy style that included churidar kurtas and go-go glasses, influencing youth fashion on campuses.[38] Her elegant bouffant hairstyle, a hallmark of the era's glamour, positioned her alongside contemporaries like Sharmila Tagore, Asha Parekh, and Mala Sinha as symbols of sophisticated femininity in Indian cinema.[41] Following her retirement from acting in 1973 after marriage, media portrayals of Babita emphasized her shift to family life, highlighting her resilience in raising daughters Karisma and Kareena Kapoor largely on her own during a period of separation from Randhir Kapoor starting in 1988, while maintaining a low-profile existence away from the spotlight.[38] This focus on privacy underscored her strength, as she navigated personal challenges without seeking public attention, often described in coverage as a devoted mother who prioritized domestic stability over continued stardom. In 2025, daughter Kareena highlighted Babita's enduring family role, noting her parents' decision to spend old age together.[33][38] In cultural discussions of yesteryear stars, Babita frequently appears in narratives surrounding the Kapoor family legacy, noted for challenging traditional norms by actively supporting her daughters' entry into the film industry despite familial reservations.[38] Her story is invoked as an example of quiet defiance within Bollywood's dynastic structures, contributing to broader conversations on women's roles in the industry's evolution.[38] Despite the absence of formal awards during her career, Babita has received retrospective appreciation through tributes in media, such as a 2020 Filmfare profile hailing her as a "yesteryear superstar" whose candid reflections—like calling herself a "flower pot" paid in lakhs—highlight her self-aware legacy.[38] Coverage of her 70th birthday in 2017 further exemplified this, with outlets portraying the intimate family gathering at her home as a testament to her enduring influence and the affection she commands within Bollywood circles.[42]Filmography and awards
Film roles
Babita's film career spanned from 1966 to 1973, during which she appeared in 19 Hindi films as the lead actress. She retired from acting after her last film in 1973, with no further on-screen appearances documented. Her roles often featured in romantic dramas, thrillers, and comedies, pairing her with leading actors of the era such as Rajesh Khanna, Jeetendra, and Shashi Kapoor. Below is a chronological list of her films, including key production details, genres, and main co-stars.| Year | Film | Director | Main Co-stars | Genre |
|---|---|---|---|---|
| 1966 | Dus Lakh | Devendra Goel | Sanjay Khan, Om Prakash | Comedy drama |
| 1967 | Raaz | Ravindra Dave | Rajesh Khanna | Musical thriller |
| 1967 | Farz | Ravikant Nagaich | Jeetendra | Spy thriller |
| 1968 | Kismat | Manmohan Desai | Biswajit, Helen | Romantic thriller |
| 1968 | Haseena Maan Jayegi | Prakash Mehra | Dev Anand, Mehmood | Comedy romance |
| 1968 | Aulad | Kundan Kumar | Mehmood, Balraj Sahni | Family drama |
| 1969 | Tumse Achha Kaun Hai | Pramod Chakravorty | Shashi Kapoor | Romance |
| 1969 | Ek Shrimaan Ek Shrimati | Bhappi Sonie | Rajesh Khanna | Comedy |
| 1969 | Doli | A. Bhimsingh | Rajesh Khanna | Drama romance |
| 1969 | Anmol Moti | S.D. Narang, Vishram Bedekar | Ashok Kumar | Adventure romance |
| 1969 | Anjaana | Mohan Kumar | Rajesh Khanna | Romance thriller |
| 1970 | Kab? Kyoon? Aur Kahan? | Arjun Hingorani | Randhir Kapoor | Thriller |
| 1970 | Pehchan | Sohanlal Kanwar | Manoj Kumar | Drama |
| 1971 | Kal Aaj Aur Kal | Randhir Kapoor | Randhir Kapoor, Prithviraj Kapoor | Family drama |
| 1971 | Bikhre Moti | Sudhir Ranjan | Rajesh Khanna | Drama |
| 1971 | Banphool | Vijay Bhatt | Rajesh Khanna | Romance |
| 1972 | Jeet | B. Subba Rao | Randhir Kapoor, Hema Malini | Action drama |
| 1972 | Ek Hasina Do Diwane | S.M. Abbas | Jeetendra | Comedy thriller |
| 1973 | Sone Ke Haath | P. D. Shenoy | Jeetendra | Drama |