scorecardresearch
Wednesday, March 27, 2024
Support Our Journalism
HomeThePrint ProfileMurder most foul — Remembering actor Priya Rajvansh on her 19th death...

Murder most foul — Remembering actor Priya Rajvansh on her 19th death anniversary

ThePrint looks back at the journey of the actor who starred in just seven films, all directed by her long-time partner Chetan Anand.

Follow Us :
Text Size:

New Delhi: Priya Rajvansh had few films to her credit in a 22-year career — seven to be precise — but the actor still managed to carve out a niche for herself, and it had little to do with her unfortunate end.

In a limited career, Rajvansh, born Vera Sunder Singh, worked with some of Hindi film industry’s stalwarts, but most prominently her partner and filmmaker Chetan Anand — from the war film Haqeeqat (1964) to reincarnation drama Kudrat (1981).

However, after a much-publicised and long-standing relationship with Anand, which came to define her, she was murdered on 27 March 2000.

On her 19th death anniversary, ThePrint looks back at the journey of the actor.

Exposure to London

In the public domain, little has been reported about Rajvansh’s early days, but this much is known: She graduated from the premier institute Royal Academy of Dramatic Art (RADA) in London right before she landed her first offer in the film industry.

One of her brothers, Kanwar Singh, once recalled that his sister had always wanted to be an actor and excelled at her school, Auckland House, in Shimla — the city where she was born and grew up.

She moved to London after her father was transferred to the city as a forest conservator by the United Nations.

It was while she was in London that a photograph of hers made its way to Bombay (now Mumbai), only to be spotted by acclaimed filmmaker Chetan Anand (brother of famed star Dev Anand and director Vijay Anand).


Also read: Remembering Sridevi, the outsider who ruled Bollywood


Film career

Subsequently, Rajvansh got her first role in Anand’s war film Haqeeqat, in 1964, which is often considered by many as one of the best war films to have been made in India.

Interestingly, the other six films that Priya acted in were all directed by Chetan Anand. Rajvansh’s brother said Anand never let her be a part of films directed by others.

Kanwar said, “Chetan Anand was the man who made Priya and also the man who marred her. In fact, he was the biggest tragedy that could ever happen to her.”

For her second film Heer Ranjha (1970), which was based on the popular Punjabi folk tale and written entirely in verse, Rajvansh received much recognition.

Her next film Hindustan Ki Kasam (1973), centred on the 1971 India-Pakistan war, didn’t do well at the box office but was yet another reminder of Anand’s pursuit of cinematic excellence.

Rajvansh here had a double-role — one of her characters was a spy who was deliberately positioned in Pakistan by the Indian forces to retrieve sensitive information, quite akin to Alia Bhatt’s character in Meghna Gulzar’s Raazi from last year.

Her next four films were Hanste Zakhm (1973), Saheb Bahadur (1977), Kudrat (1981) and Haathon Ki Lakeeren (1986).

Of the seven films Priya did, she had the opportunity to work with all the three Anand brothers.

Kanwar also said that Rajvansh’s contribution to Anand’s films wasn’t restricted to just acting, she also contributed significantly to other aspects of the filmmaking process.

Relationship with Anand

Rajvansh’s relationship with Anand remained the central focus of media’s portrayal of her life. Although the two never married, she held an important place in the filmmaker’s life.

Film journalist Sheila Vesuna described Rajvansh’s relationship with Anand as: “She was not a live-in, she was too classy and dignified to be termed a mistress. She could be at best called his companion and true lover.”

Vesuna wrote of Rajvansh as a reserved individual who shunned the limelight beyond her professional duties.

After Anand died in 1997, he left behind a will according to which Rajvansh was one of the three beneficiaries, apart from the filmmaker’s two sons Ketan and Vivek — they had equal ownership and rights to his bungalow in Mumbai’s Juhu.


Also read: Zeenat Aman, diva who dared Bollywood conventions on screen but believed in them off it


Tragic death

Although Rajvansh had her own flat in Mumbai, she used to frequently visit Anand at his residence. The filmmaker’s death, however, changed things for Rajvansh.

Reports suggested that she wanted to sell the bungalow. However, differences cropped up with Ketan and Vivek on this issue.

On 27 March 2000, Rajvansh was murdered at Chetan Anand’s bungalow.

Two years later, on 31 July 2002, Mala Chaudhary and Ashok Chinnaswamy, domestic help at the bungalow, were convicted of the murder, while Vivek and Ketan were convicted for plotting to murder Rajvansh, after having been initially absolved of the charges in 2001. The four moved the Bombay High Court in 2002 against the verdict, and were granted bail Then, in 2011, the high court accepted the appeals filed by the two brothers against their guilty verdict.

ThePrint spoke to a lawyer in the know of the case, who said that the brothers’ appeal is still stuck in the high court.

Subscribe to our channels on YouTube, Telegram & WhatsApp

Support Our Journalism

India needs fair, non-hyphenated and questioning journalism, packed with on-ground reporting. ThePrint – with exceptional reporters, columnists and editors – is doing just that.

Sustaining this needs support from wonderful readers like you.

Whether you live in India or overseas, you can take a paid subscription by clicking here.

Support Our Journalism

3 COMMENTS

  1. People often call out the police for crime in India. But courts are no better. Remember, the sexual harassment case against the late Dr Pachauri in Delhi. The court never allowed his physical custody by Delhi Police for his interrogation. There was no conviction until his death despite best efforts by the Police and prosecution.

  2. Bail is ridiculous when they have already been convicted. On the contrary such so-called elites must get extra severe punishment.

  3. What sense does it make when criminals are let off on bail?? What’s the punishment for murder? Only those who cannot afford bail rot in jails, whereas the rich can buy their freedom? When will international law deem murderers a threat to society? They are the anti-social elements of society and have no right to live in the open. Yes, people who’ve killed accidentally or unintentionally are exceptions.

LEAVE A REPLY

Please enter your comment!
Please enter your name here

Most Popular