Fatma Begum

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Fatma Begum, the first female director of Indian cinema, was born to a Muslim family in India in 1892. Fatma Begum was supposedly married to Nawab Sidi Ibrahim Muhammad Yakut Khan III of Sachin State. However, there is no record of a marriage or contract having taken place between the Nawab and Fatma Bai or of the Nawab having recognised any of her children as his own, a prerequisite for legal paternity in Muslim family law. She was the mother of silent superstars Zubeida, Sultana, and Shehzadi. She was also the grandmother of Humayun Dhanrajgir and Durreshahwar Dhanrajgir, son and daughter of Zubeida and Maharaja Narsingir Dhanrajgir of Hyderabad and Jamila Razzaq daughter of Sultana and Seth Razaaq, a prominent businessman of Karachi. She also happened to be the great-grandmother of model turned actor Rhea Pillai who is the daughter of her grand daughter Durreshahwar Dhanrajgir. She died in 1983 at the age of 91. Her legacy was carried on by her daughter Zubeida, whom besides being a silent film star, acted in India's first ever talkie, Alam Ara.

Most people are aware of the contemporary female directors that exist in the country as they have gotten recognition, acclaim and fame but few know about Fatma Begum – actress, scriptwriter and director – who created a path for many others in the film industry to follow at a time where male domination in every sphere was prevalent. Being arguably the first in the field she set opened the way for other women to venture into the film industry.
She was also invested in acting, screen-writing, and production. She was trained in Theatre and initially used to stage Urdu plays, following which she began working in films in 1922. She started her journey as a director with the silent film Veer Abhimanyu (1922). In a short span of time she had directed the following films: Bulbul-ae-Paristan (1926), Goddess of Love (1927), Heer Ranjha (1928), Chandrawali (1928), Shakuntala (1929), Milan Dinar (1929), Kanaktara (1929) and Goddess of Luck (1929).
Bulbul-ae-Paristan was the most famous film directed by her. It was set in ‘Paristan‘ (Fairyland) had a big budget and included special effects using technology.
Fatma worked with filmmakers like Ardeshir Irani and Nanubhai Desai. After this, she created her own production company – Fatma Films, later changed to Victoria Fatma Films – and was the first Indian woman to do so.
When Fatma joined the film industry, only men were part of it. Even female roles were played by men. Thus, Fatma’s determination to break into this male-dominated sphere marked her as a trailblazer.
As an actor, she starred in many films including Veer Abhimanyu (1922), Sita Sardaba (1924), Prithvi Vallabh (1924), Kala Naag (1924), Gul-ae Bakawali (1924) and Mumbai ni Mohani (1925). She also contributed to writing scripts and wrote the script for Bulbul-ae-Paristan (1926). A few of her films featured her daughters, Sultana and Shehzadi. She used trick photography for special effects in films and included fantasy in her films.
Rumour has it that Fatma Begum was married to Nawab Sidi Ibrahim Muhammad Yakut Khan III, the last ruler of the Sachin State. However, no evidence exists to reaffirm this as the Nawab did not acknowledge Fatma Begum or their daughters. No undisputed images of her exist today. Begum among early pioneers of fantasy cinema such as George Melies. While continuing to produce and appear in her own work, Fatma worked for Kohinoor Studios and Imperial Studios until her last film in 1938, Duniya Kya Hai?
She directed many other films, her last being the Goddess of Luck in 1929. 
Having a 16-year-long film career, her Last film was Duniya Kya Kahegi after which she retired voluntarily. Her daughters, Zubeida, Sultana and Shehzadi carried on her groundbreaking legacy as they too were actors in silent films. Zubeida went on to become the first Indian actress to star in the first talking film, Alam Ara (1931).