Sabita Devi was born Iris Gasper into a Jew family. Her father Percy Osborne Gasper, died in November 1938, in Bombay. Her mother remained as her manager-cum-companion. Sabita had two siblings, a brother and a sister.

1930s

Her first film Kamaner Aagun (Flames Of The Flesh) was produced by British Dominion Films Ltd., Calcutta, in 1930. It was directed By Dinesh Ranjan Das And co-starred Dhirendranath Ganguly, Debaki Bose, Ramola Devi and Radharani. The film was a semi-historical version of the Queen of Chittor, Rani Padmini, committing jauhar to evade the enemy forces.

In 1931, Sabita acted in Aparadhi (The Culprit) a social, written and directed by Debaki Bose, starring P. C. Barua, Bhanu Bannerjee, Tincory Chakrabarty, Keshav Narayan Kale, Rampyari and Rose. It was a silent film made under the banner of Barua Film Unit, Calcutta. Her other silent films from this time include Takay Ki Na Hay (What Money Cannot Do) (1931) was directed by Dhirendranath Ganguly and produced by British Dominion Films Ltd., Calcutta. It starred Dhirendranath Ganguly, P. C. Barua and Radharani. Kanthahaar (Diamond Necklace) (1939) was directed by Kali Prasad Ghose for Indian Kinema Arts, Calcutta and starred Durgadas Bannerjee, Rajhans and Renubala. Maraner Pare (After The Death) (1931) directed by A. K. Roy for British Dominion Films Ltd., Calcutta and co-starred Dhirendranath Ganguly, Hem Gupta, Radharani and Kalidas. Bhagya Lakshmi (Wife's Destiny) (1932) directed by Kali Prasad Ghose with co-stars P. C. Barua, Durgadas Bannerjee, Khitish Roy Choudhary, Umasashi, Biren Ghosh and produced by Indian Kinema Arts, Calcutta.^[17]

In 1933, she was cast in a religious film, Radha Krishna, directed by Priyanath N. Ganguly and Tulsi Lahiri. Her co-stars were Dhiraj Bhattacharya, Indubala, Amar Choudhary and Kamala Jharia. An East India Film Company production, it had music by Sunderdas Bhatia.^[18]

Shaher Ka Jadoo in 1934 was a debut acting film for Motilal and was written and directed by Kali Prasad Ghose.^[19] The main stars in this social were Sabita, Kumar, Sitara Devi, K. C. Dey, Miss Gulzar and Tarabai. The film was produced by Sagar Movietone. She then acted in Ezra Mir's Farzande Hind also called Phantom of the Hills, an action drama film. The film starred Sabita with Jal Merchant, Yakub, Nyampally. Produced by Sagar the music was composed by S. P. Rane.^[20]

Grihalakshmi (Educated Wife) (1934) was an early woman-centric film and was a remake of the earlier silent film Bhaneli Bhamini (1927). Directed by Sarvottam Badami,^[21] it was produced by Sagar and had music by S. P. Rane. Her co-stars were Jal Merchant, Yakub, K. C. Dey and Lalita Devulkar. Her last film in 1934 was Chandra Gupta directed by A. R. Kardar and starring Gul Hamid, Nazir, Mazhar Khan, Dhiraj Bhattacharya. Produced by East India Film Company, it had music by K. C. Dey.

From 1935-1943 she acted in over fifteen films, all directed by Sarvottam Badami, with the exception of Silver King cited as one of the best stunt films of its time. It was directed by C. M. Luhar and starred Motilal with music by Pransukh Nayak. Badami and Sabita left Sagar Movietone to form Sudama Pictures in association with Ranjit Pictures.^[10]

In 1935, Sabita acted in Badami's film, based on K. M. Munshi's story, Vengeance Is Mine (Ver Nu Vasulat). It co-starred Kumar, Yakub, Sitara Devi, and Mehboob Khan in a small role. Music director was S. P. Rane. In Dr. Madhurika she played an emancipated doctor opposite Motilal with music by Pransukh Nayak and Ashok Ghosh. Some of he other successful films in the 1930s include Grama Kanya (1936), Kokila (1937) written by Ramanlal Vasantlal Desai, Kulvadhu (1937), Teen Sau Din Ke Baad also called 300 Days & After (1939) a modrn romantic drama in which Sabita's acting received a positive critique from Baburao Patel as an "artiste of great calibre", in a "light-hearted a portrayal of her difficult role" and that "she easily takes away all the laurels for acting".^[22] Ladies Only was a 1939 comedy film directed by Badami and starred Bibbo, Prabha Devi and Sabita playing three girls from different states of India, all in love with the hero played by Surendra. This was the last comedy film Badami made for Sagar Movietone, before he left them after this film to form Sudama Pictures.^[23]

Sabita acted in the next comedy film directed by Badami, this time for Sudama pictures. Aap Ki Marzi (1939) was based on the MGM produced, Edward Buzzell directed film Paradise for Three (1938).^[24] The music direction was by Gyan Dutt and starred Motilal as the crossword puzzle winner who falls in love with Sabita's character.

1940s

Sajani (1940) was one of the first "socially relevant film(s)" that Badami made for Sudama pictures. It starred Sabita with Prithviraj Kapoor and Snehprabha Pradhan. Chingari (1940) a romantic melodrama from Sudama Productions with director Sarvottam Badami and co-starred Prithviraj Kapoor. The film was highly recommended by Baburao Patel editor of Filmindia as a contender for 1940 Award of the Film Journalists' Association Of India.^[25]

Bambai Ki Sair also called Holiday in Bombay (1941) was directed by Badami for Sudama Productions and co-starred Shobhana Samarth and Arun. The film was reportedly "creating new box-office records at the Imperial Cinema when it was released".^[26]

In 1947, she starred in Sarai Ke Bahar also known as Inquilab which is stated to be the only film directed by the famous Urdu writer Krishan Chander. It had lyrics by Niaz Haider and Vishwamitter Adil, with music by D. C. Dutt.^[27]

• She's stated to have influenced P. C. Barua, who had joined the Board Of the British Dominion Film Company and acted in a few silent films, to start his own company. According to Chatterji, "He was inspired to become independent". After his return to Calcutta from Paris, Barua set up the Barua Film Unit. The first film under this banner was Aparadhi (1931) directed by Debaki Bose, with Sabita cast as the heroine. The film went on to become a "critical success".^[28]
• She was one of the earliest female artists to write about film acting as a decent profession for ladies from respectable families. In a letter to the Filmland English weekly, November 1931 issue, titled "Why Shouldn't Respectable Ladies Join the Films", she countered claims of immorality and low moral standards of producers and directors, raised by an anonymous actress in the September 1931 issue, "Should Respectable Ladies Join Films". She stated that "the attitude a man takes towards a woman is governed by the latter's own integrity, by her actions, words and manner".^[29] She went on to state that people had a "mid-victorian conception" of women on stage and that "A Lady Artiste" was perhaps herself to blame for any unwanted advances (author).^[30]

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