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Nutan’s 5 Finest Films 4 Nutan’s 5 Finest Films 5

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Nutan’s 5 Finest Films

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Subhash K Jha Picks Nutan’s 5 Finest

Many of her fans consider Nutan to be the finest dramatic actress  of Hindi cinema. The films below prove   her weight in  gold.

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1.  Seema(1955):  Nutan played  a juvenile delinquent Gauri who is passed on from one custodian  to another  after  her parents’ death. The character evolves from pointless rebellion to a  sorted   social animal. Nutan, in the infancy  of  her  career  took on  the  complex  character imbuing its  inexpressible  rage  with  dignity and  social relevance. The   actor  par excellence won  the first  of her  5  Filmfare awards  for  best actress. The song Mann mohana  bade jhoothe  that  Nutan sang  in  Lata Mangeshkar’s voice impressed  Lataji  so much that she  declared Nutan as  the actress who conveys  the  nuances in Lataji’s singing  the  best.Amiya Chakravarty who directed Seema worked only once with Nutan.He died soon after  completing Seema.

2.  Sujata(1959): Nutan’s  portrayal  of  the Harijan woman is   so  filled with  an unexpressed angst your heart breaks just watching Nutan’s  vulnerable  face, yearning to be  loved  by the family that has  adopted  her  but not her identity.  The  performance  to this day is  a marvel  of  smothered emotions.Kamal Bose brilliant black-and-white photography captures  the unspoken pain in Nutan’s eyes. The performance  got Nutan her second Filmfare award.  Nutan had two other hit releases the same year  Anari and Kanhaiya both with Raj Kapoor as her co-star.She was  the hero of Sujata.

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3.  Bandini(1964):  She can do anything for love.Even kill her beloved’s nagging wife and go to jail.And when a chance to rebuild her life offers itself to Kalyani she shuns it and runs back to the same man who unintentionally ruined her life. Love has never been blinder and the on-screen heroine never more resolute and passionate. Nutan’s dilemma as Sachin Dev Burman sings Mere saajan hain uss paar endures to this day for every woman who is in love.This  was  Bimal Roy’s second and  last film with Nutan.  When  Bimalda offered  the role to Nutan she  refused as she  had just gotten married  and  intended to retire. Apparently  her husband persuaded her to  return where she  belonged.Some faces are made  for the camera  and  then there is  that rare face  for which the camera seems to be invented. Nutan’s  is  that face.

4.   Saraswatichandra(1968):   Govinda  Saraiya’s convoluted adaptation  of the  Govardhanram Madhavram Tripathi novel was  redeemed by Nutan’s performance and Kalyanji-Anandji’s music.  Nutan played  Kumud, a  progressive educated  girl from a privileged  family who marries  the wrong man  and fights  off all feelings  for  the man she  loves  until  the tragic end. The theme   of  Love Vs Duty cuts through the  lengthy  film nursing  its  wounds but not quite healing the  end-product. Nutan  puts  up a fabulous show  obfuscating her deadpan co-star’s  non-acting with  stinging swipes at societal  subterfuge  and some  of  the loveliest melodies  any heroine has ever  conveyed  on screen Chandan sa badan, Chhod de saari duniya kisike liye….Interesting trivia: Nutan  had  4  uninterrupted  releases  co-starring Sunil Dutt between  1967-69(Milan, Meherban,  Gauri, Bhai Bahen) broken only by Saraswatichandra.

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5.     Main Tulsi Tere Aangan Ki(1978):  The  first 15 minutes of this  lengthy  rambling  but successful melodrama contains Nutan at her  best. She  is  a woman openly jealous of her husband’s  mistress Asha Parekh .Later when  the  Other Woman  dies  , Nutan  brings  up her husband’s illegitimate child as her  own.Standing tall, much taller than the  film, Nutan delivered  a rousing  performance.Asha  Parekh who played  the  Other Woman recalls,  “I was  a big fan of Nutanji. Very scared  to  face the camera with her. She  has such  a powerful presence. But she  never let me feel the weight  of her presence. She  was so  gentle, so  soft.”  Nutan won  her  fifth Filmfare award  for this  performance, a record matched  only by her niece  Kajol.

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Nutella India signs Bollywood Superstar Ranveer Singh to promote the brand across India

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Ranveer Singh

Nutella, the original and popular hazelnut cocoa spread brand of Ferrero, one of the world’s leading manufacturers of sweet-packaged products, has signed Bollywood superstar Ranveer Singh as its brand endorser for India market.

By coming on board as a brand representative for India, the superstar will promote the Nutella brand across digital and offline marketing channels as well as be an active part of their various campaigns.

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Nutella® India made the announcement in collaboration with the pan-India star Ranveer Singh’s social pages through an entertaining video, where the actor is seen engaging in a rapid-fire round on ‘what comes to my mind when….’ and proclaims his love for the brand.

 Ranveer Singh comments, “I am excited to announce my association with Nutella®. Nutella® has always held a special place in my heart. I’ve been a fan ever since I was a child and my love for it has only grown over the years. I am stoked to be part of the Nutella journey in India and help bring alive their vision of making tasty breakfast and desserts.”

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The Bollywood star, whose love for Nutella is no secret, will be launching the World Nutella® Day celebrations this year with fans.

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Rakesh Roshan: “Everything I  Know  About Acting & Direction, I Learnt From K Vishwanathji”

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Rakesh Roshan

The  mighty moviemaker K Vishwanath who  was to Telugu cinema what  Satyajit Ray  was  to Bengali cinema,  passed  away on February 2,leaving behind a luminous  legacy.

Acto-director Rakesh Roshan  who had  the  rare honour of working  in four projects  with  Vishwanath recalls him with tremendous respect. “Everything I know  about acting and  direction I learnt from  him. He was  a stalwart , an institution, and so passionate about his work. I had the privilege  of being directed  by him in two films Aurat Aurat Aurat  and Shubh Kamna. He would show  his actors  exactly what he  wanted, down to the minutest gesture.His  understanding  of the medium was  extraordinary.”

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Rakesh Roshan remembers how  he  invited Vishwanath to make films for him. “I produced  two films that Vishwanathji directed. One  was Kaamchor, the other was Jaag Utha  Insaan.While the  first was  a runaway success, the second didn’t do well.”

Speaking on how Kaamchor happened Rakesh recalls, “Vishwanathji and I used to meet socially in Hyderabad.We  wanted to work together. But we had  no script.One evening when we met he  looked very depressed. When I asked him what was wrong, he  said his new release Shubodayam  (in Telugu) had  flopped. That  night I went to see Shobodayam  in  a theatre in Hyderabad. The  next morning I  told Vishwanathji, ‘We’ve  found our script’. I told him where  the  storytelling in Shubhodayam  had gone wrong.We corrected the script and that’s how Kaamchor  happened. Although the entire story revolved  around me,  it was Jaya Prada who benefited  from Kaamchor.”

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About the beautiful  Jaag Utha Insaan , Rakesh Roshan admits  bluntly, “It  flopped because  of miscasting. During those days Sridevi was known  in Hindi cinema as a glamorous heroine. We cast her as classical dancer. Mithun Chakraborty had  the image  of  Gun Master G-9 and  Disco Dancer.We cast him as  a downtrodden  underdog. I was  known  for Kaamchor and  other citybred characters,I was cast as a Brahmin pandit.With other actors Jaag Utha  Insaan would have been a superhit”

Rakesh met K Vishwanath six years  ago. “We were shooting for Krissh in Hyderabad. He came on  the set several  times. We  had so much to say to each other. After that we lost contact. He was  very very busy with many projects. K Vishwanathji lived  for his cinema.”

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As His Latest Work Faraaz Releases Today,  Hansal Mehta Speaks To Subhash  K Jha On The Exciting Times Ahead

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Faraaz

Hansal, Faraaz is  your fifteenth directorial  venture. How does it feel to have come so far  with so many  milestones behind you?

don’t count my films. Genuinely. Every film is a new beginning. Every film has its share of uncertainty and nerves. Perhaps it is also because of the choices I make. There is no scope for either complacency or me carrying a false sense of security. I’m not complaining,though. Living life on the edge keeps me going.

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I  consider  Faraaz to be  a part of your great trilogy on  the dynamics  of terrorism, after  Shahid and  Omerta…where do you see Faraaz  positioned  in your creative ambit?

Thank you , Subhash.Faraaz is a film I’m very, very proud of. It was a challenge to pull off, a tough journey but creatively a very satisfying one. As Rajkummar Rao told me after watching the film , the Trilogy is complete now. Time to explore new stories and new characters. And finish post-production for all the exciting things that we shot for over the past eighteen months.

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Out of curiosity which of your films  have given you  the most creative  satisfaction?

Almost every film Shahid onwards has been immensely satisfying , both in terms of process and the outcome. Save a couple that I need not name. But even those I own for all their flaws, failures, deficiencies and redeeming qualities. But Faraaz has been a great process. I’ve made so many new friends in this journey and found some of the most exciting colleagues that I’m proud to introduce through the film. Writers Raghav Kakkar and Kashyap Kapoor (who co-wrote the film with Ritesh Shah), Cinematographer Pratham Mehta, Sound Designer Mandar Kulkarni, Editor Amitesh Mukherjee, co-producers Sahil, Maz and Sakshi – all of whom have given their blood and sweat to make this film happen. And of course Anubhav Sinha one of my oldest friends in the industry who backed me in telling this story just the way I wanted it. So yes, Faraaz has been satisfying and also filled me with a deep sense of gratitude. I must have done something right, no?

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Of course. Faraaz has a lot of young new actors in it. Tell me  about the  process  of  casting in this film? It couldn’t have been easy since there are dozens  of faces?

That was the challenge and the joy of making this film. I worked on the story during Chhalaang and I always knew that it would be a return to my indie roots for Faraaz. The film had to be made. And it needed fresh faces, bereft of image or trappings of stardom. A huge credit to Mukesh Chhabra who has a huge role to play in my filmography since Shahid. We constantly challenge each other and never ever give up. Casting is a process I really enjoy and finding the right talent to bring characters alive is something I thrive upon. Faraaz has an amazing ensemble. Right from Aditya Rawal , Zahan Kapoor, Juhi Babbar to every small character in the film including the officers, parents and the hostages this one is a triumph of honest casting , casting without an eye on profits, simply in service of the film, of the character.

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Faraaz is  about a terror attack in Bangladesh?how  do you respond to those who want to know, why Bangladesh?

In our research of this dastardly attack we realised that here was a story that had a larger message and something very universal to share. Misguided youth taking up violence in the name of religion or a parent’s love for her child or the unexpected bravery from an unlikely hero are themes that cannot be limited by borders, nationality or language. These stories must be told. They must transcend the limitations of perceived local relevance – particularly when our polarised times need such stories to be told to a larger audience.

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In 2020, your OTT series Scam 1992  proved to  b e game changer. Do you see Scam as a turning point  in your career?

I see Scam 1992 as an enabler. We did not expect its humongous success and to say it did not change things would be fake humility. It gave me back a lot of things I had lost in the years before it released. Including some money. And the courage to tell the stories I desperately wanted to. Also exceptional friends and collaborators like Sameer Nair and his Studio Applause.

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Your films  and your  attitude to cinema has always  been fearless. How  do you  cope with the  threat of growing intolerance in our society  vis a  vis your  convictions as a  filmmaker?

It is not new to me. Remember Dil Pe Mat Le Yaar in 2000? The only difference now is that then I was deeply affected by the intolerance to a point of self destruction. Now I channelise my despair and anger into telling relevant stories and through them taking on those who have made it a business to be intolerant.

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To Attend Siddharth-Kiara’s Destination Wedding, Karan Johar Preponed His Twins’s Birthday  Bash

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Siddharth-Kiara’s

For those  who are  wondering why Karan Johar hosted  the grand birthday party for his  twins Roohi and  Yash who will  turn 6 on 7 February,  six days in  advance  on 1  February  here is  why:  on the day of his twins’ birthday,  Karan  will be in Rajasthan attending the wedding celebrations of his dear friends  Siddharth Malhotra  and Kiara Advani who are  getting married on  February 6.

 Reveals   a friend close  to  Karan,  “Karan was in a dilemma. To him there is  nothing more important than his  children’s happiness.  How could he break their hearts by skipping  the most important day of their  lives? At the same time, how could he  not attend Siddharth and Kiara’s wedding ? They are  very close to him.”

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Karan did the best thing possible to resolve the situation:  he put the dilemma before his children Yash and Juhi who happily  agreed  to  have their party  a few days in advance so their ‘Dada’  could  attend  his friends’ wedding.

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