Harsh Thakor writes
Nutan posessed a charasterictic grace-unsurpassed in the annals of the Indian Film screen.Her face could reveal every type of emotion , the equivalent of seeing a calm sea in the aftermath of a turbulent storm.She was so natural that it seemed that she was the actual character and not acting.In her career Nutan enacted a huge spectrum of roles .Nutan may not have had the beauty of Madhubala, the flamboyance of Kajol, the charisma of Madhuri Dixit, the dancing skills of Hema Malini or the sex appeal of Zeenat Aman , but overall was the best and most versatile actress to have ever strode on the Bolywood screen.
When young the duaughter of Famous Actress Shobhana Samarth and actor Motilal was regarded as ’skinny’ and ’ugly’ and it was a major surprise that she was inducted into the cinema by Chandulal Shah and K.Asif opposite Raj Kapoor and Dev Anand.She carried it successfuly .She repated the success in ’Hamari Beti’ but it was in 1951 when she displayed her true prowess in ’Hum Log’and ’Nagina.’
In 1955 Nutan was brilliant in ’Seema’ opposite Balraj Sahni, playing a delinquent in a reform home to perfection.She expressed her feelings right from the soul in the scene when she sings a Bhajan, ’Manmohana bade jhoothe.’Subsequently she gave repeat performances in ’Paying Guest’, ’Anadi’, ’Sone Ki Chidiya’ and ’Sujata.’In ’Sujata’she brilliantly portrays the character of a Harijan girl whom Sunil Dutt is in love with displaying chrasterictic simpilcity.n 1959 Nutan was married to Captain Rajneesh Behl, a naval lieutenant commander and eased out of films when son Mohnish was born
However she made a sensational comeback in 1963 giving her best ever performance in Bimal Roy’s ’Bandini’, where she acts as Kalyani, a women prisoner charged with murder..It was one of the graetest portyrayals ever on the Indian screen .Nutan gave no high -tone histrionics but appeared as a quiet woman with emotions burning within her.Her expressions and movements told the story , rather than her dialogues.She displayed every kind of emotion and her acting displayed the grace and composure of a musical composer combined with the delicacy of asurgeon performing an operation.The scene where she murders her ex-lovers first wife is one of the most ironic ever seen.The way she breaks free from convention to be by her dying lover’s side is one of the most touching scenes ever seen on the screen.Her performance was sheer genius.
She continued giving fine performances in Milan, (1967)Saraswatichandra, (1969)Saudagar(1973) and Main Tusi Ter Aagan Ki.(1978)In the latter 2 she was outstanding.
Her last major performance was in Subhash Ghai’s ’Karma’ I 1986 with Dilip Kumar.Then she played mundane roles l.She now concentrated on her dairy farm, her antique-laden home, her search for spirituality and her son Monish’s career..
She left for her heavenly abode in 1991.It was like a godess leaving the earth.Bimal Roy and Manmohan Desai rate her the best actress they ever saw.The spiritual grace and moral superiority she was endowed with is something unforgettable.
By Harsh Thakor