Nutan blog changes

Publié le 24 Février 2015

Hey, this wasn't expected!!

Hey, this wasn't expected!!

Hi, well, as you can see, Overblog has forced me to modify the outlook of the blog! As a result, all the Nutan photo albums which I had placed on the left banner were removed to some obscure, out of the way location. So I've decided to post them at the end of each of the Nutan movie reviews, and there'll be a section (coming soon) where you can find them all listed for you to enjoy. It's a little less hidden, but if you were looking for them...

Rédigé par yves

Pour être informé des derniers articles, inscrivez vous :
Commenter cet article

sbasu 06/04/2015 20:21

By the way are you an HG Wells Fan / Mr India Bollywood aficionado ? The person beside you, in your picture looks suspiciously like "Invisible man" :-)

yves 06/04/2015 21:21

:-) I do like HG Wells, but this icon comes really from my liking of words and language. I found it one day on the net and decided it could represent me in a way.

sbasu 06/04/2015 20:14

The reference is in ancient scriptures, where the society was likely, if not pure matriarchal, at least women dominant. It was clear from the marriage customs with the choice being entirely of the women to chose, or even remain spinster. No questions asked.
The expanded form is “grihini, sachiva, sakhi, mithah, priya-sishya lalite kalavidhau dharma-vanijyaka”
Grihini= Griha (home) + ni (Deity/ owner) - - - Sachiva = Advisor / Minister - - - Sakhi = friend - - - mitha = close to heart (french ami) - - - Priya Sishya = favourite pupil - - - lalite Kala (= fine arts) vidhau = expert in many forms (of it) - - - Dharma vanijyaka = guide and maintainer of Dharma ,... exact reference is to be searched out..

sbasu 07/04/2015 04:01

What the women should stand for. Unfortunately the society, the men and for a part the women themselves have all compromised her due.
You could also make out from the dietification of Him... when we look at the male facets, the feminine one is always beside It, not at the feet, but at equal position. But the female facets have the males counterparts not at an equal place (if present at all).... why I mentioned facets and counterparts is, though mistakenly all consider them as different deities (polytheism), but we too are originally a monotheist society, which through corruption has become polytheist. The God originally had been conceptualized as a perfect whole, like a crystal with various facets. Each facet displaying His different faces, obviously we consider Him based on our want at that moment. A human being looks at the aspect dearest/ imaginable (like that 4 blind and elephant story), and personifies Him in that form. In case of Male forms (i.e. properties of Him), the feminine properties would be necessary to complete a particular human need (so the consorts came in) .
Shiva is the eternal father, who can't exist, nor could a child stand him, in absence of mother. However when the mother exists, the child rarely needs the presence of father (so not vice versa). Don’t consider the modern effeminate males : -) This is true not only for the Major but also minor forms of the deities. So as we consider, a man is not whole without a woman but a woman is a complete by herself. Let me stop here and not go into an area of mysticism and philosophy : -)

yves 06/04/2015 21:32

So this whole sentence would be a kind of definition of what Woman stands for??!

sbasu 04/04/2015 17:04

I had considered Meena Kumari (even Waheeda). I wanted to add her... but I don't like, personally that characterization.. decimating one self and only a cry baby (Later Asha Parekh). It isn't what a woman should be. She has equal personality (or though a male, I would say something more than us, the ability to adjust, the patience, forbearance). The part Meena had usually characterized was the weakness, magnified. The moment you know it is her movie, you are sure it would be full of tears, and she was a good actress (unlike other few tear jerkers), so there would be flood of it in the movie halls.
The strengths were portrayed by the four pillars. You know in our culture, we tell women has three roles in the life of her husband? Gruhini, Sachivo Sakhi.. Gruhini is the house owner (the Queen), where the husband is vassal. Sachiv is the confidante where she would advise the husband ( Minister, who is more powerful, though not on paper, than the regent), and Sakhi is the friend (including girlfriend :- ) on equal terms. None of the three terms give her a lower status (not that we follow the scriptures though) The Sakhi was Madhubala’s forte. Queen as I consider was primarily Suchitra. The other roles the two Nargis and Nutan mixed up. Nargis was most of the time in Advisory capacity, directing the course, but not being dictatorial by herself. Nutan somehow wasn’t categorise-able. She was in both course definer, playful (but not seducing) and also the decision maker… Bandini, Saudagar or even Sujata… it isn’t the end… all knew from the demeanor that it is she who would call the shot, the hero was to follow the dictat. The only thing she sadly lacked was half of the girl-friend… she could be adorable friend, but not the seductive. Even her famous bikini scene in Dilli Ka Thus? Which was where, Madhubala was unmatched, her competitor, Sharmila Tagore’s seductiveness was too raw to be appreciated.
We talk about the sacrificing character of Nutan (Saraswati Chandra), or Khandan. But that was story. Her portrayal has a bit of different characterization, especially in Khandan. I think you had written about deitification on the wedding night song? She had to virtually mother the extremely low self-effacing Sunil... Or in Saraswati Chandra (did you realise that the end is opposite of Manzil?) the clash of convictions- brain vs heart? Nutan practically though was beautiful enough to be seductive, but had always been so playful (Childish) or serene.. the seductiveness would never suit her. Even the seductive "Yeh tanhai.." in Tere Ghar Ke.. or "Chod Do Aanchal.." it felt more of a tease or prank. Somehow..she could never express.. it isn't exactly the carnal attraction..something else.. the viewer imagining himself in the heroes shoes and assuming she is wooing him, at least I couldn't feel, even in younger ages, rather the spectator would put in her shoes (gender immaterial) and blame/ curse the heroes and villains for bringing the ills on her. May be the reason she has low fan following? No one could take her as ‘His’ heroine?
The person who could have come nearest to Nutan was Smita Patil.. but she moved along the wave and got into commercial formula movies, even before her tragic death.
Had seen a few old movies in between, again unfortunately without subtitles, so talking about them would be sadistic. One is Chacha Choudhary (1953 or so), a good movie, another Ustadon Ke Ustad (bad movie), and a bengali one.. from a renowned Bengali director Tarun Majumdar.. the film is Dadar Kirti (the escapade of elder brother) .. a light comedy.

yves 06/04/2015 19:10

Interesting what you say about the three roles of Woman: I had never heard about it! Where does it come from?

sbasu 03/04/2015 08:41

Warm and holy wishes on this historic day... wish people learn from Him... to sacrifice oneself for the belief rather than forcing and sacrificing others. You may call Him Son of God, we may disagree on that epithet. But none can deny the greatest message of Him, unfortunately lost in translation. "I believe that I have a way to the salvation of the race, If you too believe me, follow, else there is no compulsion. For this belief though I am ready to sacrifice myself, but wouldn't harm any one, even those who are completely against mine" ... similar concept a few tried to follow including Gandhi.. but none could decimate their egos, which some time or other came out in speeches or action.

yves 04/04/2015 10:47

Thanks Sbasu for your wishes, as a Christian you must know indeed for us this is the greatest day of the year. Indeed I call Jesus Son of God, and even God period. God made man, this is heart of our faith: God has humbled himself so low as to take a human form, and Jesus growing up has showed us what his Father looked like (John 14,9): the invisible transcendent God was given a visible, human face! This is what we're celebrating tonight, because the Passion and Resurrection is the greatest mystery of this Incarnation... You're right to say that Gandhi showed India, in a very special way, what this Christian Mystery meant.

sbasu 02/04/2015 04:56

Bimal Roy- Cancer.. Amiya Chakraborty.. not brought out (may be broken heart). This I found in checking up on him. Interestingly his personal life isn't brought out in his movies.. (like Guru Dutt did). His wife was (and remained) in love with Ravi Shankar. She was a relative (sister of his sister-in-law). The marriage with Amiya was to avoid scandal in family (Ravishankar was already married). In fact she even moved in with Ravi, but after some time (ten years after Amiya's death).. But the scandals for Ravi was quite a common factor :-)
As far as Sadhana is concerned.. yes, some of the roles were written / selected with Nutan is mind (at least the literature says so). But since even just before marriage, she had cut down on signing they went for some one else. And the loser was the art?
AT that time as I see there were 3 (or may be 4) great icons of feminine aspect. And as an artist they far overshadowed any of the male contemporaries. Nargis (steely resolve), Madubala (seductive, playful beauty), Suchitra Sen (you might not have seen).. some sort of proud (like a Queen), but humane,and of course our Nutan (sensitive, vulnerable but strong)... each define facets of human character (irrespective of gender). Once these four complete the spectrum, others only were mixtures of these four elements, or duplicates. When you look at these four, they never needed the melodrama for the audience to feel the character. Only thing they (all these four) lacked was the dancing skills, which could create a space for Vyjayanti Mala. Wheeda was of course better (may not be as danceuse, but far better as an actor). Meena was only over dramatic.. at a later date Asha Parekh.

yves 04/04/2015 11:09

I like your characterization of the four feminine actresses, and I know and appreciate Suchitra Sen (http://www.letstalkaboutbollywood.com/article-bimal-roy-s-devdas-a-burning-tragedy-103600576.html). Of course, like all attempts to make human reality fit into allotted categories, one might criticize them. Nargis represented steely resolve indeed, but she could also be seductive and playful ; Madhubala was the enchanting queen of the screen as much as Suchitra Sen, but in a more flamboyant way; and on top of Nutan I would have added Meena Kumari as the tragic heroine.

sbasu 01/04/2015 04:55

In teesri Kasam amongst very poignant remarks there is a perfect remark (which is applicable to all MCPs).. Waheeda tells to her friend... it goes something like this..Hiraman thinks of me as a untouched (virgin), goddess, and that landlord as a woman on street (prostitute).. both of them doesn't realize that I am neither. The last portion of that movie is very poignant. But as far as I remember, Hirabai didn't give in to the landlord (at least this time) the discussions in her troupe with her indicated it. Though she had given way earlier, may be to him or some one else.. that too she indicates in the dialogues (I am neither..).. so she isn't for sale.. but under which circumstances, isn't explained.--- Talking about movie buff, I am not really, but I love watching old movies, with amateur critical eyes... amateur connoisseur of wine :-) .. One of the saddest part, while looking at the history is that too many exceptional people died young, in fact too young.. Guru Dutt we all know at about 39, Bimal Roy (at around 55), another very promising Amiya Chakraborty (at 45).. in case of Amiya Chakraborty being unknown name.. he was the directors of some masterpieces.. Daag (Dilip Kumar -1952 or so), Patita (Dev Anand, Usha Kiran-1953), of sourse our Seema (1955), then another two Kathputli (Vyjayanti/Balraj) and Dekh Kabira Roya (both 1957) the year of his death. For directors these are usually the age when they prime. These two Amiya and Bimal's death isn't brought out clearly, but definitely not suicide (like Guru Dutt) , must be usual Heart Attack or so.. but for that too it is quite young age. Must be the stress the perfectionists have?
As far as Nutan is concerned, that automatically comes when one is amateur.. when I look at the movies, and look at the actors.. Unfortunately when doing that one is likely to go to extremes... for example you might be aware that Sadhana was actually a forced choice by several including Bimal Roy.. when Nutan took sabbatical, marriage and child birth. If you look at quite a few of Sadhana's earli movies.. Parakh, Prempatra, Asli naqli.. she had almost aped Nutan (or may be the roles were written like that). When a fan looks at that, it becomes disappointing. I try to picture Nutan at that role, and then the difference become glaring.... I am not sure (or may be I am wrong, as a fan)... there was something in Nutan's face.. She had a perfect body (some scenes one might observe, she had an Hour-glass figure).. I had observed it in a few scenes in Seema.. but the eyes never went to the figure. It just never left the face. And it was the whole face, not only the eyes.. every muscle some how conveyed the feeling of the "role" when the face was smiling so did the eyes, this is something I haven't seen in many (if any). If she is angry, or guilty (like in Seema.. when Balraj asks her to sit, and accuses of destroying the whole room.. the childish pout.."because I was very angry") It isn't only the lips, total face including the eyes conveyed. This is what I missed in Sadhana, in those movies. Or in Tere Ghar Ke.. when in the song she comes to balcony.. surprised, but exhilarated by finding Dev Anand (the so called 1000 Watts bulb scene).. There was something un-explainable, and hence may be non-duplicable?

yves 01/04/2015 22:06

Interesting remark, I'll have to go back to the film and see for myself!

yves 01/04/2015 22:04

Yes, indeed you're right about these directors dying young... but I'm not sure whether one is right to detect any particular pressure though... I don't know.
Hmm, indeed I had made the same mental remark concerning Sadhana replacing Nutan in those movies when she wasn't available: she's too much alike. This probably has to be put down to the producers wanting to continue to give their public the "product" which they knew it wanted, don't you think?
And now if you start on Nutan's face... well, we could on for ages!!

sbasu 01/04/2015 09:36

Yesterday while re-visiting seema.. I saw one very interesting scene.. the catfight between Nutan and Shobha Khote.. First Nutan hits Shobha, and interestingly the point of contact isn't what Shobha is massaging while she gets up (she massages the cheek whereas the punch landed on upper side, might have been on head above ears.. but the point I observed was the punch by Shobha.. just look at Nutan's face, at the moment of the punch and doubling up of the body... did she really get punched? Looks like that. The expression and the body action is really very difficult to fake. And being a sportswoman, Shobha would have carried quite a strong punch. :-)

sbasu 31/03/2015 08:04

Continuing where I left the other two great directors of the age... Mrinal Sen and Satyajit Ray.. Mrinal Sen was pure communist and his movies were accordingly (Dark). Satyajit was midway between Mrinal and Bimal.
Most of the movies must be available in the Youtube too.. but I suspect again, without subtitles...
If you want serious marital discord/ relationship.. Basu Bhattacharya.. Teesri Kasam you might have seen/ hard of... but other than that the trio.. Avishkar, Griha Pravesh, and Anubhav is only worth mentioning. In fact he didn't continue in the movies for long and has only a handful movie , unlike the others Gulzar, Basu Chatterjee or Hrishikesh.. who has dozens of Good movies in their kitty.From the Imdb-- Sara Akash I am yet to see (recently managed to get the VCD). Other than that, quite a few I had seen in Movie halls - Piya Ka Ghar, Rajani Gandha, Chit Chor, Chhoti Si Baat , Swami (Shabana Azmi) , Priyatama, Baaton Baaton Mein, Manzil, you can try to have a look whether you like the type of not. Then you might link up with some renting library.

yves 31/03/2015 22:45

Dear Sbasu,
Thank you for this well documented and very interesting message - I can see that you are not only a Nutan fan but a through and through cinema buff!

Yes, I'm sorry about the "répondre" function, I had noticed it myself. This all came with the change of system which occurred when the Overblog platform did these modifications, and try as I may, I cannot change them back to what they used to be.

Your mentioning Teesri Kasam made me remember that I had seen this one, at least, by Basu Bhattacharya (http://www.letstalkaboutbollywood.com/article-25393179.html). I found it a wonderful movie, as you'll judge from my review if you're interested.

I was very interested to know that the "three musketeers" as you say, were under Bimal Roy's training: it makes a lot of sense!

I have made notes of the suggestions you kindly made. When I'll be able to see some of these movies is another question, but, hey! life is long! - thanks again.

sbasu 31/03/2015 07:26

Somehow here the "repondre" isn't properly positioned.. so I am not able to respond to your mails in proper sequence.
Talking about Basu Chatterjee..let us go to the history..
One of the greatest story tellers of the Golden era was Bimal Roy (Do Bigha zameen, Sujata, Parakh, Bandini) are the more well known, but he had a few other master pieces.
If you look at his methods.. it is a complex story, with social message but put in a simple way appealing to mass. No over melodrama. I always consider these era movies especially by these type of directors like vintage wine. Slow and thoroughly enjoyable (most unlike today's movies, which are even quicker than the whiskey.. more like the drugs.. fast and forgettable).
Bimal Roy had three assistants, trained under him (had been assistant directors in quite a few movies as I could see by the title pages) who became great directors by themselves. Hrishikesh Mukherjee, Basu Bhattacharya and Gulzar.
These three directors adopted different facets of Bimal Roy, though still maintaining the basic culture (wine.. slow build up of the story, not skipping the flavours for speed)
Hrishikesh went for the romantic ways. If you look at his movies starting from Anari, Anupama, Mili, Bawarchi.. the romance usually was the prime mover. However he had a few not so romantic too.. Anuradha (based on Madame Bovary)- Leela Naidu (Mme Bovary, the neglected wife) and Balraj Sahni (Doctor) then of course we have Namak Haram, Anand, Abhimaan...
Basu Bhattacharya for more serious - man woman relationship, especially within marriage.. his greatest may be the trilogy Avishkar, Griha Pravesh, and Anubhav.. treating with different aspects of marital discord.. he was much more serious in treatment of the subject (DO Bigha Zameen type). Even his most famous movie Teesri Kasam is on that zone.
Gulzar too started in the serious mould.. like Basu Bhattacharya, Koshish, Parichay, Mere Apne, Aandhi,... however experimented on the light side too at a later stage....
In all their movies you could find a bit of the genre that had been created by Bimal (and is finished with his three musketeers)
Now coming to Basu Chatterjee.. he is the next generation (though not by age), starting under Basu Bhattacharya.. so again the story telling and the subjects were similar to him... only in romantic comedy ways... all middle class, simple people, office goers, in love, unable to express type..
Good movies are Chhoti Si Baat, Piya Ka Ghar (interesting A bride accustomed to a big sprawling house mes to M... the house is almost a big hall with those partition type.. you can imagine her condition, utter lack of privacy, and it is brought up in a light but serious way). Baton Baton Mein, Manzil (Amitabh), he has a lot of movies and most are quite interesting and in different subjects (Pritatama.. despite the most non-acting actor.. Jeetendra.. as the husband who and his wife Neetu Sing wants to get divorced.. mutual consent, doe to incompatibility.. the suit is filed in court, but when the aprents come, they have to act happily in love.. but the sparks do fly once in a while, in their presence..)

These all were the "Director" if you see, they had worked with the Actors in their prime... Nutan, Sunil Dutt, Raj Kapoor for the oldies.. Amitabh, Rajaesh Khanna, Rekha,... but as far as I could see, they had been respectful enough to follow the directors, we don't see the 'Personality' of these actors in these movies as in any other movie. May be fame may be it were the actors who came to ask for the role and not the directors/ producers who went begging... but most likely respect one accords when the other is superior.
I only feel sad how the missed out Nutan.. they were making movies in seventies when Nutan was still a heroine material.. and was working in alternate genre as heroine.. Grahan, Saudagar, Kasturi. And there was no doubt of her talent, which they must be aware. Nor she would have been high charging actor (since all the three above movies were low budget, Grahan and Kasturi were actually the State (like NFDC etc) produced.

sbasu 27/03/2015 19:07

I had read a lot of Jule Vernes in childhood... (of course the translated versions.. first in my mother tongue.. Bengali.. and then at later age English too).. never French though.. the French isn't so strong, just did a short course of few months in Alliance Francaise, that too way back in 2000 or so, just before visiting France on a short, couple of months, official engagement. But this one I had never heard of. As far as Aagosh is concerned... I don't know, may be only we two are having the copies, me and from whom I got that.. but it is without subtitles.. and I am not expert enough to put on the subtitles. I am one by one covering the movies.. whatever is available... Yesterdays score was Anjaam.. 1978 movie.. she still looked young and beautiful (age 42.. but could have been heroine) except the died hairs. Skin was still unblemished. This was too a nice movie... suspense and retribution... and when I got a Marathi movie.. Paradh (again due to Nutan), it turned that both are same movie.. bilingual. Movie was good, story too was good, spoiled by the hero heroine (Sachin and Sarika.. there roles had been immaturely picturised) and being hero-heroine had quite a bit of screen presence.. though again the actual central character was Nutan's.. and she had carried the movie on her shoulder..
One of the trouble of those times.. and even now in Bollywood is, heroine should be college going age, beating around bushes :-)
So once the heroine crosses the age, she can't be a heroine, she has to me mother/ sister in law... whereas she could well have been a working woman heroine, by the looks. Like I don't know you have seen Rajanigandha - Vidya Sinha..
Anyway My score is now 70 (out of 94) other 24 are quite difficult to get.. may be another 3 to 4 max may be traced... I am in search of.. two are Gujarati.. Kalapi and Jogi Das Khuman.. Kalapi was with Sanjeev Kumar..(before her fight).. 1955. A few I suppose should be traceable by the family.. since that has significance with both sisters.. Hamari Beti was debut for both of them (Nutan adult, though not of age, Tanuja as child) and Chhabili was debut of Tanuja as adult. But some one have to touch them... But still I wonder some one somewhere should have a copy of these... people have ranked a few of Nutan obscure movies on ImDb.. without watching? By the way as the blog owner I think you can trace my e-mail address isn't it ?

yves 29/03/2015 18:31

Thanks for this interesting description. You're right, these two directors had already attracted my attention. I'd seen Anari and Anupama by Hrishikesh Mukherjee, but none by Basu Chatterjee as yet: which ones would you recommend (apart from Rajani Ghanda)?

yves 29/03/2015 18:24

Yes, you're right about the necessity for actors to let directors do the job. I think in Western cinema the pressure is much greater for the actors to do what they're told, but of course there have been actors and actresses who couldn't help putting forward their whimsical selves. I feel that this problem is more difficult in Indian cinema, because of the overriding star-system: wouldn't you say so?

sbasu 28/03/2015 03:44

Well my external HDD has now fast reaching 400 numbers, (and getting filled up fast, calling for another one) of which Nutan is about 70. 90% of these are of course pre-1970 or rather 1965. Some of Nutan films I haven't seen, except some portions (especially her later age stero-typed mother image, like her last movie Insaniyat). Some actors I avoid (which includes Dileep Kumar, whom I feel to be not a natural actor, I know it is against common perception, but he looks to be more theatrical- over acting- than real life), Manoj Kumar too comes in this category. Balaraj Sahni too is theatrical actor but he is usually not a screen hogger, and other actors are allowed to fill up and balance for him, unlike Dileep Kumar or Manoj Kumar, or later age Bachhan etc. Sunil Dutt I consider much more nearer to real person actor. The movies are usually a director's baby... unless the act of direction is taken by the 'High profile' actors. Some actors like Sunil Dutt didn't interfere and allowed a good movie to be made. And good directors left these actors alone, unless they were ready to act on their terms. Mili (Amitabh), Khubsoorat (Rekha) were the movies where the actors though already at the pinnacle, were made to act to director's orders, and the ersults are still appreciated.

sbasu 28/03/2015 03:23

Rajani Gandha (= tube rose, the flower that is in our society closely linked with love) is by another of the non-main stream directors, Basu Chatterjee. Vidya Sinha and Amol Palekar. It is a love triangle, but treated in a more psychological way and is a good movie. It is a woman, torn between her ex whom she meets after a long time, and a typical husband type current (who is trying but yet to become husband) , good in heart but forgetful, misses (late for) appointments etc.. This is a nice movie..like all the Basu Chatterjee/ Hrishikesh Mukherjee movies are... with non-big star but good actor casting, and a fusion of non-main stream as well as main-stream movies. Usually these are light-hearted good movies. Hrishikesh and Basu Chatterjee normally dealt in same type of subjects, Basu Battacharya however were slightly more gloomy.

yves 27/03/2015 23:18

Thank you Sbasu for this interesting and long message.
Yes, I can see your email address, I hope you don't mind?
Wow, you say you have managed to see 70 of Nutan's films??!! This is probably more than I ever will see. I believe I've seen about 20 only. Some I haven't reviewed on this blog, because even if Nutan was never insignificant herself, the movie's story or overall interest wasn't sufficient for me to write something about it.
This Bollywood habit of considering actresses as deprived of potential once they pass their prime is really sickening. Only a few actresses such as Shabana Azmi have managed to escape it, and only in fringe cinema.
I haven't seen Rajanigandha: is it any good?

sbasu 19/03/2015 18:50

By the way you have selected a very appropriate snap of Nutanji for the subject :-)

yves 20/03/2015 18:32

Thanks!

sbasu 19/03/2015 18:46

Meanwhile I have watched a few of the obscure movies. All due to obvious reasons, Aagosh, Saanjh Ki Bela and Kasturi.. the last two movies were good movies but box-office duds.
Saanjh Ki Bela is on the same story as Kati Patang or rather J'ai épousé une ombre or the original No Man of Her Own. I haven't seen the other two so I can't comment on that, however this movie was much more well made than the Kati Patang...
Howwever it failed due to the difference in Hero... Joy Mukherjee even in his heydays can't stand in relation to Rajesh Khanna.
So due to the other star cast superiority (Rehman Vs Prem Chopra) and (Nutanji Vs Asha Parekh) it couldn't compete. The third weakest point of course was music.. it doesn't have a single known, in fact hummable song.
Though this movie was released after 10 years of Kati Patang (1980 Vs 1970), but the looks of Nutanji, Rehman or even Joy shows that it could have been filmed in 1970 or so, may be made in the same time as KP, but canned due to obvious reasons and released after sufficient time for audience to forget the first movie. The makers forgot that by then Nutanji was in almost motherly role and Joy had disappeared. So a good movie was thrown into oblivion. As per some review I saw, it seems to be nearer to the actual novel.. and hence may be that's why it was less of melodrama and nearer to life.
Kasturi of course was a beauty... but then it was the 'offbeat' movie and hence it was meant to fail It had been the national award winner (not the commercial filmfare) for best movie, and those movies can never work well for the average movie-goers and hence destined to fail. A beauty of a movie. Like Grahan on the back drop of forest, but in this case of tribals and their life style, but a movie for connoisseurs, slow (like wine).

yves 20/03/2015 18:44

Thanks for the message.
Well, I must say I envy you! When I have more time, I'll certainly explore Nutan's later movies as well. And I'll come back to your remarks then!
You don't speak about your reaction to Aaghosh (1953): was it any good?

sbasu 10/03/2015 19:17

and where are the comments gone? I am able to see my posts, but not your responses, leave alone other people's correspondences? Something strange is going on in this site.. :-) and when you are responding the auto responses also have stopped. So there is no way I can know when you are responding :-)

yves 25/03/2015 19:12

Thanks a lot for this summary. I think I would still like to see it, even if as you say Nutan hadn't yet blossomed out.

yves 25/03/2015 19:11

Many thanks Sbasu for this very interesting message...! I had read a long time ago a story by Jules Verne with the same medically-proven fact about somebody's face being imprinted on someone's cornea, it was called "Les frères Kip" (http://fr.wikipedia.org/wiki/Les_Fr%C3%A8res_Kip). It is a kind of detective story, with the baddy in the end being convicted thanks to this cornea trick, revealed on a photograph.
You seem quite right about this awful story...!

sbasu 24/03/2015 05:50

Interestingly IMdb can be wrong too... It mentions Kranti having Nutan, yesterday I watched the whole DVD but couldn't see her. Then checked the subtitles.. on the juniou artist that too second page of it the name is there.. I think there may be many people with her name, and it must be one amongst them? Definitely her name can't be in a page full of name and that too near the 3/4th of the list. Similarly Main tere Liye is listed as her movie but the movie or the subtitle doesn't mention her. Also Aar Paar (of Mithun Chakraborty) with a Bengali Version (it is a Indo-Bangladesh Joint movie) there is a Nutan.. but that is a Bangladeshi Actress.. so I have wasted $s in three DVDs none of them even an A grade movie... Of Nutan's movies.. for afficiandos... rare movies ... Aagosh (passable for fans).. Kasturi, Grahan (A Grade) - for me may be A+, as I said Saanjh Ki Bala is may be B+ or A, definitely technically better than Kati Patang as a movie (except songs and the hero).. mangetar.. horrible movie don't waste effort in it.. a poorly executed movie and horribly insane and infantile story. One can't believe a story like that can be written...
Pradeep is engaged to Nutan...
In an earthquake the fan falls on her head and she loses eyesight... Pradeep Kumar breaks engagement...
She is married to some one else... it is an obscure person.
There was an eye operation and a corneal graft and she regains eyesight.
Pradeep decides now that he loves her and wants to regain her...
He is a criminal printing counterfeit notes, and in the business he involves her husband..
The factory where it is printed is owned by a honest man (Deb Mukherjee's father).. whose wife was killed by Pradeep Kumar when she found out about the misdeed...
Then is the Nagin concept in human.. it seems that the face of killer is imprinted in the eyes of the victim if she had her eyes open... Now it is extrapolated to humans too..!!!) ... and that eye is in Nutan now... and deb Mukherjee is a experimentalis photographer who works with abnormal (macro and micro lenses).. Nutan is an adored person for him (the Sister in Law type and later any way marries Nutan's sister in law) and once while photographing her sees it in her eyes.. The husband tries to get reformed and in trying to escape there is an accident and we have another blind person. Meanwhile the obsessed Pradeep Kumar tries to rape Nutan.. and she dies.. her cornea goes to her husband.. and in the end Pradeep is killed through those eyes... so that is the Mangetar (Engaged.). Pradeep and Nutan) that gave the movie the name.. which should have been Aankhein = Eyes - but already there was a movie by the name :-) ... height of imagination.. this is one case one can safely say that "No character or... " since it's not possible to have a character or a story matching it in real life.
Finally in obscure movies the current ranking is (1) Kasturi (2) Grahan (3) Saanjh Ki Bela (4) Mera Munna... and last may be worst ever by Nutanji as a lead actor .. Mangetar.

sbasu 24/03/2015 04:19

Aagosh she was still a child.. but has started a bit of her acts.. the expressions and the eyes are there.. it is similar to Munimji of Devavand (or Dil Hi to Hai) feminine version.. Nutan's mother is a poor person who replaces her daughter with the wealthy persons daughter. The daughter of Ayah (Shakila) is brought up as arrogant, selfish, cruel... though the rich man is a kind hearted, but as usual gives in to only child. The actual daughter Nutan is brought up by the Ayah. who mistreats her.. The child hood friend Nasir comes back as forest officer (Shakila's father has a wood industry. cutting trees and making timbers).. then it is usual triangular love story.. with a villain (Iftekar) thrown in who wants to marry Shakila due to the money, Shakila wants Nasir, Nasir wants Nutan (reciprocated).. rest I need not say. Nutan had chances to act a bit and did a bit.. not to her potential though, but at that time she didn't have the potential still blossomed. Just a part of her potential first time I saw in Laila Majnu (1953).. then from Shabaab (1954) she has started acting properly...before exploding in Seema.

yves 10/03/2015 22:21

Hello Sbasu,
Yes, I know that some changes have been done to the blog, unfortunately not of my own doing. The Overblog platform has obliged me to change whereas I hadn't wanted. I was invited some time ago to "evolve", but I was quite content with the blog as it used to be. So I did nothing. One day, about six months after this invitation, they told me they had "migrated" the blog towards this newer system... So I had to modify a number af things. I told them I wasn't pleased, but they disregarded my message.
Anyway, I'll try and check the admin and see what I can do.
Thanks for your message.