When Dev Anand approached her to play the sister in Kala Bazaar (1960), she refused saying that he’d then never play her hero. But after Choti Bahen, her fans would send her rakhis and she’d autograph and send them back. For us Maharashtrians, Bhai Dooj is a significant festival. The song Bhaiya mere rakhi ke bandhan ko nibhana became hugely popular. This was followed by Prasad’s Choti Bahen (1959) where she played Mehmood’s blind sister. The song Chali chali re patang meri chali re was a chartbuster.
Didi then did AVMs Bhabhi (1957) where she played the child widow. The film was a hit and so was the song Mera bhaiyya hai deewana.
She played the heroine in Marathi films including Shevgacha Shenga (1955).ĭidi was given the break as a Hindi film heroine by Annaji (V Shantaram) in Rajkamal’s Toofan Aur Deeya (1956) opposite Rajendra Kumar. To support the family, didi did more Marathi films including Jagat Guru Shankaracharya, Kuldaivat and the Hindi film Angaray (played Nargis’ childhood) in the early ‘50s. Our mausi (maternal aunt) Mrs Naik, who lived in Sonawala bulding in Tardeo, gave Aai some space in her apartment. With seven kids, Aai who was hardly 40, was on the streets. She sold our bungalow, cars… to pay off his alleged debts. Few days later, his production manager brought along someone and told Aai, ‘Vinayak saab had taken money from this man’. Soon after dad passed away on Augdue to a heart complication. It was a sign of things to come – Didi was destined to turn breadwinner for the family. On the set, dad made her dress as a boy instead. My mother cajoled her saying it would be the first and the last time. Didi, who loved school, was upset and complained to our mother – Sushila Aai – that she didn’t want to act. One day he asked Nanda didi, who was around five then, to accompany him to the set. In 1947, dad was making Mandir in which Lata didi (Mangeshkar) was playing the role of a sister. Today, only my brother Subhash and I are the only ones alive. I was younger to Nanda didi by five years. We were a family of seven brothers and sisters - Meena, Subhash, Nanda (original name Nandini), Prafull, Jaymala and Mangala (twins), Bharati and me. He was the brother of the legendary filmmaker V Shantaramji, who was also his guru. Our father Vinayak Damodar Karnatki or Master Vinayak was a well-known Marathi and Hindi filmmaker. There’s no one to tie rakhi anymore.” In his words. In my next birth, I want to be her elder brother, so that I can repay her debt,” he sighs adding, “My wrist will now remain empty. “Right from our childhood, we brothers and sisters remained attached to Nanda didi. Youngest brother and director Jaiprakash Karnatki, culls out memories of his sister to whom he says he ‘owes everything’. Weaning away from films and the fraternity, Nanda retreated into a private world. Nanda’s dreams lost all colour when the veteran director Manmohan Desai, to whom she was engaged, fell to his death in the ’90s. Ironically, Kabhi kisiko muqammil jahan nahin milta from Ahista Ahista, remained her favourite number, as it became a translation of her life. But it was her mellow performances in Shor, Prem Rog, Mazdoor and Ahista Ahista that showed her gravitas as an actor. The artiste in her did take a detour by going modish in Jab Jab Phool Khile, wanton in Ittefaq and bohemian in Naya Nasha. Nanda incarnated the ideal Indian woman during the ‘50s and ’60s. An ideal sister, an ideal daughter, an ideal wife. The divinity in Lata Mangeshkar’s voice enhanced by Nanda’s soulful screen presence. Also, no matter how turbulent the political scenario, Allah tero naam Ishwar tero naam from Hum Dono is the perennial hymn and hope for secularists. It was young Nanda’s beatific face that exalted the ditty to a cult status.
#Nanda and rajesh khanna movie tv#
No Raksha Bandhan is complete without the song Bhaiyya mere rakhi ke bandhon ko nibhana from Choti Bahen playing across radios and TV channels.
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