Nalini Jaywant (b. 1926)
Actress born in Bombay; cousin of [[Shobhana Samarth]]. Début aged 13. In Mehboob’s Bahen? she sang the Wajahat Mirza duet, Nahin khate hain bhaiyya mere paan, with Sheikh Mukhtar, central to the film’s incest theme. A Filmfare cameramen’s poll voted her the most photogenic Indian actress ever. In her bestknown work she usually functioned as the one who embraces life in counterpoint to the otherwise ‘ realistic’ melodrama of [[http://en.wikipedia.org/wiki/R.S.Choudhury|R.S. Choudhury]], Mehboob and Mahesh Kaul (e.g. Naujawan). Later she developed a curiously autonomous, guilt-free performative style (e.g. the Navketan thriller Kala Pani). Her association with realism was extended by Ramesh Saigal, Bimal Roy and most notably Zia Sarhadi’s Awaaz, while films with Kardar (Jadu), Mahesh Kaul (Naujawan, esp. the number Thandi hawaien) and Subodh Mukherjee developed the alternate musical persona exemplified by the 50s Filmistan musicals with Dev Anand (e.g. Munimji). Often partnered Ashok Kumar in 1950-2 after their success in Filmistan’s Samadhi and Sangram at Bombay Talkies.
FILMOGRAPHY: 1941: Radhika; Nirdosh; Bahen; 1942: Aankh Micholi; 1943: Adab Arz; 1946: Phir Bhi Apna Hai; 1948: Anokha Pyar; Gunjan; Varasdar; 1949: Chakori; 1950: Aankhen; Hindustan Hamara; Muqaddar; Samadhi; Sangram; 1951: Ek Nazar; Jadu; Nand Kishore; Naujawan; 1952: Do Raha; Kafila; Naubahar; Saloni; Jalpari; Rahi; 1953: Shikast; 1954: Baap Beti; Kavi; Lakeeren; Mehbooba; Naaz; Nastik; 1955: Chingari; Jai Mahadev; Lagan; Munimji; Railway Platform; Raj Kanya; 1956: Aan Baan; Awaaz; Durgesh Nandini; Fifty-Fifty; Hum Sub Chor Hain; Insaaf; Twenty-Sixth January; Sudarshan Chakra; 1957: Kitna Badal Gaya Insaan; Miss Bombay; Mr X; Neel Mani; Sheroo; 1958: Kala Pani; Milan; 1959: Maa Ke Aansoo; 1960: Mukti; 1961: Amar Rahe Yeh Pyar; Senapati; 1962: Girls’ Hostel; Zindagi Aur Hum; 1965: Bombay Race Course; 1980: Bandish; 1983: Nastik.