<p>She is a total recluse. After about ten calls reminding her of our brief conversation on Rahi at Ashok Kumar’s residence, she agrees to give an interview, really rare.<br /><br />Effortless performer <br /><br />Her room is decorated simply, with a few of her close-ups from films like Sangram, Railway Platform and Kala Pani. Nalini Jaywant asks, “How is Suchitra Sen? I read in the newspapers she is not keeping well. What a fabulous actress Suchitra is. None of us in Hindi cinema, with the exception of Meena Kumari, could match her histrionics.”<br /><br /> She also remembers, with respect, legends like Pramathesh Barua, Durga Das Banerjee and, of course, Uttam Kumar, whom she only came across once at Raj Kamal Kala Mandir in 1963. Speaking about her films, she says, “I never received an opportunity where I could do full justice to my acting prowess. The only memorable films of my career include Anokha Pyar, Sangram, Shikast, Rahi and Kala Pani.”<br /><br /> Nalini Jaywant, besides performing intense characters, showed ample proof of her versatility in the song sequence, Gori Gori O Banke Chori, as she danced with rare efficiency. She was one of the earliest to appear in swimming costumes in Sangram and Munimji. In fact, her performance in Railway Platform No. 56 is memorable.<br /><br />An intense and mature actress, Nalini Jaywant was well known for her work ethics. She remembers, “In one emotional sequence of Anokha Pyar, I looked at Dilip Kumar with a blank expression. He reacted in his usual way, with an intense look and I asked for a retake. He advised me to play a little with my eye brows and after the second take, I performed better than him.”<br /><br />Nobody could match Dilip Kumar in intense scenes. Though not as popular as Geeta Bali and Madhubala, she was in no way inferior to anyone of them. In fact, Balraj Sahni once stated that Nalini Jaywant was the most effortless performer he came across after Geeta Bali.<br /><br />Expressive<br /><br />Nalini Jaywant considers Ashok Kumar to be her favourite co-star. She says, “In both Samadhi and Sangram, he stole the show with his effortless performance. His assets were his expressive eyes, which he used well with his body language.” Dev Anand was another favourite co-star. She worked with him in memorable films like Rahi, Munimji and Kala Pani. She confesses, “I am very grateful to Dev Anand for casting me as Kishori Bai in Kala Pani. In the film, I gave five takes for the song sequence of Nazar Lagi Raja choreographed by Lachhu Maharaj. This movie is my personal favourite.”<br /><br />She recollects a scene from another film and says, “During the death sequence in the climax of Rahi, I unnecessarily moved my feet and director K A Abbas was annoyed. Dev cooperated and held me lightly in his arms as I rendered the third take, dying with my eyes open and blank.” According to her, Dev Anand was a powerful romantic actor but needed directors to control him.<br /><br />What made her accept Nastik in 1983? She smiles, “Actually, Pran and director Pramod Chakrabarty requested me several times to accept the character, though the role wasn’t a substantial part of the movie.” She concludes, “After bidding goodbye to films, I hardly watch any now. Of the few actors I have watched perform, I feel, Amitabh Bachchan is the best. He is certainly a gifted actor.”</p>
<p>She is a total recluse. After about ten calls reminding her of our brief conversation on Rahi at Ashok Kumar’s residence, she agrees to give an interview, really rare.<br /><br />Effortless performer <br /><br />Her room is decorated simply, with a few of her close-ups from films like Sangram, Railway Platform and Kala Pani. Nalini Jaywant asks, “How is Suchitra Sen? I read in the newspapers she is not keeping well. What a fabulous actress Suchitra is. None of us in Hindi cinema, with the exception of Meena Kumari, could match her histrionics.”<br /><br /> She also remembers, with respect, legends like Pramathesh Barua, Durga Das Banerjee and, of course, Uttam Kumar, whom she only came across once at Raj Kamal Kala Mandir in 1963. Speaking about her films, she says, “I never received an opportunity where I could do full justice to my acting prowess. The only memorable films of my career include Anokha Pyar, Sangram, Shikast, Rahi and Kala Pani.”<br /><br /> Nalini Jaywant, besides performing intense characters, showed ample proof of her versatility in the song sequence, Gori Gori O Banke Chori, as she danced with rare efficiency. She was one of the earliest to appear in swimming costumes in Sangram and Munimji. In fact, her performance in Railway Platform No. 56 is memorable.<br /><br />An intense and mature actress, Nalini Jaywant was well known for her work ethics. She remembers, “In one emotional sequence of Anokha Pyar, I looked at Dilip Kumar with a blank expression. He reacted in his usual way, with an intense look and I asked for a retake. He advised me to play a little with my eye brows and after the second take, I performed better than him.”<br /><br />Nobody could match Dilip Kumar in intense scenes. Though not as popular as Geeta Bali and Madhubala, she was in no way inferior to anyone of them. In fact, Balraj Sahni once stated that Nalini Jaywant was the most effortless performer he came across after Geeta Bali.<br /><br />Expressive<br /><br />Nalini Jaywant considers Ashok Kumar to be her favourite co-star. She says, “In both Samadhi and Sangram, he stole the show with his effortless performance. His assets were his expressive eyes, which he used well with his body language.” Dev Anand was another favourite co-star. She worked with him in memorable films like Rahi, Munimji and Kala Pani. She confesses, “I am very grateful to Dev Anand for casting me as Kishori Bai in Kala Pani. In the film, I gave five takes for the song sequence of Nazar Lagi Raja choreographed by Lachhu Maharaj. This movie is my personal favourite.”<br /><br />She recollects a scene from another film and says, “During the death sequence in the climax of Rahi, I unnecessarily moved my feet and director K A Abbas was annoyed. Dev cooperated and held me lightly in his arms as I rendered the third take, dying with my eyes open and blank.” According to her, Dev Anand was a powerful romantic actor but needed directors to control him.<br /><br />What made her accept Nastik in 1983? She smiles, “Actually, Pran and director Pramod Chakrabarty requested me several times to accept the character, though the role wasn’t a substantial part of the movie.” She concludes, “After bidding goodbye to films, I hardly watch any now. Of the few actors I have watched perform, I feel, Amitabh Bachchan is the best. He is certainly a gifted actor.”</p>
