NANDA (1993-2014)
Nanda, one of the most beloved actresses of Indian cinema, was born in 1939 in Bombay (now Mumbai). She belonged to a Marathi film family, her father being the noted actordirector Master Vinayak. But fate struck her father passed away when she was just a child, leaving the family in financial hardship. It was then that little Nanda, hardly eight
years old, stepped into films, not out of ambition but out of responsibility, to support her family. Her debut as a child artist came in the film Mandir (1948), and soon, she became a familiar face in Marathi and Hindi cinema.
Her real breakthrough, however, arrived when V. Shantaram cast her in Toofan Aur Diya (1956). Playing the tender yet strong-willed sister in the film, she touched the hearts of audiences across India. The industry noticed the young actress with expressive eyes and a quiet charm. Within a few years, Nanda rose to become one of the leading heroines of the late 1950s and 1960s, earning the affection of fans and respect of colleagues.
In 1959 came Chhoti Bahen, the film that cemented her place as a star. The role, where she played a blind sister, brought her immense recognition and typecast her for a while in "sister" roles. Yet Nanda managed to break away from that image with her talent and versatility. She went on to become the heroine in romantic, dramatic, and even glamorous
roles, proving she was far more than the "chhoti bahen" of cinema.
The 1960s were truly her golden years. In Hum Dono (1961), opposite Dev Anand, she exuded warmth and grace. With Shashi Kapoor, she formed a particularly popular pair, and their film Jab Jab Phool Khile (1965) became a runaway hit. Nanda’s transformation in that film—from a simple girl to a stylish, modern heroine—was a revelation to her audience. She held her own in thrillers like Gumnaam (1965) and Ittefaq (1969). Her screen presence was such that she brought dignity even to simple, understated characters, and glamour when the role demanded it.
Though she worked with nearly every major actor of her time—Rajendra Kumar, Manoj Kumar, Rajesh Khanna, and Dev Anand—Nanda’s persona remained that of the "girl next door." Audiences loved her for her sincerity and natural acting, while colleagues admired her humility despite her stardom.
As the 1970s came, Nanda began to reduce her work, choosing fewer roles and gradually stepping. In her later years, she preferred a quiet and private life away from the glitter of the film industry. On 25 March 2014, Nanda passed away in Mumbai at the age of 75, following a sudden heart attack. With her, an era of innocence and grace in Hindi cinema
also seemed to fade.
Nanda is remembered not only for the memorable films she left behind but also for the warmth and dignity she brought to the screen. She was the gentle face of the golden age of Indian cinema—a star who carried herself with simplicity and who continues to live on in the hearts of those who cherish the films of that time.
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