Going forward on her relationships, did she stop there or there were something more?

Of course there were. But up to what extent she could show utter contempt to the rules laid by society? She had done the ultimate by going vertical a la Jocasta. So why not go horizontal now, she must have thought, a la Awan (sister/wife of Cain).

In fact, she had done that first. Her first husband was actually her brother. It means that the second one that I was talking of, in the previous page, was her son as well as her nephew.

Based on the facts I have in my disposal is, at that time there were certain problems that came in their way. No not the society, I have already seen that the society, what they would say, she had least bothered about. It had to be much more than that. And it was.

They had a nice small unhappy family, living in a dilapidated slum. Poor father was in some clerical job, mother, two sons and a daughter completed their family. The younger son was too young. The elder son, though of age, was road runner (i.e. searching for job but not getting one, definitely some of his own doing) and was in very good company of friends, including but not limited to gamblers. Our girl was of course under house arrest, that was the normal scenario there, they stayed at home, and from there married off, to stay in another.


The trouble is that first of all she was underage, not only physically but also looked even more underage than that. Second, he had by then, instead of waiting for her, already managed a girlfriend for him. Who was not only of age, but a beautiful one too. Whether she was more beautiful than her or not, opinions would differ, but obviously in her state (age), her brother found his then girlfriend to be much more attractive.


What to do, on rebound she too got one for herself,


On first glance it looks that there may be some difference in opinion about her brother’s preference however there couldn’t be of her. On what basis she went to him is only to be speculated upon. But we must also remember at that moment her brother too wasn’t a beauty personified, 


So instead of that, one should rather wonder why the two, though poor, but extremely beautiful girls, didn’t wait for some prince, who is charming, and handsome, to come in the way. However, it was their choice, so we can leave it at that (any way we weren’t born then to offer us in their place)

And in addition there were some other problems too, our Cain had a heart trouble in addition to his extreme poverty and our Awan was terminally ill with Tuberculosis.


Now as then used to be prescribed by the Doctor, she was sent for a change of air. At those times they prescribed to go to sanatoriums to mountains. It seems our family had some money by fair or unfair means earned by then, so she was sent to Europe for it, rather than in the Himalayan or Sub-Himalayan sanatoriums. (Unable to recall the name of the movie – where hero is terminally ill and in sanatorium and before that his mother died of it- was it Dev Anand? However that doesn’t matter here).

So our girl comes back from Europe, the Alps had done wonders to her. Obviously with TB cured, she has now gained weight and has the proper curves. Meanwhile in her absence the brother hasn’t been idle either. Of course the heart disease, unlike TB, one has to live with, so he can’t do anything there. But he has got a plum job, and of course he has now can’t look as he had been he has to look trim and proper. All his unkempt hair is now in order, and with a proper dress, he looks decent. Meanwhile in her absence, the boyfriend has disappeared from the scene, and also, somehow, his girlfriend too is not to be seen.


So now both are unattached when Awan is brought to Cain, though I don’t know why she had to be, almost carried there. When they face each other, she clearly look indignant, was it for having been overlooked back then? The rest is what we call as history (covered in the previous episode).

But that isn’t the end, there are other cases too. In her numerous affairs before, after and during this father-son due, she had once married her sister’s son too. In some parts of India, the girls marry their maternal uncles (don’t ask me why) and if I am not wrong the maternal cousins (the fraternal is prohibited). However in this case it is aunt, and not only aunt, it is elder sister of mother that the boy married. (obviously it can’t be girl, the same-gender marriages, as in date is prohibited in India, and back then it would have been prohibited everywhere.)


Of course though I have been taking it as something special, but this particular case isn’t so rare in occurrence as the father-son system is. If searched around , many of these types would be seen.

However of the movies that I have seen date, there is only one case where it has gone to even more extreme– where very clearly it had been the Cain- Awan situation. There Nutan isn’t involved. In fact as far as I know it might be unique case (at least till date). It is another of the very beautiful heroines of yester era. (It is with the standard Bollywood assumption that the boy resembles father and girl the mother).

Adam and Eve 


Cain and Awan


This is the most complicated connection I have seen – 

Pradeep Kumar – Consorting Anar Kali and Mumtaj Mahal

Bina Rai – Consorting Jahangir and Shahjehan

With Bollywood formula, it makes,

Junior Bina daughter of Senior Bina, Junior Pradeep son of Senior Pradeep. (and hence Junior Pradeep and Junior Bina are siblings- long lost in childhood type)

These two movies have two beautiful songs almost in the same type of sets,

A beautiful classical (Hemant and lata, Music by Great C Ramachandra)-  and extremely poignant lyrics, 

Wake up oh ache of love, wake up,
With your tearful tunes, agitate my heart
Wake up oh the ache of love,

The moment that you closed your eyes,
The world fell asleep
The earth slept, the sky slept,
The light of love too fell asleep
Wake up now oh wake up

Whom should I tell my story?

Whom to show the wound in my heart,
Whether to go when there is no  ray of light to guide me, 
The fire has turned into ash now,
Oh the fire has turned into ash now,
Wake up oh ache of love,
With your tearful tunes, agitate my heart

Such a wind of gloom blew, it changed the whole world,
My caravan of happiness has deserted be and gone,
Snake of grief are now pouring its venom into me
Wake up oh ache of love,
With your tearful tunes, agitate my heart

And we have in fact a similar one from cult movie Mughal-E-Azam. Not exactly on the same situation, but on same type of set.

Now on serious note.. Nutan might have been the only actress to have played this type of roles realistically (without the pair looking odd) – the consort to the same person, at different points of time, as wife and as mother. And also be consort to the real life father and son, that isn’t easy with the age mismatch glaringly visible. 

I tried my search, but couldn’t find many. To be a competitor, she has to be in field for long, the actors must have male descendants in the field (well most have tried that), the first being Kapoors, then Kumars (Rajendra Kumar, Kumar Gaurav) , Dutts (Sunil, Sanjay), Deols (Dharmendra, Sunny, Bobby), Goswamis( Manoj Kumar, Kunal), etc.

The Kapoors the probables were Prithviraj and Raj Kapoor – through Madhubala, Nargis or Suraiyya. Of this I could recall only Surraiyya – Prithviraj Kapoor (Rustam Sohrab- 1963), Raj Kapoor (Dastan). Next generation was with quite some gap, so if I look at Randhir Kapoor (1971 debut), I don’t see any one there. Of course there is one the Deols, since Dharmendra even while looking sixty had tried to enact the role of Angry Young man (not only he, his generation, whole of it did it, dishing out craps, including Amitabh and Jeetendra)

He and Bobby might well have in Meenakshi Seshadri or Sridevi or someone else in entirely forgotten and forgettable movie. So I won’t take that into account either, since those movies didn’t exist, even in their aficionado’s memory, and I really don’t want to research to find out, by watching those movies and finding who was whose love interest (this was the era of multi-starrers so unless you watch a movie, you won’t know who paired with whom). Only one of course I can tell. The old, looking but not acting as one Dharmendra (in one of the forgettable movies where Nutan was there, Sone Pe Suhaga) romanced Sridevi, who was later romanced by Sunny in many movies (Chalbaz, Nigahein, etc). But as I said this was forced pairing, not natural, nor it looks on screen as one, with an obviously past middle age man romancing a young heroine, trying to act as a young man of her age.


Balraj and Nutan? First, Balraj looks older no doubt, but it is shown to be so, and she had knowingly fallen for an older man. Second, he looks older, in both cases, but not old, so the pairing didn’t look very odd. These movies were like her having a torrid affair with say Nazir Hussain, with all dances, running around trees et al.


While on this there is an interesting thought on how did she manage to do this? Credit of course goes to Balraj, who managed not to look so old (despite being only 23 years older than her at 1913, in fact a couple of years older than Sobhana Samarth, (1915). And the second credit goes to Parikshit, who aged (in looks), much quickly (he is around 8 years younger than Nutan, at 1944). But of course (I have to say that) a huge credit goes to Nutan, who could realistically romance much older heroes (in fact an even older than Balraj, Ashok Kumar at 1911).

Another set who to be appreciated are the movie makers. At that time there were them, who later became extinct like Dodo and after Hrishikesh Mukherjee, no one exist. Some are trying to come up, a few exist in regional cinemas, especially Bengal and Malayalam, who still call the shot, from choice of actor to the whole movie, as was the case back then. But they too, even there, in the glitter of gold, are minority, since as can be expected, they are not saleable. Bollywood? Despite what they say, it is not there, since almost all the directors are in camps of the actors. In that case automatically their thought processes or movie making is influenced by them.

I am again digressing (and venting the bitterness at state of affairs? May be), the directors then chose the actors, made them play their age. While young Nutan was frolicking in the field, Ashok was not.


Second and more important is the nonagenarian quality of Nutan. Somehow she had the ability to change at least 10 to 15 years on screen. Not with the dyed hair (that was later), it was without it. This I think the directors back then had noticed, or maybe not, but she still did that, playing young and cute when the role was of it and older and mature when the role dictated, and some times even if it didn’t she would suddenly look much younger. I think it is only through the expressions. She had, I will call a plastic face? It moulded itself exact to her inner feelings? May be, just a few snaps, even better age difference in the same movie are there, but why to take that effort, these itself shows the growing up in a movie, especially the last one (Sajan Ki Saheli) or Saudagar and these didn’t need the dyeing or any additional effort. Just by the sheer acting capability, and may be some reduction in make-up artist’s work.


Her skin had been very smooth say up to around mid 1980s. I don’t know it was completely make-up artist created or it was actually. If it was actual, then somewhere from there, the degeneration had been quite rapid. Did the fatal disease started homing around then? She and her family might have thought it was age, but..

2 thoughts on “4-Awan”

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