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![Great Golden Goldie
Bollywood must have dreamed about a personality who is super intellect, clear, brilliant, innocent,
methodical, studious, passionate, curious and understands what is to be delivered, why, when, where and
how. He was a super kind human being. He was slightly egoistic and more affirmative, having a clarity of
what he wanted delivered. He gave importance to relationship than money. He used to judge people
based on the various attributes and interactions, mostly on emotions and decide if he wanted to be
around such person or not.
We had such miracle happened in Bollywood, a name of the superhuman being and personality is Vijay
Anand aka Goldie. We quote him great golden Goldie.
Vijay Anand (22 January 1934 – 23 February 2004), also known as Goldie Anand, was an Indian filmmaker,
producer, screenwriter, editor and actor, who is known for acclaimed films such as Guide (1965) and Johny
Mera Naam (1970).He made most of his films for the in-house banner Navketan Films and was part of the
Anand family. He was never after award, however was motivated too on receiving few.
• Filmfare Best Director Award for Guide (1965)
• Filmfare Best Dialogue Award for Guide (1965)
• Filmfare Best Editing Award for Johnny Mera Naam (1970)
• Filmfare Best Screenplay Award for Johnny Mera Naam (1970)
• BFJA Awards as Best Editor for Johnny Mera Naam (1970)
• BFJA Awards as Best Editor for Double Cross (1973)
Vijay Anand was born in Gurdaspur, Punjab, British India to well-to-do advocate Pishori Lal Anand. He was
the youngest of the four Anand siblings, including producer and director Chetan Anand and Dev Anand,
one of the greatest and most beloved of Hindi film stars, his sister is Sheel Kanta Kapur, who is the mother
of acclaimed Indian film director Shekhar Kapur.His first marriage was with Loveleen, a marriage which
took place when Vijay Anand was influenced by Rajneesh, and Lovleen had come to interview him for
Russian Times, and wanted to marry him. This marriage was later dissolved by Rajneesh himself, when
the couple could not get along. His second marriage was with Sushma Kohli, his sister's daughter. They
have a son, Vaibhav.
Though Vijay Anand has had a career as an actor, screenwriter, editor, and producer, he will primarily be
remembered as a director. In 1957, he made his directorial debut with Nau Do Gyarah, which he shot in
40 days.
Some of his successful movies as director are Johny Mera Naam (1970), Jewel Thief (1967), Teesri Manzil
(1966), Kala Bazar (1960), Ram Balram and Rajput. Teesri Manzil, which he made for producer Nasir
Hussain, was his first non-Navketan film as a director. Some of his major films are Tere Mere Sapne (1971)
and Guide (1965). Guide, starring Dev Anand and Waheeda Rehman is Vijay Anand's most critically
acclaimed movie. It is based on R.K. Narayan's novel The Guide. Navketan attempted an international
release of a remake of Guide without much success. [citation needed]
Vijay Anand is known for his stylish song picturization, such as the numbers; "O Haseena" (Teesri Manzil
), "Kaaton Se Kheech" (Guide ) and "Honthon Mein Aisi Baat" (Jewel Thief ).
As an actor, his most memorable roles were in the films Haqeeqat (1964), Kora Kagaz (1974), (in which he
starred opposite Jaya Bachchan) and Main Tulsi Tere Aangan Ki (1978). Chor Chor was a songless thriller
in which Leena Chandavarkar was his heroine. He acted in Ghoonghroo Ki Aawaz, Double Cross and
Chhupa Rustam.
To the younger generation of the 1990s he is also known for playing detective Sam in the television series
Tehkikaat (1994).](https://image.slidesharecdn.com/great-golden-goldie-200311132303/85/Great-Golden-Goldie-8-320.jpg)
![The arrival of the choreographers Hiralal and Sohanlal brought about a very big change, and by the 1960s
they had become firmly established. They were extremely good dancers themselves, because they were
trained in classical dancing. Most directors depended on them to picturise the songs and dances. They did
not tolerate a bad director, so some directors would not even be on the set when the song was picturised.
What is the essential difference between composing a stage dance or a film dance?
Cinema choreography is very different. You cannot compose a dance in a film as you would for the stage.
Choreographers like Sachin Shankar, who came from the stage, could not succeed in films unless they
worked with a very good director who brought a strong cinematic sense and could translate the dance
into cinematic language.
I think Sachin Shankar was very good when he choreographed “a performance within a performance”—I
am thinking of “Gore Gore O Banke Chhore” (Samadhi, 1950). It takes place on a stage-like setting with
the heroines dancing and the other characters, including the hero, looking on.
Yes, but that song was for the stage, even if that stage featured in a film.
In Johny Mera Naam I worked with Sachin Shankar. When he composed the dance, he showed it to me.
He had the performers on one side and the audience on the other. We made changes together because
finally it is the camera that is the audience and the camera angles must change in every shot. So you
cannot have a strict division between performance and audience. Unlike a stage dance, the film director
has to divide the dance into shots.
If you compose for the stage, you are also confined to a small space. The dance movements are restricted
. . . usually within 20 x 20 feet. And cinema does not want to confine itself to space. It can go anywhere.
How did you work with a choreographer?
If the director is good, he uses the other artists [cameraman, composer, art director, choreographer, etc]
as tools. He appreciates their talents and finds out whether they have ideas that can enhance his own
vision. If this can happen, the entire team gives themselves into your hands. They flow with your work.
But if they find the director has no idea what he wants and just wants an entertaining dance, then the
choreographer will compose, film and edit the song.
Some choreographers have a limited understanding of editing. They want too many cuts and do not allow
the shot to be held long enough … Nowadays, film editors are in love with the rhythm. They don’t allow
you to see the faces of the heroine or hero.
You mean nowadays the rhythm determines the cut, not the narrative of the lyrics?
That’s right. Not the narrative. If the choreographers have understood the filmic situation, they do better
work than if they were left alone to conceive a dance. Otherwise they usually come up with a repertoire
of moves they have learned from their guru that may be good, but do not necessarily work for the scene.
The story comes first for good directors. When I worked with Hiralal, he knew the song had been written
for a certain situation and context in the movie. The choreographer was not really in a position to guide
me, because he had to fit his dance moves into my existing concept and narrative.
Sometimes a dance number has no lyrics. Take the snake dance in Guide. There were no words like naina
[eyes] or sawariya [beloved]. So what guides the choreographer? The director guides him. In the snake
dance I wanted the heroine to express her troubled life. You must explain the emotions that the song or
dance is meant to convey.
Can you tell me about the very first song you directed?](https://image.slidesharecdn.com/great-golden-goldie-200311132303/85/Great-Golden-Goldie-135-320.jpg)
![It was in Nau Do Gyarah. I did not have a choreographer. I did not need one. I [only] needed a
choreographer for Helen’s and Shashikala’s dance—even there the choreographer, Surya Kumar, had to
choreograph the dance in a multi-dimensional way. He knew the dance could not be seen from a static
viewpoint, as the camera was moving in many directions.
I spent my childhood with people like Zohra Sehgal, Kameshwar Sehgal, Mohan Sehgal and Guru Dutt.
They were almost living in our house. So were Balraj and Damayanti Sahni. My brother Chetan brought
them to Bombay, and until they found their own places to live in, they stayed with us. Zohra and
Kameshwar came from Uday Shankar’s dance academy and started a dance school in our Pali Hill home.
A lot of students, including Premnath, used to come to learn dancing. Prithvi Theatre people used to come
too. So I imbibed a lot by observing them. I knew what choreography was.
I am wondering if Uday Shankar indirectly inspired the film dances in the 1950s. Like Guru Dutt had Zohra
Sehgal choreograph Baazi.
Yes, they were both [Guru Dutt and Zohra Sehgal] from Uday Shankar’s dance academy and so they clicked
together.
Left to myself I would not have used theatre choreographers. They were too stagey. As I said, in earlier
times there wasn’t much emphasis on film dancing. Dancing was required as a romantic element in a song,
but it did not jump out of the story to show itself. “Look at me. I am part of the story yet not part of the
story. I am an entity in myself.”
Coming back to Nau Do Gyarah, which was the first song you shot?
“Hum hain raahi pyaar ke hum se kuchh na boliye.” Then “Kali ke roop mein chali ho dhoop mein kahaan”.
I shot those songs outdoors.
At that time I used to think a choreographer ruined songs. They interfered with the characterisation. I felt
they imposed their own personalities through their dance steps and didn’t allow the artists to express
themselves in the way they should.](https://image.slidesharecdn.com/great-golden-goldie-200311132303/85/Great-Golden-Goldie-136-320.jpg)
![TERE-GHAR-KE-SAMNE-06
What about Dev Anand?
Dev saab’s biggest problem was that he never rehearsed. He’d say: “Nahin yaar, don’t make me dance.”
And you shouldn’t make him dance because he doesn’t know how. But he had a great presence and
audiences used to see the film for his songs. He had style and other actors have copied him. Some of the
songs may look ridiculous today, but at that time they were his plus points.
In the Kala Bazar song “Khoya Khoya Chand”, Dev sings as he runs down the hill. He is madly in love and
believes his dream is coming true. So let him move his hands— white hands against dark clothes—[as] he
makes his way down the hill. It suited the scene, so once in a while you let him go.
[In the same movie] there is a scene in a train compartment. Dev Anand is sitting on the lower berth and
Waheeda Rehman is lying on the upper berth. The girl’s parents are also in the compartment. Dev saab
sings the song: “Apni to har aah ek toofaan hai/ Kya karen woh jaan kar anjaan hai/ Uparwala jaan kar
anjaan hai.” Waheeda Rehman is listening to him but she cannot move much because she’s lying on the
upper berth. There is a double meaning behind the whole situation, which is beyond choreography.
You mean the double meaning is in the line “Uparwala jaan kar anjaan hai”. The song is directed at
Waheeda, while her parents think it’s a reference to God. Very clever. Tell me about that other wonderful
song “Dil Ka Bhanwar”.
In Tere Ghar Ke Samne, Dev Anand and Nutan sing the song on the steps of the inner stairway of the
Qutab Minar. The sense that they have reached the peak of emotions is in the location, because you
cannot get higher than the Qutab Minar.
Were these conscious decisions?
Yes, certainly. Forty years have passed since I made the film. I cannot really analyse how I came to make
all these decisions. But I did feel that love was like climbing the Qutab Minar—it’s an effort. When you let
yourself go, there is no effort any more.
The film is set and shot in Delhi just after the India-China war . . . so the story of Tere Ghar Ke Samne is
about two neighbours who fight with one another. When you use the city of Delhi as a setting, you have
to have the Qutab Minar as well.
In “Dil Ka Bhanwar” you make an appearance as an extra. How did that come about?
The space was restricted and we could not get anyone else up there besides the actors, a small crew and
myself. We needed government permission to shoot inside the Qutab Minar and we were told to have a
small unit and not to use many lights. I needed two or three characters passing them on the stairs and
could not find anyone who could give the proper expression, so I thought let me do it.
It sounds like you were a very confident director from the start.
I was arrogantly confident, you know. I didn’t want to be a film director. I just took the chance. I thought
if I succeeded or failed, what the hell! I didn’t care about success or failure. I was doing my Master’s, and
thought I’d make Nau Do Gyarah and then go back to studying English literature. Unfortunately, I could
not go back to studying. I still dream I will someday.
I never cared much for a profession. Even now I don’t. I was not aware of international cinema. I respected
my seniors for their contribution to Indian cinema. But somehow I couldn’t be what they were. I did not
want actors to perform in a theatrical manner, nor did I care much for larger-than-life stories.
How old were you when you made Nau Do Gyarah?](https://image.slidesharecdn.com/great-golden-goldie-200311132303/85/Great-Golden-Goldie-138-320.jpg)
![I was 22. I made it just for the heck of it. I had written a script called Taxi Driver and my brothers made it
into a film and it did well. Of course there was more of Chetan saab in it. He didn’t respect the script that
much, but he stuck to the theme and characters and kept some of the dialogue. That gave me a lot of
confidence.
I used to write one-act plays in college and wrote scripts for the heck of it. So I wrote Nau Do Gyarah and
sold it to Shahid Lateef. He liked it very much, but he couldn’t make the film. There was another producer
called Nyaya Sharma and when he heard the story, he bought it. But he could not produce it. He was the
man who later made Kinare Kinare.
At that time, Navketan needed to produce a film. Raj Khosla, who was working at Navketan, was making
Kala Pani and could not make up his mind about what he wanted to do next. In those days people were
on the payroll and Navketan wasn’t making the kind of profit that you could wait around for a year before
making a film. So they needed a script and needed to produce a film. Our manager, Mr Prashar, told Dev
saab: “Goldie has got a very beautiful script. Shahid Lateef bought it and he is no fool. He was going to
make it, but couldn’t. So the script is just lying about. Why don’t you listen to the story?”
Dev saab said I could narrate it to him. But I was too young and arrogant, and said I would not give it to
anyone else to direct and I would direct it myself. My brother was working with all the leading directors
of the time and was shocked, and thought I was too young to direct. Dev saab said: “He hasn’t assisted
any director and hasn’t learnt the craft. He may have written a few college plays and the script for Taxi
Driver, but Chetan saab was there to direct it. How can Goldie direct? Tell him not to be foolish.” But I
refused to budge and Dev saab refused to budge …
Finally, when Dev saab heard the script and the way I had written all the details, he took a chance and
said let’s do it.
I had not learnt filmmaking from anyone. In my script I had imagined situations no one had conceived
before. I wanted my characters to exchange musical lines and not dialogue in some scenes. Luckily for me,
I had such a fantastic composer in SD Burman. He loved me so much that he encouraged me, and instead
of saying “You are very young. Don’t make a foolish mistake”, he said, “Let’s try.”
We had a song that worked like a question-and-answer scene: “Aankhon mein kya ji/ Roopehla baadal/
Baadal mein kya ji/ Kisi ka aanchal/ Aanchal mein kya ji/ Ajab si hulchul.” If these words were spoken in
dialogue, it would sound very prosaic. But if it is done musically, it becomes very interesting. No one had
done this kind of thing before.
Majrooh Sultanpuri wrote the lyrics. He was great at writing in this style. I was too young and will not say
I contributed to the song itself. It was Burman saab who made Majrooh saab write these lines. And I, like
a child, sat there very excited. They must have felt this boy has something; let’s listen to him. “Aankhon
mein kya ji/ Sunehra baadal.” I said: “Majrooh saab, it’s a moonlit night. You can’t say sunehra. Let’s try
roopehla.” Majrooh saab said: “Roopehla is a very sweet word. Shabaash! Goldie, tum achhe director
banogey. [Goldie, you’ll make a very good director.] I don’t usually listen to anyone, but that’s a good
word.”
A lot of people encouraged me when I was young.
You inspired people to think differently.
I was a catalyst. I wouldn’t say I inspired them, but my demands were unlike the usual demands. Plus I
would say no if I didn’t like something. I was very young and very proud.
Tell me something about your parents.](https://image.slidesharecdn.com/great-golden-goldie-200311132303/85/Great-Golden-Goldie-139-320.jpg)
![Vijay Anand - Master of Picturising Songs
Tuesday, 22 January 2019
Like Dev Anand, Vijay Anand also believed that songs are the soul of Indian films. He knew songs are the
glue that binds audiences to Hindi films. Close your eyes and you can see Shammi Kapoor with a scarf
around his neck, singing “Deewana Mujhsa Nahin” on a colourful hilltop, or instantly recall the smiling
faces of Dev Anand and Nutan as they sing “Dil Ka Bhanwar Kare Pukaar” on the inner stairway of the
Qutab Minar.
Few could rival his abilities when it came to writing natural and easy-flowing dialogue or picturising songs.
Most directors depended on choreographers to picturise the songs and dances. He believed that if the
song is picturised well it will bring back the audience back to the theatre. In this blog, we will look into
some of his fantastically picturised songs.
“Hum hain raahi pyaar ke hum se kuchh na boliye.” from Nau Do Gyarha was the first song he picturised.
He didn't take any choreographer in that film. At that time he used to think a choreographer ruins songs.
They interfere with the characterisation. He felt they impose their own personalities through their dance
steps and don’t allow the artists to express themselves in the way they should.
He used to say that if the director understands his subject, story and characters well, he will not
compromise in any aspect. If he is working on a film like Devdas then he has to have songs for Devdas, not
for Shammi Kapoor.
As a director, he was very particular about its music. When he was working on Jewel Thief, he discussed
with the composer. he told SD Burman: “Dada, this song is for Vyjayanthimala. I am going to use her
talents as a dancer.”
In Teesri Manzil P L Raj was the choreographer. He used to sit with the choreographer when they were
composing the songs. That time all their assistants, including Saroj Khan, who was Sohanlal’s assistant.
She would always ask him: “Goldie Saab, what do you want?”
Sometimes he would tell them they were going off track. This is not the character. I did not want any
artificiality. My characters should not become artificial when they sing. The characters are not supposed
to be dancers in the film. They are merely expressing emotion through a song.
He told in an interview that during the picturisation of Teesri Manzil's songs he told Shammi to Go wild!”
He would because he had such a tremendous sense of rhythm. He just got into the music and every fibre
of his body would dance. The only thing you had to make sure was that he did not overdo it. OK, the
character is fooling about—this much is allowed, but not beyond that. All the expressions are in the song
words: “Dekhiye… naazneen…” It’s all there, so you don’t have to do much more.
In the Kala Bazar song “Khoya Khoya Chand”, Dev sings as he runs down the hill. He is madly in love and
believes his dream is coming true. So let him move his hands— white hands against dark clothes—[as] he
makes his way down the hill. It suited the scene, so once in a while, you let him go.
In the same movie, there was a scene in a train compartment. Dev Anand is sitting on the lower berth and
Waheeda Rehman is lying on the upper berth. The girl’s parents are also in the compartment. Dev saab
sings the song: “Apni to har aah ek toofaan hai/ Kya karen woh jaan kar anjaan hai/ Uparwala jaan kar
anjaan hai.” Waheeda Rehman is listening to him but she cannot move much because she’s lying on the
upper berth. There is a double meaning behind the whole situation, which is beyond choreography.](https://image.slidesharecdn.com/great-golden-goldie-200311132303/85/Great-Golden-Goldie-172-320.jpg)
![Chetan himself, along with his wife Uma Anandand his other brother Vijay Anand. The film's music director
was S. D. Burman and the lyrics were written by Sahir Ludhianvi.The film was a super hit and it was the
film that started outdoor shooting of Bollywood films.
Dev Anand's taxi in the movie was the British made Hillman Minx, a black car with the number 1111. Such
became the popularity following the film, that the British made Hillman Minx became a vehicle of choice
as a taxi in Bombay until the 1970s
House No. 44
House No. 44 is a 1955 Hindi film directed by M. K. Burman and produced by Dev Anand for his banner
Navketan Films. The movie stars Dev Anand and Kalpana Kartik in a lead role.[1] The film is also noted for
its popular songs with music by Sachin Dev Burman, with lyrics by Sahir Ludhianvi, including "Teri Duniya
Mein Jeene Se" and "Chup Hai Dharti Chup Hain Chand Sitaare", sung by Hemant Kumar
Funtoosh
Funtoosh is a 1956 Bollywood film directed by Chetan Anand. The film stars Dev Anand, Sheila Ramani
and K.N. Singh. It was the ninth highest grossing film of 1956, and was declared a "Hit". The music of the
movie was an instant hit and songs such as "Dukhi Mann Mere" were topping Binaca Geet Mala. Other
hits were "Woh Dekhen To Unki Inayat", "Humne Kisi Pe Dore Dalne Hai", "Ae Meri Topi Palat Ke Aa" and
"Denewala Jab bhi deta Poora Chappad Phad Ke Deta". The Songs cemented the bond of SD Burman, Dev
Anand and Kishore Kumar.
Nau Do Gyarah
It was a 1957 Hindi film produced by Dev Anand. This was his brother, Vijay Anand's directorial debut.[
The film stars Dev Anand, Kalpana Kartik, Madan Puri, Shashikala and Jeevan. The film's music is by S. D.
Burman and the lyrics are by Majrooh Sultanpuri
Kala Pani
Kala Pani was a 1958 Hindi movie, produced by Dev Anand for Navketan Films and directed by Raj
Khosla.The film stars Dev Anand, Madhubala, Nalini Jaywant, Bir Sakuja and Agha. The film's music is by
Sachin Dev Burman, and the lyrics are by Majrooh Sultanpuri.
The movie won two Filmfare awards including Filmfare Best Actor Award and Filmfare Best Supporting
Actress Award.
Kala Bazar
Another Super hit film from Navketan in 1960.Written and directed by Dev's younger brother Vijay Anand,
the film starred Dev Anand, Waheeda Rehman, Vijay Anand, Chetan Anand, Nanda, S.D. Burman
composed the music, while the lyrics were penned by Shailendra.
It was noted for having several of Bollywood's stars in a cameo at the film premiere of Mother India (1957),
and it was also the only film to star the three Anand brothers together. It became a Superhit at the box
office.
Hum Dono
Hum Dono was a 1961 Hindi film produced by Dev Anand and Navketan films.The film stars Dev Anand in
a double role, and also has Nanda, Sadhana The film is also known for its music by Jaidev and became a
box office hit
Tere Ghar Ke Samne](https://image.slidesharecdn.com/great-golden-goldie-200311132303/85/Great-Golden-Goldie-176-320.jpg)
![It is a 1963 super hit film.The film, produced by Dev Anand and written and directed by his brother Vijay
Anand.The film's music is by S. D. Burman, while the lyrics have been penned by Hasrat Jaipuri.
Guide
It is a 1965 romantic drama film starring Dev Anand and Waheeda Rehman. It was directed by Vijay Anand,
who contributed to the screenplay. The film is based on the novel The Guide, by R. K. Narayan.The movie
proved memorable for its award-winning performances by the lead actors and memorable music by S. D.
Burman. The film was a box office hit upon release and considered as the Top five Classic of Bollywood.
Jewel Thief
It is a 1967 Hindi spy thriller film directed by Vijay Anand. The film stars Dev Anand, Vyjayantimala and
Ashok Kumar in the lead roles.The film became a box office hit.The music for all the songs were composed
by S. D. Burman and The lyrics for this film were by Majrooh Sultanpuri
Prem Pujari
This was the first film directed by Dev Anand.It was released in 1970 with a great hype but it did not fare
well in Box Office.The movie stars Dev Anand, Waheeda Rehman, Shatrughan Sinha, Prem Chopra, Madan
Puri and a then-unknown Amrish Puri. It has several popular songs composed by S. D. Burman.
Tere Mere Sapne
It was a 1971 film produced by Dev Anand, and written and directed by his brother Vijay Anand for
Navketan Films. The movie stars Dev, Vijay, Mumtaz and Hema Malini. The film's music is by S. D. Burman
Hare Rama Hare Krishna
It was a 1971 Indian film once again directed by Dev Anand starring himself, Mumtaz and Zeenat Aman.
The film was a hit[1] and a star-making vehicle for Zeenat Aman, who played a westernized hippie, and
won the Filmfare Best Supporting Actress Award. It aimed to have an anti-drug message,hippie Culture
and also depicts some problems associated with Westernization such as divorce.
Shareef Budmaash
It was a 1973 Bollywood action thriller film directed by Raj Khosla. The film stars Dev Anand, Hema Malini,
Shatrughan Sinha and Ajit in pivotal roles.The film was an average at the Box Office.
Heera Panna
It was a 1973 Hindi film. Written, produced and directed by Dev Anand for Navketan films, the film stars
Dev Anand, Zeenat Aman, Raakhee, Rehman, Jeevan, A.K. Hangal, Paintal and Dheeraj Kumar. The film's
music was composed by R. D. Burman.
Des Pardes
It was a 1978 Hindi film, produced and directed by Dev Anand. This family drama stars Dev Anandand
Tina Munim (in her debut film), with Ajit Khan, Pran, Amjad Khan, Shreeram Lagoo, Tom Alter, Bindu,
Prem Chopra, A. K. Hangal, Sujit Kumar, Mehmoodand Paintal in the supporting cast. For the first time,
Dev Anand chose comparatively new music director Rajesh Roshan for this film, who did full justice to his
selection as most of the songs became quite popular.](https://image.slidesharecdn.com/great-golden-goldie-200311132303/85/Great-Golden-Goldie-177-320.jpg)
![The Wizard Of Music
Ref : https://www.outlookindia.com/website/story/the-wizard-of-music/292449
On the 39th death death anniversary of Sachin Dev Burman (October 1, 1906 to October 31, 1975), a look
back at the last three years of the maestro's life Khagesh Dev Burman31 October 2014
S.D. BURMAN: THE WORLD OF HIS MUSICBY KHAGESH DEV BURMAN
RS 295 / 291 PP RUPA PUBLICATIONS
[By 1973] age had begun to impact Sachin's health adversely. He somehow managed to continue working
with his indomitable mental strength. Music was his life and he continued working tirelessly in pursuit of
his muse. The result was the release of four films in 1973 with him as the music director—Hrishikesh
Mukherjee's Abhimaan, Vijay Anand's Chhupa Rustam, Pramod Chakrabarty's Jugnu and Rajendra Singh
Bedi's Phagun....
In Abhimaan, Sachin achieved a perfect blend of music that was both artistically and commercially
successful, superimposing a popular tune on a classical base. Above all, the engrossing rapture created by
the flute fills the mind with the soft glow of moonlight. Lata sang three songs, 'Nadiya Kinare', 'Ab to hai
tumse', and 'Piya bina piya bina' for this film. All are unforgettable melodies. Who else but Lata, with her
divine voice, could have been chosen to sing the songs which were meant to overshadow the hero's voice?
Whatever it may be, whatever might have happened on screen, the melody of Kishore's solo, 'Meet na
mila re man ka' was unforgettable.
Then there are the duets—the effervescence of Lata and Rafi's 'Teri bindiya re' and the poignancy of
Kishore and Lata's memorable 'Tere mere milan ki' based on the classic Tagore song 'Jodi tere nai chini go'
Suffice it to say that even thirty-eight years later they remain the benchmark against which duets are
measured. In one fell stroke, at an age when people retire from active life and rest on their laurels, Sachin
Dev vanquished his competitors once again with his only ammunition—the classico-modern song.
More importantly, Sachin Dev Burman's continuous experimentation shattered existing systems and
customs of the world of Hindi film music. We have already talked about how he breached the 'tune first,
lyrics next' convention. Let me now turn to another custom that still held firm. It had been the custom in](https://image.slidesharecdn.com/great-golden-goldie-200311132303/85/Great-Golden-Goldie-185-320.jpg)
![Filmmaker Vikramaditya Motwane & Asha Parekh before screening of Teesri Manzil by SONAL PANDYA
Directed by Vijay Anand and written and conceived by Nasir Husain, Teesri Manzil (1966) is one of those
iconic Hindi films which everyone knows and loves. The film is also remembered for its groundbreaking
music by RD Burman and sublime lyrics by Majrooh Sultanpuri. Then, of course, there is the starcast –
Shammi Kapoor, Asha Parekh, Prem Chopra, Premnath and Helen. They all contributed to the film’s grand
success.
Teesri Manzil celebrated 50 years of its release in 2016 and the film was screened again at the 18th
Mumbai Film Festival on 22 October. The fun-filled screening was a trip down memory lane for many. It
was attended by actress Asha Parekh, actor Prem Chopra and many of the family members of the cast and
crew who made the film. Shammi Kapoor’s wife Neila Devi and his children, Vijay Anand’s wife, lyricist
Sultanpuri’s family, cinematographer Munir Khan’s family, and most of Husain’s children, grandchildren
and relatives were in attendance.
Filmmaker Vikramaditya Motwane was at hand to present Teesri Manzil, his favourite film. He grew up
watching Husain’s films in the 1970s but said the film had “the best music for a Hindi commercial cinema”.
Motwane also spoke to Asha Parekh before the screening. Teesri Manzil was Parekh’s third collaboration
with Husain.
Parekh was launched in Dil Deke Dekho (1959) opposite Shammi Kapoor by Husain. She recalled the
“special rapport” she had with the filmmaker. She said making the film was a lovely experience, almost
like “going on a picnic".
She talked about shooting the film with director Anand. “Working with Mr Vijay Anand was a pleasure. A
director, I feel, par excellence. He was much [ahead of his] time. I remember we were doing [the song]
‘Aaja Aaja’. I had a very bad allergy and the doctors had given me very heavy medicines which made me
sleepy. They said they will be taking a few shots here and there and I’ll be able to do it. I went on the
stage, it was antara, mukhada and music all in one shot. It was too bad!”
Parekh also revealed that she never guessed the main villain of the film, her reel sister’s murderer, until
the mystery was solved in the end. She said even in its 50th year, the film was running fresh and people
enjoyed it. Indeed, every song was met by the audience with wolf whistles and cheers, and people clapped
to the beat of 'Aaja Aaja’. The banter between Shammi Kapoor and Asha Parekh still made us laugh and
the suspense of the central killer looming large in the story held our attention even now.
The film's screening was followed up by the launch of the book, Music Masti Modernity: The Cinema Of
Nasir Husain, which is published by HarperCollins India.](https://image.slidesharecdn.com/great-golden-goldie-200311132303/85/Great-Golden-Goldie-246-320.jpg)
![director to give his inputs in music as well. Acclaimed composer Jaidev was, incidentally, assistant music
director on the film.
Mohammed Rafi and Kishore Kumar both sang for Dev Anand while Asha Bhosle sang for Kalpana Kartik.
Geeta Dutt was brought in to voice Shashikala’s character Neeta, particularly the song ‘See Le Zuban’,
choreographed by Zohra Sehgal, credited as Zohra Saigal. A decade later, Vijay would add a similar song
in Jewel Thief (1967) that took forward the tension simmering between the characters and plot.
For the overdrawn finale of Nau Do Gyarah, Vijay heightened the tension with the ticking sound of clocks
and watches and fast cuts showing closeups of each character. Although many plot points of Nau Do
Gyarah are similar to Taxi Driver (1954), the film is decidedly different from the others that were released
that diamond year — Mother India, Pyaasa, Naya Daur, Do Ankhen Barah Haath, Tumsa Nahin Dekha and
many more.
The film, a big success all over India, solidified the Navketan banner and Vijay Anand went on to become
a stalwart of the Hindi film industry with his contributions. In the same interview with Kabir, he recalled,
“At that time, Navketan needed to produce a film. Raj Khosla, who was working at Navketan, was making
Kala Pani (1958) and could not make up his mind about what he wanted to do next.
"In those days people were on the payroll [of the studio] and Navketan wasn’t making the kind of profit
that you could wait around for a year before making a film. So they needed a script and needed to produce
a film. Our manager, Mr Prashar, told Dev saheb: “Goldie has got a very beautiful script. Shahid Lateef
bought it and he is no fool. He was going to make it, but couldn’t. So the script is just lying about. Why
don’t you listen to the story?”
Collaborators on many classics: Dev and Vijay Anand
Dev initially thought Vijay was too young to direct but his kid brother stuck to his guns about directing his
own script. Dev finally read the script and liked it and there was no looking back. A new voice emerged in
Hindi cinema with Nau Do Gyarah.
Speaking to Kabir, Vijay Anand had stated, “I was not aware of international cinema. I respected my
seniors for their contribution to Indian cinema. But somehow I couldn’t be what they were. I did not want
actors to perform in a theatrical manner, nor did I care much for larger-than-life stories.”
That, in a nutshell, was Vijay Anand, the filmmaker.](https://image.slidesharecdn.com/great-golden-goldie-200311132303/85/Great-Golden-Goldie-267-320.jpg)
![Goldie's wife-- Sushma anand speaks..........
"He directed some more films like Chhupa Rustom (1973), Ram Balram (1980) and Rajput (1982) but didn’t
meet with much success. He also happened to act Kora Kagaz(1974) and Main Tulsi Tere Aangan ki (1978),
which were huge hits. Goldie was proud of his later films Hum Rahe Na Hum (1984), a relationship saga
that featured him with Rehana Sultan and Shabana Azmi and Jaana Na Dil Se Door with newcomers. Sadly,
he couldn’t release them and that left him dejected. He’d say, “Perhaps, my time is over.”
Towards the end he had developed a heart problem. Vaibhav had assisted him in Jaana Na Hum Se Door
and then went off to attend a filmmaking course at the Lee Strasburg Institute in New York. Vaibhav
returned in January 2004. Goldie passed away in February 2004. In fact, having some knowledge of
astrology Goldie had predicted that February 2004 was a bad month for him. His only regret was that he
couldn’t do much for our son Vaibhav, who’s inherited his sensibilities. After he passed away you do tend
to get isolated. But it’s fine. I’ve taken to singing – something I was always interested in. And in my circle
of friends I often sing Tere mere sapne ab ek rang hai.."
Vijay Anand
Ref : https://www.britannica.com/biography/Vijay-Anand
Vijay Anand, (“Goldie”), Indian film director, writer, and actor (born Jan. 22, 1934, Gurdaspur, Punjab,
India—died Feb. 23, 2004, Mumbai [Bombay], India), was the visionary director of some of Bollywood’s
most respected movies and the younger brother of the legendary actor Dev Anand. He learned the craft
while working with his older brother Chetan, and the three brothers collaborated under the auspices of
the film company Navketan. Anand’s work on the script of the 1954 Bollywood film Taxi Driver led to his
first directing job, on Nau do gyarah (Nine Plus Two Makes Eleven; 1957). Of the dozens of successful
Bollywood films with which he was involved, the most acclaimed was Guide (1965), which won several
Filmfare Awards.
Guide Movie is special from many aspects, teaching us to be ambitious and contended!
Faith in god and believe in human being!
About phone call and Tere mere Sapne
It was 1992! I was working at Mumbai. I could find out residence and office number of Goldie. Post lunch
I dialed at his residence. Goldie picked up, I could recognize the voice. “Tere mere Sapne”, I replied when
Goldie asked me which his movies I like the most! When I said I like and love your movies, he asked me
Achha...aapke meri konsi film achhi lagati hai?. (o.k.; which movies do you like?)
I can not digest why was that movie termed as a flop? Nice story, strong dialogues, excellent acting, great
music and songs and emotional theme with few pieces of humour!! What does audience like? It was
extremely intelligent film; every frame is unique & sensitive! It has an excellent and Very strong story,
dialogue, screenplay, music , acting, direction!
Sapno ke tut Jane see aadmi nahi tut jata...
Apne bare me bhi kuch kaho...tum Kya ho...doctory ke peshe par ek dhabba. Jaganath Kothari, mbbs
Bombay mrcog london...Jinake bharose unko jindagi ki ummid ho sakati hai wo nasheme chur pada hai...
Tere mere sapne is one of the most sensitive films in Bollywood produced and directed by Vijay Anand,
with excellent acting by all actors including Vijay Anand himself and Dev Anand, and one of the best roles
delivered by Mumtaz.](https://image.slidesharecdn.com/great-golden-goldie-200311132303/85/Great-Golden-Goldie-271-320.jpg)
Uploaded byEarthSoft Foundation of Guidance - EFG
Great-Golden-Goldie
The document is a tribute to the Indian filmmaker Vijay Anand, affectionately known as Goldie, highlighting his significant contributions to Bollywood cinema through his direction, screenplay writing, and song picturization. It includes a compilation of articles, interviews, and personal thoughts about his life, works, and the impact he had on the film industry. The author expresses gratitude to those who contributed to the content and seeks permission to share it, with the intent to honor Goldie's legacy among his fans.
Great-Golden-Goldie
- 1. Dedicated to All authorsand fans Loving and Missing Great Golden Goldie Considered him as most intelligent, humble, thinker, philosopher, a bit tough & affirmative, tremendous clarity and one & only one master in making motion pictures & content
- 2. My Notes andsincere thanks to the wonderful world of Media Friends, its immense pleasure to present this ebook to you on Goldie, to whom I miss tremendously. I am not sure is this eBook? I have also not termed myself as an author. I have just compiled various articles and pictures related to Goldie which are in public domain, and with few of my vies & thoughts. I am indeed in debt to the authors and publication houses of all these contents, from whom I wanted to seek permission, to whom I wanted to thank you for sharing piece of information and thoughts. This couldn’t be done due to the reason of practical difficulty to reach those. But I am very sure and is presumed that they all will be very happy so to spread their articles in consolidated form to millions of Goldie’s fans. This para is to express gratitude towards those. I have mentioned the references url for each of the articles. Please do share your suggestions in comment box if any and encourage loud to Goldie’s fans to think, write and read more about him. Thank you for reading and sharing the suggestions. I intend to reach the following publication houses, their authors and crew to seek their permission & blessing for the good work of compilation of their articles to maximize the spread. I am extending my sincere thanks to all publishing houses having published these articles. Also I must thank to the authors, interviewers and cameraman, and crew of these interviews/articles in print. I have listed url , title and name of publishing house on last pages. I am assuming their support & co-operation and consent. Twitter Cinestaan IndiaTimes Times of India Group Facebook Filmcompanion NewKerala TribuneIndia Instagram Filmfare OutlookIndia Upperstall YouTube Guardian Rediff Wikipedia Bollywoodhungama The Hindu Screen All unknown & known Bolywoodfiles imdb Silhouette Magazine Britannica Indianquarterly ThePrint
- 4. Contents Great Golden Goldie.....................................................................................................................................8 VijayAnand...........................................................................................................................................119 Vijay Anand.......................................................................................................................................121 Vijay Anand.......................................................................................................................................122 Vijay Anand - Acting bug..................................................................................................................124 Vijay Anand - The ties that bind.. ....................................................................................................125 Wonderful interview by Goldie transcript ..........................................................................................127 Unique and unparalleled films of Vijay Anand..................................................................................127 Nothing was possible without him (SD Burman)..............................................................................129 Burman Dada’s voice was pure magic!.............................................................................................130 The assistants of Dev Anand and Vijay Anand..................................................................................131 Chetan Anand used to look for classical touches .............................................................................132 The songs of Guide were composed from the hospital bed.............................................................132 The actresses of Vijay Anand’s films.................................................................................................133 The Goldie Standard.............................................................................................................................134 Here's Why Vijay Anand Was The Original Rockstar Director Of Indian Cinema ..............................141 Collaborators on many classics: Dev and Vijay Anand .......................................................................145 Late director Vijay Anand's wife remembers the true blue genius....................................................148 VIJAY ANAND- A Writer, Director Ahead of His Time.........................................................................154 GOLDIE VIJAY ANAND ON HIMSELF, FILMS & JOURNEY OF LIFE........................................................156 He gave directors the status of a star..................................................................................................157 Goldie: Guide for new filmmakers.......................................................................................................158 The man who revolutionized hindi Bollywood songs.........................................................................160 Master of sophisticated cinema ..........................................................................................................163 Vijay Anand, the ‘guide’ to Dev Anand who was more than just a noir filmmaker ..........................165 With Navketan, Anand brothers among Bollywood’s first families...................................................167 Vijay--known for his direction and oratory skills................................................................................168 They ruled an era but there is no happy ending for them..................................................................169 Vijay Anand - Master of Picturising Songs...........................................................................................172 Why Vijay Anand was the master of song picturisations ...................................................................173 NAVKETAN FILMS-A Studio That Always Looked Forward.................................................................175
- 5. 'Beauty is Latain that small recording room with her headphones on...' - Goldie ...........................178 5 Reasons Why You Need To Know Filmmaker Vijay Anand..............................................................179 Vijay Anand: The man who rejected DDLJ for plagiarism...................................................................181 Vijay Anand's son makes his debut .....................................................................................................184 The Wizard Of Music............................................................................................................................185 Poet Neeraj said his ‘fattest royalty cheques’ came from Dev Anand songs.....................................190 Gopal Das Saxena ‘Neeraj’ dies at 93: Sixteen songs to remember the legendary lyricist ...............192 The X factor - Ex censor board chief Vijay Anand on his resignation.................................................196 Vijay Anand resigns - Censor board chief miffed with Sushma Swaraj..............................................197 Censor Board for 'A' and 'X' rating of movies......................................................................................198 Vijay Anand : The director with the golden touch plans a comeback to films after a long hiatus....200 Good bye Goldie.....................................................................................................................................201 Filmmaker Vijay Anand dead...............................................................................................................201 Vijay Anand passes away.....................................................................................................................202 Bollywood mourns Vijay Anand's death .............................................................................................203 NavKetan Movies Review and information ............................................................................................204 The cult movie : Guide .........................................................................................................................205 #1 Guide: Top 100 Bollywood Albums.............................................................................................207 Guide review.....................................................................................................................................210 Navketan's Guide- From Pages to Celluloid ....................................................................................212 How RK Narayan gave Dev Anand a hit...........................................................................................214 The Song "Gata Rahe Mera Dil" was the Last Addition in Guide ...................................................215 "Tere Mere Sapne Ab Ek Rang Hain" An Immortal Art in Celluloid................................................216 Journey of a Song from Karbala to Guide, Immortalised by Dada Burman ...................................217 The Films that are 50:GUIDE-A poetry on celluloid ........................................................................218 The Most Popular Film Guide (1965)...............................................................................................219 Why did The Guide fail in English? ..................................................................................................220 Review : Tere Ghar Ke samne ..............................................................................................................221 #40 Tere Ghar Ke Samne: Top 100 Bollywood Albums...................................................................222 Review : Johney Mera Naam ...............................................................................................................224 Johny Mera Naam, the film that influenced future Hindi films for decades .................................229 Johny Mera Naam (Hindi) ................................................................................................................230
- 6. Dev Anand: theKohinoor of Jewel Thief.............................................................................................232 Review : Jewel Thief.........................................................................................................................235 Why You Should Watch Vijay Anand’s 1967 Thriller Jewel Thief...................................................237 #9 Jewel Thief: Top 100 Bollywood Albums....................................................................................237 Movies I Love: Sudha Murthy On Jewel Thief.................................................................................238 Jewel Thief golden jubilee: Masterful whodunit with intricately woven web of deceit...............240 Story Behind the song Hotho Mein Aisi Baat ..................................................................................242 Teesri Manzil will remain Shammi Kapoor’s, and Bollywood’s, shining glory...................................243 Why You Should Watch Vijay Anand’s 1966 Thriller Teesri Manzil ...............................................244 #20 Teesri Manzil: Top 100 Bollywood Albums ..............................................................................244 Teesri Manzil celebrates 50 years with star Asha Parekh...............................................................245 MakerOpinion : Two Films, One Maker ..............................................................................................247 In Vijay Anand’s Tere Mere Sapne, the idealism is old hat, but intimacy is modern ........................249 The Most Intimate Love Making Scene of Dev Anand....................................................................251 The Anti-Thesist....................................................................................................................................252 Review : Double Cross (1972) ..............................................................................................................254 As we celebrate Kargil victory, ‘Hindustan Ki Kasam’ reminds us not to caricature Pakistan ..........256 Inspired by love and war......................................................................................................................258 #13 Hum Dono: Top 100 Bollywood Albums...................................................................................259 60 Years of Kala Bazar..........................................................................................................................261 Why You Should Watch Vijay Anand’s 1960 Classic Kala Bazar .....................................................262 The Story Behind the Song "Rim Jhim Ke Tarane Lekar Aayi Barsat" ............................................263 60 years of Nau Do Gyarah: The emergence of Vijay Anand..............................................................264 The Shelved Films Of Dev Anand........................................................................................................268 Social Media and Goldie...........................................................................................................................269 Great Golden Goldie.................................................................................................................................269 Remembering Vijay Anand - Goldie on 16th death anniversary (23rd feb 2004)..............................269 Goldie’s birthday..................................................................................................................................269 Goldie's wife-- Sushma anand speaks.................................................................................................271 Vijay Anand...........................................................................................................................................271 About phone call and Tere mere Sapne ..................................................................................................271 About Tere Mere Sapne........................................................................................................................273
- 7. About Song Picturisation.........................................................................................................................273 Article 1.................................................................................................................................................273 Article 2.................................................................................................................................................273 About Guide..............................................................................................................................................274 About Hum Dono......................................................................................................................................274 Most Rated Movies and TV Shows With Vijay Anand.................................................................275
- 8. Great Golden Goldie Bollywoodmust have dreamed about a personality who is super intellect, clear, brilliant, innocent, methodical, studious, passionate, curious and understands what is to be delivered, why, when, where and how. He was a super kind human being. He was slightly egoistic and more affirmative, having a clarity of what he wanted delivered. He gave importance to relationship than money. He used to judge people based on the various attributes and interactions, mostly on emotions and decide if he wanted to be around such person or not. We had such miracle happened in Bollywood, a name of the superhuman being and personality is Vijay Anand aka Goldie. We quote him great golden Goldie. Vijay Anand (22 January 1934 – 23 February 2004), also known as Goldie Anand, was an Indian filmmaker, producer, screenwriter, editor and actor, who is known for acclaimed films such as Guide (1965) and Johny Mera Naam (1970).He made most of his films for the in-house banner Navketan Films and was part of the Anand family. He was never after award, however was motivated too on receiving few. • Filmfare Best Director Award for Guide (1965) • Filmfare Best Dialogue Award for Guide (1965) • Filmfare Best Editing Award for Johnny Mera Naam (1970) • Filmfare Best Screenplay Award for Johnny Mera Naam (1970) • BFJA Awards as Best Editor for Johnny Mera Naam (1970) • BFJA Awards as Best Editor for Double Cross (1973) Vijay Anand was born in Gurdaspur, Punjab, British India to well-to-do advocate Pishori Lal Anand. He was the youngest of the four Anand siblings, including producer and director Chetan Anand and Dev Anand, one of the greatest and most beloved of Hindi film stars, his sister is Sheel Kanta Kapur, who is the mother of acclaimed Indian film director Shekhar Kapur.His first marriage was with Loveleen, a marriage which took place when Vijay Anand was influenced by Rajneesh, and Lovleen had come to interview him for Russian Times, and wanted to marry him. This marriage was later dissolved by Rajneesh himself, when the couple could not get along. His second marriage was with Sushma Kohli, his sister's daughter. They have a son, Vaibhav. Though Vijay Anand has had a career as an actor, screenwriter, editor, and producer, he will primarily be remembered as a director. In 1957, he made his directorial debut with Nau Do Gyarah, which he shot in 40 days. Some of his successful movies as director are Johny Mera Naam (1970), Jewel Thief (1967), Teesri Manzil (1966), Kala Bazar (1960), Ram Balram and Rajput. Teesri Manzil, which he made for producer Nasir Hussain, was his first non-Navketan film as a director. Some of his major films are Tere Mere Sapne (1971) and Guide (1965). Guide, starring Dev Anand and Waheeda Rehman is Vijay Anand's most critically acclaimed movie. It is based on R.K. Narayan's novel The Guide. Navketan attempted an international release of a remake of Guide without much success. [citation needed] Vijay Anand is known for his stylish song picturization, such as the numbers; "O Haseena" (Teesri Manzil ), "Kaaton Se Kheech" (Guide ) and "Honthon Mein Aisi Baat" (Jewel Thief ). As an actor, his most memorable roles were in the films Haqeeqat (1964), Kora Kagaz (1974), (in which he starred opposite Jaya Bachchan) and Main Tulsi Tere Aangan Ki (1978). Chor Chor was a songless thriller in which Leena Chandavarkar was his heroine. He acted in Ghoonghroo Ki Aawaz, Double Cross and Chhupa Rustam. To the younger generation of the 1990s he is also known for playing detective Sam in the television series Tehkikaat (1994).
- 9. He served ashort stint as the chairman of the Central Board of Film Certification, India's censor board, a position from which he resigned, in 2002, after he ran into ideological differences with the government over the introduction of ratings for adult movies. He caused a major controversy by marrying his much younger niece. He was in the inner circle of Bhagwan Shree Rajneesh. Goldie, as he was affectionately called, died on 23 February 2004 due to a heart attack. He was aged 70. Filmography Year Title Production company 1954 Taxi Driver Navketan Films, 19 years old Goldie as a story writer 1957 Nau Do Gyarah Navketan Films, 22 years started directing a movie 1960 Kala Bazar Navketan Films 1963 Tere Ghar Ke Samne Navketan Films 1965 Guide Navketan Films, at 31 how someone can make a Guide 1966 Teesri Manzil 1967 Jewel Thief Navketan Films 1968 Kahin Aur Chal 1970 Johny Mera Naam Biggest blockbuster till 1970 1971 Tere Mere Sapne Navketan Films 1973 Black Mail 1973 Chhupa Rustam Navketan Films 1974 Kora Kagaz 1976 Bullet Navketan Films 1980 Ek Do Teen Char 1980 Ram Balram 1982 Rajput 1988 Main Tere Liye
- 10. Movie postures havebeen collated as below
- 27. Goldie remained afamily person, close and sensitive towards family affairs, caring for everyone.
- 40. Following are photosrelated to movie events, while shooting or party or other conversation
- 119. Vijay Anand Ref :https://upperstall.com/profile/vijay-anand/ Vijay Anand was, without doubt, one of the greatest directors that Hindi cinema has seen. And while his films shone with their technical virtuosity and marvelous sense of storytelling, his incredible talent as a filmmaker comes through even more forcefully in his picturisation of songs. It can be rightly said that Vijay Anand was arguably the greatest picturiser of songs in the history of Hindi, no make that Indian Cinema. His use of creating unusual situations and sets (the unending number of windows through which Dev Anand romances Hema Malini – Pal Bhar Ke Liye Koi Humein Pyaar Karle from Johny Mera Naam (1970)), using long complicated takes involving both character and camera movement (Tere Mere Sapne Ab Ek Rang Hai from Guide (1965) – entire song in just 3 shots), incredible use of foreground and background of the frame (O Mere Sona Re (Teesri Manzil (1966)), dynamic framing with a camera almost always on the move (Aaj Phir Jeene Ki Tamanna Hai (Guide)) and making the most of tightly enclosed spaces (Dil ka Bhanwar Kare Pukar – Tere Ghar Ke Samne (1963) on a set of the inside of the Qutub but what a picturisation!) all played a great part in the magic of the songs in his films. Known popularly as Goldie, the younger sibling of Filmmaker Chetan Anand and star Dev Anand, Vijay Anand was born in Gurdaspur, Punjab on January 22, 1934. He did his BA from Bombay University and while still not 20, wrote the script for the Dev Anand starrer Taxi Driver (1954), directed by Chetan Anand. The film, inspired by the film noir movement of Hollywood, was one of the biggest hits of Navketan playing a big part in giving Dev Anand his well-known stylish screen persona. Nau Do Gyarah, released in 1957, saw Vijay Anand make his directorial debut in Bollywood. Nau Do Gyarah, a combination of the urban thrillers that Bollywood was churning out in the 1950s with the road film (certain elements borrowed from Frank Capra’s It Happened One Night (1934)), was a promising debut for the young Goldie. While no classic, it still remains one of the most enjoyable and likeable Hindi film fares of the 1950s. Early evidence of Goldie’s filmic craft and song picturising ability however can be glimpsed through use of the foreground and background in Kali Ke Roop Mein Chali Ho Dhoop Mein Kahan or using a constricted space (a room and a toilet!) in the romantic ditty, Aaja Panchhi Akela Hai. Other Musical hits of the film include Hum Hain Rahi Pyar Ke, Aankhon Mein Kya Ji and Kya Ho Phir Jo Din Rangeela Ho. Nau Do Gyarah also boasts of a technical flourish when two men are fighting it out in a room and the vamp outside is dancing to the strains of Geeta Dutt singing See Le Zubaan, Goldie cuts to a series of hands of the various characters outside the room to highlight their tension! Goldie followed up Nau Do Gyarah with the story of a black marketer and his redemption – Kala Bazar (1960). The film is still known for its amazing picturisation of Rhim Jhim Ke Tarane Leke Aayi Barsaat with Dev Anand and Waheeda Rehman braving the Bombay monsoons under a single umbrella while he supers their earlier scenes over them walking! Tere Ghar Ke Samne (1963) with Dev Anand and Nutan remains one of the most likeable romantic comedies the Hindi screen has seen. Barring the Qutub Minar song, Goldie also astounded audiences with his visualization of the title song wherein Dev Anand imagines a miniature Nutan inside his drink and sings to her! The song has an unforgettable moment when Anand’s assistant Rashid Khan puts an ice cube into the glass causing Nutan to shiver, which Dev Anand gallantly takes out! In between there was Hum Dono (1961) – directorially credited to Navketan’s publicist Amarjeet, but every frame of the film seems to be Goldie’s style. Perhaps Goldie’s real triumph as a filmmaker came with Guide (1965). Initially he was dead against directing this film causing Anand to approach elder brother Chetan Anand, who was busy with his own film, Haqeeqat (1964), and then Raj Khosla but things didn’t work out here either. Vijay Anand was approached again and this time he took on the film albeit reluctantly. Ironic because Guide today is regarded as perhaps the best film that Vijay Anand has made and rightly so. Based on RK Narayan’s novel
- 120. The Guide, thefilm is immortalized by the director’s bold, unconventional strokes; who would have dared to film a story in India then that showed a man and woman living together outside the sanctity of a marriage way back in the 1960s? And that too in a milieu as traditional as that of Hindi cinema which doesn’t allow nonconformist relationships even today! In fact, it is one of the earliest efforts in Indian Cinema to actually show its two leading characters as frail human beings who could make mistakes in life, and yet be unapologetic about it. Guide released to great critical acclaim and was a big commercial success as well. One of the major changes that Vijay Anand did was to change the setting of the film from Malgudi to Udaipur and while this did give the film an exotic, grand visual look, admittedly perhaps this took away from the ambiance of the small town of Narayan’s novel. The ending too of the film was significantly different from that of the novel. But then Vijay Anand has always maintained that he was never interested in merely copying any work of art from one medium to another unless there was scope for value addition and to be fair to him, he has made Guideinto a rich and unforgettable cinematic experience. Guide more than reinforces his reputation as Indian Cinema’s premier song picturizer. Special mention must be made of Aaj Phir Jeene ki Tamanna Hai (The famous low angle tracking shot of Waheeda dancing along a ledge continues to amaze one even today) and Tere Mere Sapne Ab Ek Rang Hain, which he canned in just 3 shots with complex character and camera movements – truly a great filmmaker at the height of his craft. With Guide, Vijay Anand became the Hindi Film Industry’s big hope. Here was a filmmaker who could make intellectually stimulating films that could be profitable money earners as well! Following Guide, Vijay Anand went from success to success with films like Teesri Manzil (1966), Jewel Thief (1967), Johny Mera Naam (1970) and Tere Mere Sapne (1971). All the above named films show Goldie at his creative best as a filmmaker. Teesri Manzil might be a Nasir Hussain script but it is Vijay Anand who infused the necessary technical pizzaz raising the film several notches. Jewel Thief (the picturisation of Hothon Pe Aisi Baat being one of the greatest in the history of Hindi cinema as Vyjayanthimala dances like never before) and Johny Mera Naam still occupy a pride of place on filmgoers’ hearts as far as thrillers go but perhaps Goldie’s most satisfying film of this period was Tere Mere Sapne. Based on AJ Cronin’s The Citadel, the film looks at an idealist doctor losing his values to money before realizing his mistake at the end. The film is one of the most sensitive and maturely directed film by Vijay Anand, particularly the scenes between the husband and wife who leaves him when she sees he is no longer the same man she married. Sadly however, Vijay Anand’s career took a curious turn following Tere Mere Sapne. His subsequent films like Blackmail (1973) and Chhupa Rustom (1973) while having the odd Vijay Anand sparkle (the Pal Pal Dil Ke Paas song in Blackmail) were major disappointments. At this time he was going through personal upheavals as he married his niece and even turned to Godman Rajneesh. He did return to directing films with multi-starrers like Ram Balram (1980)and Rajput (1982) but found himself stifled with the dictates of the star system. He still made the odd film – Hum Rahe Na Hum (1984) and Main Tere Liye (1988) but the magic was missing. Vijay Anand also acted in various films – Agra Road (1957), Haqeeqat (1964), Chhupa Rustom (1973), Kora Kagaz (1974) and Main Tulsi Tere Aangan Ki (1978) but though some of the films were successes, particularly the last two named, he failed to make the same impact he did when he was behind the camera. In the early 1990s, he was seen in the television serialTehqiqaat playing Sam the Detective and was in the process of making a film with brother Dev Anand – Jaana Nahin Dil Se Door when he passed away. Vijay Anand died in Mumbai on February 23, 2004 due to a heart attack. It was one of the rare times that even the emotionally controlled Dev Anand wept openly. And it indeed is a sad reflection of the times we live in today that the news of his death was but a scroll of text on the News channels while a leading lady’s
- 121. wedding crockery gotfar more coverage. However in the eyes of the true cineaste, filmmakers like Goldie Saab don’t die. They merely become immortal. Vijay Anand Ref : https://www.theguardian.com/news/2004/mar/09/guardianobituaries.film Lalit Mohan Joshi Tue 9 Mar 2004 10.43 GMT The actor and film-maker Vijay "Goldie" Anand, who has died aged 70, was one of the most versatile and creative artists of popular Indian cinema. During the 1960s and early 1970s, he scripted, directed and edited such blockbusters as Guide (1965), Jewel Thief (1965) and Johnny Mera Naam (My Name Is Johnny, 1970), which continue to inspire Bollywood today. It was Guide that turned Vijay into a legend. Adapted from RK Narayan's novel, the original version was directed in English, as an Indo-American project. Vijay demanded independence from the English version - which bombed, while his film became a classic. He depicted the merger of faith with religion, folklore and philosophy, giving his Guide a timeless quality. With virtually no formal training, he mastered film by assisting his elder brother, Chetan Anand. Born in the Punjab, the youngest of a barrister's four sons, Vijay followed his siblings to Bombay (now Mumbai) for higher education, then worked with Navketan, a film company set up by his brother Dev. Vijay's talent for screenwriting was discovered when Navketan used him on his brother Chetan's Taxi Driver (1956). Its success won the 22-year-old his first directing job, on Nau Do Gyarah (Nine Two Eleven, 1957). His first major success was Kala Bazaar (Black Market, 1960), blending fantasy with realism. Vijay also came across as a sensitive actor, despite being confined to introverted characters. He is remembered as a frustrated alcoholic doctor in Tere Mere Sapne (Our Dreams, 1971), and a middle-class lecturer in Kora Kagaz (Blank Paper, 1974). In the early 1980s, he briefly became a disciple of Bhagwan Rajneesh, the charismatic guru. In the 1990s, he starred in the television series Tehqiqaat (Investigation). Two years ago, he resigned as head of the Indian film censors after a controversy over his proposal to modify censorship rules, and returned to directing. He is survived by his wife and son. · Vijay Anand, filmmaker, born January 22 1934; died 23 February 2004
- 122. Vijay Anand UPPERSTALL PROFILE Ref: https://web.archive.org/web/20080725020552/ http://upperstall.com/people/vijayanand.html Vijay Anand was without doubt one of the greatest directors that Hindi cinema has seen. And while his films shone with their technical virtuosity and marvelous sense of storytelling, his incredible talent as a filmmaker comes through even more forcefully in his picturisation of songs. It can be said that Vijay Anand was arguably the greatest picturiser of songs in the history of Hindi, no make that Indian Cinema. His use of creating unusual situations and sets (the unending number of windows through which Dev Anand romances Hema Malini - Pal Bhar ke Liye Koi Humein Pyaar Karle from Johnny Mera Naam (1970)), using long complicated takes involving both character and camera movement (Tere Mere Sapne Ab Ek Rang Hai from Guide (1965) - entire song in just 3 shots), incredible use of foreground and background of the frame (O Mere Sona re (Teesri Manzil (1966)), dynamic framing with a camera almost always on the move (Aaj Phir Jeene ki Tamanna hai (Guide)) and making the most of tightly enclosed spaces (Dil ka Bhanwar Kare Pukar - Tere Ghar ke Saamne (1963) on a set of the inside of the Qutub but what a picturisation!) all played a great part in the magic of the songs in his films. Known as Goldie, the younger sibling of Filmmaker Chetan Anand and star Dev Anand, Vijay Anand was born in Gurdaspur, Punjab. He did his BA from Bombay University and while still not 20 wrote the script for the Dev Anand starrer Taxi Driver (1954), directed by Chetan Anand. The film, inspired by the film noir movement of Hollywood, was one of the biggest hits of Navketan playing a big part in giving Dev Anand his well-known stylish screen persona. Nau Do Gyarah, released in 1957, saw Vijay Anand make his directorial debut in Bollywood. The film, a combination of the urban thrillers that Bollywood was churning out in the 1950s with the road movie (certain elements borrowed from Capra's It Happened One Night (1934)), was a promising debut for the young Goldie and remains one of the most enjoyable and likeable Hindi film fares of the 1950s. Early evidence of Goldie's filmic craft and song picturising ability however can be glimpsed through use of the foreground and background in Kali ke Roop Mein Chali Ho Dhoop Mein Kahan or using a constricted space (a room and a toilet!) in the romantic ditty Aaja Panchhi Akela Hai. Other Musical hits of the film include Hum Hain Rahi Pyaar Ke, Aankhon Mein Kya Ji and Kya Ho Phir Jo Din Rangeela Ho. Nau Do Gyarah also boasts of a technical flourish when two men are fighting it out in a room and the vamp outside is dancing to the strains of See Le Zubaan, Goldie cuts to a series of hands of the various characters outside the room to highlight their tension! Goldie followed up Nau Do Gyarah with the story of a black marketer and his redemption - Kaala Bazaar (1960). The film is still known for its amazing picturisation of Rhim Jhim ke Tarane Leke Aayi Barsat with Dev Anand and Waheeda Rehman braving the Bombay monsoons under a single umbrella while he supers their earlier scenes over them walking! Tere Ghar ke Saamne (1963) with Dev Anand and Nutan remains one of the most likeable romantic comedies the Hindi screen has seen. Barring the Qutub Minar song, Goldie also astounded audiences with his visualization of the title song wherein Dev Anand imagines a miniature Nutan inside his drink and sings to her! The song has an unforgettable moment when Anand's assistant Rashid Khan puts an ice cube into the glass causing Nutan to shiver which Dev Anand gallantly takes out! In between there was Hum Dono (1961) directorially credited to Navketan's publicist Amarjeet, but every frame of the film seems to be Goldie's style. Perhaps Goldie's real triumph as a filmmaker came with Guide (1965). Initially he was dead against directing this film causing Anand to approach elder brother Chetan Anand who was busy with his own
- 123. film, Haqeeqat (1964)and then Raj Khosla but things didn't work out here either. Vijay Anand was approached again and this time he took on the film albeit reluctantly. Ironic because Guide today is regarded as perhaps the best film that Vijay Anand has made and rightly so. Based on RK. Narayan's novel The Guide, the film is immortalized by the director's bold, unconventional strokes; who would have dared to show a man and woman living together outside the sanctity of a marriage way back in the 1960s? And that too in a milieu as traditional as that of Hindi cinema which doesn't allow nonconformist relationships even today! In fact, it is one of the earliest efforts in Indian Cinema to actually show its two leading characters as frail human beings who could make mistakes in life, sin and yet be unapologetic about it. Guide released to great critical acclaim and was a big commercial success as well even though RK Narayan was most unhappy with the final film as he felt it deviated too much from his novel. One of the major changes that Vijay Anand did was to change the setting of the film from Malgudi to Udaipur and while this did give the film an exotic, grand visual look, admittedly perhaps this took away from the ambiance of the small town of Narayan's novel. The ending too of the film was significantly different from that of the novel. But then Vijay Anand has always maintained that he was never interested in merely copying any work of art from one medium to another unless there was scope for value addition and to be fair to him, he has made Guide into a rich and unforgettable cinematic experience. Guide more than reinforces his reputation as Indian Cinema's premier song picturizer. Special mention must be made of Aaj Phir Jeene ki Tamanna Hai (The famous low angle tracking shot of Waheeda dancing along the ledge of the temple continues to amaze one even today) and Tere Mere Sapne, which he canned in just 4 shots with complex character and camera movements - truly a great filmmaker at the height of his craft. With Guide, Vijay Anand became the Hindi Film Industry's big hope. Here was a filmmaker who could make intellectually stimulating films that could be profitable money earners as well! Following Guide, Vijay Anand went from success to success with films like Teesri Manzil (1966), Jewel Thief (1967), Johnny Mera Naam (1970) and Tere Mere Sapne (1971). All the above named films show Goldie at his creative best as a filmmaker. Teesri Manzil might be a Nasir Hussain script but it is Vijay Anand who infused the necessary technical pizzaz raising the film several notches. Jewel Thief (the picturisation of Hothon pe Aisi Baat being one of the greatest in the history of Hindi cinema as Vyjayantimala dances like never before) and Johnny Mera Naam still occupy a pride of place on filmgoers hearts as far as thrillers go but perhaps Goldie's most satisfying film of this period was Tere Mere Sapne. Based on AJ Cronin's The Citadel, the film looks at an idealist doctor losing his values to money before realizing his mistake at the end. The film is one of the most sensitive and maturely directed film by Vijay Anand, particularly the scenes between the husband and wife who leaves him when she sees he is no longer the same man she married.
- 124. Sadly however VijayAnand's career took a curious turn following Tere Mere Sapne. His subsequent films like Blackmail (1973) and Chhupa Rustom (1973) while having the odd Vijay Anand sparkle (the Pal Pal Dil ke Paas song in Blackmail) were major disappointments. At this time he was going through personal upheavals as he married his niece and even turned to Godman Rajneesh. He did return to directing films with multi-starrers like Ram Balram (1980) and Rajput (1982) but found himself stifled with the dictates of the star system. He still made the odd film - Hum Rahe Na Hum (1984) and Main Tere Liye (1988) but the magic was missing. Vijay Anand also acted in various films - Agra Road (1957), Haqeeqat (1964), Chhupa Rustom (1973), Kora Kagaz(1974) and Main Tulsi Tere Aangan ki (1978) but though some of the films were successes, particularly the last two named, he failed to make the same impact he did when he was behind the camera. In the early 1990s, he was seen in the television serial Tehqiqaat playing Sam the Detective and was in the process of making a film with brother Dev Anand - Jaana Nahin Dil se Door when he passed away. Vijay Anand died in Mumbai on February 23, 2004 due to a heart attack. It was one of the rare times that even the emotionally controlled Dev Anand wept openly. And it indeed is a sad reflection of the times we live in today that the news of his death was but a scroll of text on the News channels while a leading lady's wedding crockery got far more coverage. However in the eyes of the true cineaste, filmmakers like Goldie Saab don't die. They merely become immortal. Vijay Anand - Acting bug Ref : https://www.cinestaan.com/listicles/2016/mar/4/632/these-directors-caught-the-acting-bug The multi-talented Anand brothers all pitched to help each other out on many of their films. Vijay started out as an assistant to elder brother Chetan in Taxi Driver (1954) for which he also wrote the story and dialogues. Of course, middle brother Dev was usually the star in these endeavours. He himself began acting in Chetan’s Joru Ka Bhai (1955) opposite Kum Kum and notched up other screen credits in Haqeeqat (1964), Tere Mere Sapne (1971) and Kora Kagaz (1974).
- 125. Vijay Anand -The ties that bind.. Posting this from Ref: http://www.screenindia.com/cover.htm By Srinivas and Deepa Karmalkar After 15 long years, Vijay Anand returns to his home ground, playing with the seasoned grace of a veteran, and displaying his creative genius with his latest proffering, Jaana Na Dil Se Door. Through this father- daughter emotional saga, starring Dev Anand and Indrani Banerji, he proves he still is the master of the game... Pali Hill is to Mumbai filmdom what Beverley Hills is to Hollywood. The abode of stars. And Vijay Anand aka Goldie Sahab is one of the inhabitants of this galaxy. After all, he’s the technical wizard who brought star status to the post of a director. Commanding a lofty market price for his creative inputs, Goldie Sahab ensured that directors got their due.Along with his charismatic brother, he made trailblazing movies. Goldie and Dev Anand made a winning director-actor combo. They drew full houses with successive releases — Jewel Thief, Hum Dono, Tere Mere Sapne, Johnny Mera Naam, Teesari Manzil... to name a few. And they missed the Oscar by a whisker for Guide. If Dev sahab wasn’t my brother, I would have been an actor. Although I never lacked the talent, I chose to go behind the camera and I neglected the externals of life as grooming and image building With his spiritual inclinations and passion for the finer goals in life, Goldie Sahab was drawn by Osho’s philosophy. He returned to mainstream cinema intermittently. And Ram Balram was his last showing — way back in 1985. Since then, he has tried in vain to put together a project. He managed to pool in creative and technical resources this time with Jaana Na Dil Se Door — a family drama that goes well with the prevalent trend. He explains in his detached, hermit like manner — as to how he remains in tune with the times. You are back in the thick of it all after 15 years. What kept you off your beat so long? When people ask me about Dev sahab’s marketability, I am hurt and pained. I am sure this film will pierce the hearts of the audience — I am sure about making that emotional connection. It took me seven years and 100 shifts to wrap up Rajput and that’s when I started getting disillusioned. I felt I was wasting my life. Thereafter, I did make a couple of abortive attempts at making a movie, but nothing materialised. There were too many constraints. I believe “Easy is right” as the Chinese proverb goes. The film industry hasn’t prospered because filmmakers have to keep compromising. Whereas for any creative work eternal springs have to flow from within. Stale water doesn’t work. What made you get back with a vengeance then? Chetanji’s death left a vacuum in my life and that’s when Dev sahib urged me to make a movie with him. And I was on. You have never conformed to any genre of filmmaking so far, so what surprise are you springing with your comeback venture Jaana Na Dil Se Door? Yes, I am not conventional, I enjoy breaking conventions. Like all my movies in the past, this one is by no means a formula flick. I am stressing upon the importance of togetherness in a world full of conflicts pulling us apart, through the film. This is a stirring story about the evolution of a father-daughter relationship. It’s the story of a father who leads a footloose and fancyfree lifestyle, until his grown-up daughter enters his world and shatters his conceit. He discovers the pains and pleasures of fatherhood in her company. It’s about raw human emotions. Despite his declining market value, you have cast Dev sahab as the hero. Is that some sort of brand loyalty? When people ask me about Dev sahab’s marketability, I am hurt and pained. I am sure this film will pierce the hearts of the audience — I am sure about making that emotional connection. Dev sahab has given a sterling performance in the film and Indrani Banerji has done justice to her mother-daughter double role.
- 126. GOLDIE NUGGETS *** ChorChor starring Leena Chandavarkar was a songless film made by this master of song picturisation. *** He made Guide at the tender age of 24 and came within reach of an Oscar for it. *** Self realisation, he says, is his greatest achievement. *** He hasn’t seen fave nephew, Shekhar Kapur’s Bandit Queen yet. *** “Lock me in a room with cast and crew, and you’ll have a full length feature film ready,” he claims. *** “Movies are maya — an illusion that works as long as it lasts,” says he. Notwithstanding the fab rapport you share with your brother, weren’t there occasions when you found Dev sahab tough to handle? Indeed, there were such occasions. Dev sahab has the image of eternal youth and it takes a while to make him do anything contrary to that. Stars need to remain within their orbit. They have their trappings. Song picturisation is your speciality, what’s in the offing this time? I have always maintained that songs are an intrinsic part of my narrative, I cannot divide my movie into scenes and songs. They go hand in hand. Likewise in this film. The music is by Dilip Sen-Sameer Sen and the lyrics are written by Neeraj. How important is filmmaking to you? I love making films but I don’t lose out much if I don’t. I am inspired by the philosophy of Buddha and Vivekananda. I am spiritually inclined. In the core of the heart, profession is secondary. I don’t have the drive to fight and win. What draws you back to acting, time and again — after Kora Kagaz and Main Tulsi Tere Aangan Ki, you returned to the screen as the master sleuth in the tele serial Tehkikat? If Dev sahab wasn’t my brother, I would have been an actor. Although I never lacked the talent, I chose to go behind the camera and I neglected the externals of life as grooming and image building. As for Tehkikat, it was very funny. Shekhar (Kapur) roped me in to play the lead role and director Karan Razdan worked without a script, he never gave me any written lines — he just gave me an outline and I improvised. So that was done for fun. You missed the Oscar by a whisker for Guide. Did it seem like history repeating itself when nephew Shekhar Kapur missed it for Elizabeth? Is he the lawful successor to your glorious legacy of filmmaking? When Shekhar made Elizabeth, I asked him why on earth he made a film on a queen of a distant land? What relevance does it have to him? Now he’s making a film on Mandela — what’s the use? Films should grow from yourself. Mandela and Elizabeth cannot grow from within him. Shekhar has Dev sahab’s drive and push, qualities that bring worldly success. Whereas I am a researcher of deeper mystery. It may not be a result- oriented journey, but it’s still a self-satisfying one. So I won’t leave my legacy to anybody. What’s next on your agenda? My secret desire is that my 19-year-old son Vaibhav makes a success of himself. He’s interested in acting like his uncle. The next generation Anand will be launched in his time. Meanwhile, I will continue to write and direct films.
- 127. Wonderful interview byGoldie transcript ‘Gata Rahe Mera Dil was Patchwork’: In Conversation With Vijay Anand January 22, 2016 | By Peeyush Sharma Ref : https://learningandcreativity.com/silhouette/vijay-anand-interview/ Every film Vijay Anand handled was unique and unparalleled. A master craftsman of the art of cinema, Vijay Anand’s films stand tall as shining examples of technique, story telling, song picturisation and performances. Starting with his directorial debut Nau Do Gyarah and striking the peak with Guide, Vijay Anand built up an enviable repertoire of films that have some of the best songs of Hindi cinema ever. A Silhouette exclusive never-before-published interview of Vijay Anand – in conversation with Peeyush Sharma. It was 1990. The International Film Festival of India (non-competitive) was being held in Calcutta in the Nandan film centre, which had been established by the state government. It has a decent library containing film related material. I was a regular there and very regularly my opinion and information was invited on cinema, particularly, the Hindi cinema. As such I had developed a friendly relationship with the librarian. For that entire film festival, I was an invitee of the librarian as a delegate. It helped me to access the film screenings, meetings and discussions and the social functions. I had also met many other film personalities at that time and spoke to them as well. Among them were Shakti Samanta, Basu Bhattacharya, Gulzar, Mrinal Sen, actors Revathy, Supriya Devi, Soumitra Chatterji, and Samit Bhanja. Vijay Anand was attending the IFFI as a speaker on Censor Board. His speech drew a very good response from the audience including luminaries like Mrinal Sen and Basu Bhattacharya who came up to the dais to speak on the subject. Later, during the evening snacks and cocktails, I saw Vijay Anand being approached by a few people about his lecture earlier in the day. He was a very accommodating, respectful and decent person. As soon as I got a moment when he was alone, I went up to him and introduced myself as one of his fans. He smiled and quipped, “You mean, you are a fan of Censor Board?” and laughed at his own joke. Then he immediately said, “I saw you at my discussion earlier in the day. Are you involved in some way with serious cinema?” I told him I was a part time contributor to some magazines and newspapers and had also conducted some talks on film personalities. “That’s great. On whom did you give your last talk?” he asked me. I informed him that it was on RD Burman at Nandan for a group consisting of some 65-70 people and a few months ago I had given a talk on Kanan Devi, where Kanan Devi herself was present. “Oh ho, you have quite a vast spectrum,” he commented. I asked if I could talk to him about a few things that had been on my mind for few years. He agreed readily, saying, “Go ahead. Ask me whatever you want to know.” He almost was ready to answer any thing. He had a drink in his hand and waved at the waiter signalling to get him one more. He next offered me one but I asked for a soft drink for myself. We sat down at a table and started talking. Excerpts from what we spoke about that evening. To read this conversation in its original Hindi language, please click here. Unique and unparalleled films of Vijay Anand Peeyush Sharma: I believe you are one of the finest directors of Hindi cinema.
- 128. Vijay Anand: (chucklinglightly) Arrey, there are many highly reputed, internationally recognised people here. Please take my name a little softly. Peeyush Sharma: Let them be. For me you are superior to all others. Vijay Anand: In which aspect do you admire my work so much? Peeyush Sharma: Outstanding direction, script writing, dialogue writing and the way you conceive the shots. The way you design the set and handle the entire film and then edit the film. I believe there is no one even close to you in this respect. Vijay Anand: Ok. Which film of mine did you like so much? Peeyush Sharma: All your films. Each and every one of them has something outstanding. Especially, the song picturisation is absolutely marvellous. Vijay Anand: But people talk about Guru Dutt and after him Raj Khosla. Peeyush Sharma: Guru Dutt yes, he was unique and best in his time. But Raj Khosla does not come anywhere near you. You are the best in this respect, be it the songs of Nau Do Gyaarah, or of Kala Bazar or Tere Ghar ke Saamne, Guide, Teesri Manzil, Jewel Thief, Johny Mera Naam, Blackmail, Bullet, Chhupa Rustam and Tere Mere Sapne… the list is exhaustive. Every film you handled was unique and unparalleled. Any other director cannot be compared with you. Tumne mujhe dekha (Teesri Manzil, 1966) – RD Burman / Majrooh Sultanpuri / Mohd Rafi ‘We shot Gata rahe mera dil after the film was completed’ Vijay Anand: You are looking primarily from the angle of music and songs. Peeyush Sharma: Yes. But the entire direction of the film, the conceptualisation of scenes and their execution, the set design and camera placements, editing, dialogues and scripting… in all these aspects, you are ahead and much more accomplished than others. No one can make a film like Guide again. The complete execution of Teesri Manzil and Jewel Thief… when we watch them even after so many years, they never seem dated. They are outstanding work from you. Johny Mera Naam is a Bible of film making – scripting, dialogues, direction, camera work, editing. In every department the work is pure excellence. No other director has been able to achieve such consistency in excellence. Vijay Anand: Have you watched all my films? Peeyush Sharma: Yes, several times. Sometimes I have watched them with my study groups. (At this moment two other cinema persons walked towards our table and had a short appreciative conversation about his lecture. We carried on after they left.) Peeyush Sharma: I somehow have always got the feeling that in Guide, the song Gata rahe mera dil was inserted later, like a patchwork. Please tell me about this. Vijay Anand: Well, you seem to have caught me. Then I have squarely failed. Peeyush Sharma: Not at all. Your work is still top class. Vijay Anand: Yes, your observation is correct. We shot that song after the film was completed and then it was added. There was a special reason behind this. Peeyush Sharma: Please tell us about it, if you don’t mind. Vijay Anand: Actually for quite some time, Kishore Bhai had not recorded any song with Dev Bhai and Burman Dada.
- 129. Peeyush Sharma: Yes,I am aware of this. But how did it happen? Vijay Anand: It happened just like that. Firstly, Kishore was preoccupied with Madhubala’s health. He was not being able to devote time to rehearsals and recordings. And then with Rafi Sahab, our association was working perfectly. But Dev Bhai was missing Kishore for a long time and so he went to meet him. And then caught hold of him and sort of dragged him to Burman Dada’s home. Burman Dada had a magnanimous and generous personality. The moment he saw Kishore he said in Bengali, ‘why didn’t you come all these days’ and hugged him. They loved each other a lot. Burman Dada then said let us start the rehearsal, we are going to record a song. And he started composing the song, ‘Khwaab ho tum ya koi haqeeqat kaun ho tum batalao’ sitting right there, with Dev Bhai in front of him and Pancham joining them. This song was the first song Kishore recorded for Dev Bhai after a long hiatus under Burman Dada’s music direction. Kishore sang it so wonderfully, he won everyone’s heart. This is exactly what all of us, including Dev Bhai were missing. Burman Dada kissed his (Kishore’s) head. He was delighted. Khwaab ho tum ya koi haqeeqat kaun ho tum batalao (Teen Deviyan, 1965) – SD Burman / Majrooh / Kishore Kumar Then it struck Dev Bhai that Guide is going to be released earlier than Teen Deviyan because there was some work still left with the latter. Besides, Teen Deviyan was being made in black and white and on a much smaller canvas. Guide had been mounted on a large scale and it was in colour and thus it was a much awaited film. So why not include a song by Kishore in Guide. Then we recorded Gata rahe mera dil and re-shot it to add it to the film. The song was a very big hit. You are right in saying that this was patchwork. Indeed it was added later. Your observation is very sharp. Gata rahe mera dil (Guide, 1965) – SD Burman / Shailendra / Mohd Rafi and Lata Mangeshkar Nothing was possible without him (SD Burman) Peeyush Sharma: Thank you, Vijay ji. Kishore Kumar’s comeback as Dev Saab’s primary playback voice was monopolistic. But Rafi Sahab’s songs too have been included in some films such as Teen Deviyan, Jewel Thief and so on.
- 130. Vijay Anand: Arrey,no one could dictate Burman Dada about which song must be sung by which singer. He had his own style of testing and selecting the voice. Once he would conceptualise a song and decide on the singer for the particular song, no one could influence that decision. If needed, he would go to the final limit of even scrapping the song altogether. He would then create a new song but he would not change his decision on the singer. He had the courage of his conviction. He knew which song would best suit a singer. And that decision would be the best decision and the song of course, would be a hit. Peeyush Sharma: Vijay ji, I believe that in the history of Hindi films, the most beautiful and melodious songs have been in Dev Saab’s films. In other words, in terms of both the quality and the quantity of songs, there is no artist who can stand in competition to him. What a fantastic repertoire Dev Saab had. Vijay Anand: This is another pertinent observation from you. In this respect, Burman Dada had a very big role to play. Nothing was possible without him. Even before I became actively involved, Burman Dada and Dev Bhai’s partnership had become well-established. Both of them respected each other and also loved each other a lot. We used to finalise the scene or script only after talking to him. What would be the ‘situation’ of the song, what kind of a backdrop would be needed, the kind of costumes the characters would wear, what kind of dialogues they would have, who all would be in that scene, what is the objective of the song… all these issues were discussed with Burman Dada. Once all of these details were sorted, the composing would begin. His inputs were very critical for us in everything. Several times we had changed the song situation altogether on his advice. We have even tweaked the story content (on his suggestion). His understanding about cinema was very sharp and mature, especially about music and songs. The dance steps and style, rhythm, execution… all these would be designed in his mindscape at the very outset. Then he would suggest the ideas to us. We used to highly respect his opinions. Rula ke gaya sapna mera (Jewel Thief, 1967) – SD Burman / Shailendra / Lata Mangeshkar Burman Dada’s voice was pure magic! Peeyush Sharma: Please tell us something more about Burman Dada. Vijay Anand: What to say? He was the lifeline of our films. His contribution to music was peerless. We feel his absence every moment. He used to call us home. And he would sit on the carpet on the floor with his harmonium by his side and would start composing. We used to sit in front of him and listen attentively. Very often, in just one sitting, he would make such marvelous tunes that we would be in a real spot! Because we would have come to him for five tunes for a film and end up selecting over twenty! He would mesmerize us with his music.
- 131. His voice waspure magic! We would be totally immersed in the magical effect he created. The lyrics would not be ready but he would add his own Bangla words to compose the tune and start singing. And another thing. There was no singer of his calibre in the entire film industry. The kind of highly complex ‘murkiyan’ (tonal embellishments) or ‘gayaki’ (rendering style) he would come up with was simply out of this world. But when he would sing the same tune for Lata or Rafi or Kishore or Asha, he would make it simpler than before. Lata and Kishore would very openly tell him, that we would not be able to sing like you. Please make it simpler. But Burman Dada would also insist that ‘no, you give it a try, you will be able to sing most certainly. Come, rehearse with me.’ Several times when Lata and Kishore would come to Burman Dada for the rehearsals, they would first sit with him to listen to his own songs. We would all enjoy his singing for a long time. He used to work very hard to rehearse with his singers. Till the time he got the correct effect, the accurate quality, he would not record. This is the reason why his songs are still just as popular. Ankhon mein kya jee (Nau Do Gyarah, 1957) – SD Burman / Majrooh Sultanpuri / Kishore Kumar and Asha Bhonsle The assistants of Dev Anand and Vijay Anand Peeyush Sharma: Dev Saab and you have derived great work from his assistants as well. Vijay Anand: Yes, practically we have launched or promoted all of them. N Dutta got his first break with Dev Bhai’s film Milap. Jaidev also got his first break under me and his most famous film Hum Dono was also made by us. And then we had to promote Pancham. Teesri Manzil was my film and Dum Maro Dum (the song from Hare Rama Hare Krishna) changed his life forever. Peeyush Sharma: Then why did you not repeat Jaidev ever? Vijay Anand: There was some misunderstanding during that time. Jaidev left Burman Dada and we never worked together again. Peeyush Sharma: Pancham has done great work in several films with you and Dev Saab. But somehow that Burman Dada impact was missing. Vijay Anand: Well, the maestro after all is the maestro. But Burman Dada used to encourage and motivate his assistants a lot. He used to sit and analyse their compositions and tell them that this is not working,
- 132. this is abit dry, this would not catch the interest of the audience, try to make it this way. Everyone gives a theka* here, you try and do something different so that listeners notice you. All the tunes of Hum Dono had been okayed by Burman Dada. We had decided this with Jaidev right at the outset. He (Burman Dada) used to tell the producers himself that I am busy now, you take Dutta, he will do good work or take Jaidev. And for Pancham he was ready to say no to film offers. Let me tell you, in the beginning of their careers Kalyan ji Anand ji and Laxmikant and Pyarelal, all these people used to come to Burman Dada to discuss with him their compositions in order to make them polished and acceptable. Dada’s input was very critical for everyone. For several years, this practice continued. Abhi na jaao chhodkar (Hum Dono, 1961) – Jaidev / Sahir Ludhianvi / Mohd Rafi and Asha Bhonsle Chetan Anand used to look for classical touches Peeyush Sharma: This is very interesting. That is the reason why I feel their earlier works are brilliant. Raj Khosla left Burman Dada and joined Madan Mohan and so did Chetan Anand. Was there any special reason behind this? Vijay Anand: Chetan Bhai used to think that Burman Dada’s music is a little light for him. He used to look for classical touches in each composition. Initially it was Ustad Ali Akbar Khan Sahib, then Jaidev and then Madan Mohan and then Khayyam and others. His ears were sharply attuned towards music. Raj Khosla was a different matter. It was difficult to match temperament with him. He fell in love with OP Nayyar’s music and bought the songs and then started thinking about what film to make. Then he had a tiff with Nayyar. He crossed swords with Waheeda ji and Suchitra Sen and Phali Mistry and Jal Mistry too. But his work with Madan Mohan was great. Peeyush Sharma: Burman Dada’s classical aspect was very strong. Then why did Chetan Anand ji think it was light? Vijay Anand: He (Burman Dada) used to camouflage his tunes. They used to be classical raga based no doubt but he used to give them a lighter effect. He used to say, too puritan tunes don’t work. He used to mix a heavy raga with a lighter raga. He used to say the public rejects complex music. Pancham has also followed this attribute very strongly and successfully. Maybe this was the reason for Chetan Bhai (for not doing films with him). Peeyush Sharma: But with Pancham, Chetan Anand ji’s Kudrat is musically one of his most successful films. Vijay Anand: You are absolutely right. It is a question of time, really. Apni to har aah ik toofan hai (Kala Bazar, 1960) SD Burman / Shailendra / Mohd Rafi An ode to the beloved camouflaged in a ‘prayer’ to the “uparwala” – a delightful double meaning! Notice the use of the flute to replicate a tuneful train signal. The songs of Guide were composed from the hospital bed Peeyush Sharma: I had read somewhere that Burman Dada had composed the songs of Guide from his hospital bed and he had sent them to you later during your shooting schedule? Waheeda Rehman “Be careful with it when picturising it. It should not get spoiled. Pay full attention to the presentation and dance steps, please.” Vijay Anand: Yes, he had started composing right from his hospital bed. I had gone to meet him before I was to leave for the shooting schedule. In a weak voice, from that hospital bed, he sang to me the tune for Piya tose naina lage re and told me about the different experiments in each of the antaras.
- 133. When I appreciatedthe tune, he held my hand and said, “Bijoy (this is how he used to take my name), it is a good composition. Be careful with it when picturising it. It should not get spoiled. Pay full attention to the presentation and dance steps, please.” I reassured him that please do not worry. I will take special care. Then he himself said, “Haan, mujhe pataa hai. Tum achha director hai. Hamari izzat rakhta hai. Humko bharosa hai.” (I know that. You are a good director. You respect my creations. I trust you.) That someone could conceive and create such tunes even during illness, this was his unique speciality. Very often he would call up Waheeda and tell her that I have conceived the tune with these dance steps in mind, so please be careful. For Tere Mere Sapne, he had called Hema to his home to explain the dance style of Ta Thayi Tat Thayi At Thayi. His involvement was very deep and he had a unique understanding and style. He commanded a lot of respect in the industry. Whether someone had worked with him or not, everyone respected him. Piya tose naina laage re (Guide, 1965) – SD Burman / Shailendra / Lata Mangeshkar Peeyush Sharma: But it is said that he was rather miserly. He never shared anything with anyone. Vijay Anand: I do not have any such first hand experience of this. Neither would Dev Bhai have, I think. I believe, he was from a princely family background. He was a royal blood. In the style of his attire, in his home décor, in his food habits and style of cooking, you could see that attitude reflect. Though he never showed this, I feel there might have been some hesitation in mixing with everyone freely. People took this differently. I have never seen him attend any party or film function or mahurat. He had a very different personality. Peeyush Sharma: Thank you. You shared so much. It was a delight listening to you. Vijay Anand: Any other thing on your mind? Dil ka bhanwar kare pukar (Tere Ghar Ke Samne, 1963) – SD Burman / Hasrat Jaipuri / Mohd Rafi. Notice Vijay Anand making a brief cameo appearance in this song The actresses of Vijay Anand’s films Peeyush Sharma: Among actresses, whose work did you find more appealing? Vijay Anand: In my films, there is Waheeda and then Nutan and Hema. They are all good. Peeyush Sharma: Camera work was a special highlight of your films. Sometimes it was Fali Mistry sometime it was V Ratra and then Srinivasan. But your work with each one of them was of superior quality. Vijay Anand: Ratra was a relative, a distant cousin. He was much senior to me in the industry. With Fali, Dev Bhai had a nice rapport in the initial years and he understood our style very well and used to polish it further. It was very easy working with him. I worked with Srinivas for the first time in Teesri Manzil. Nasir Hussain Sahab had hired him. Then we had an opportunity to work together again in Black Mail. The producer Mr Joshi had hired him. But my personal preference was always Fali. For any director to be effective, the camera work has a great contribution. (At this moment somebody walked up to our table and informed him that the car was now ready to take him to his hotel room). We shook hands and he complimented me again on my keen observation in cinema and I profusely thanked him for spending a few minutes with me. For me, I had just had an opportunity to talk with the greatest or finest director of Hindi cinema that I always had highest regards for.
- 134. The Goldie Standard NasreenMunni Kabir shares an exclusive excerpt from an interview with the late Vijay Anand, during which they talked about music, movies, and being different, and how, sometimes, you just had to let Shammi Kapoor be himself Ref : http://indianquarterly.com/the-goldie-standard/ The Anand Brothers—Chetan, Dev and Vijay—were a class act. From the late 1940s, they made Navketan (their production company) into one of the most distinctive banners of its time. Not only were their productions popular, they also nurtured new talent and took risks in their choice of film subjects. Vijay Anand (known by all as Goldie) was the youngest brother. A student of English literature, he was a formidable screenplay writer, actor, producer and film editor, but it is his work as a director that has made a special place for him in Hindi cinema history. His first film, Nau Do Gyarah (1957), bears all the touches of a delightful storyteller. His masterly grip over content and form led to a long and varied career. Working with a great team of cinematographers, composers, lyricists and choreographers, Vijay Anand brought out the best in his actors. Few could rival his abilities when it came to writing natural and easy-flowing dialogue or picturising songs. Unlike the enjoyment of most songs that is often divorced from the film for which they have been composed, his music is closely linked to the filmic experience. He knew songs are the glue that bind audiences to Hindi films. Close your eyes and you can see Shammi Kapoor with a scarf around his neck, singing “Deewana Mujhsa Nahin” on a colourful hilltop, or instantly recall the smiling faces of Dev Anand and Nutan as they sing “Dil Ka Bhanwar Kare Pukaar” on the inner stairway of the Qutab Minar. I met this gifted director in the early 2000s and asked if he would agree to work on a book of conversations about his life and films. He gave me the nod and soon after that we recorded two long interviews in 2001 (a part of which is reproduced here). When he was appointed the chairman of the Censor Board in late 2001, he felt he would not have had the time right then for a book, and so, to my deep regret, it never got completed. Vijay Anand was 70 when he passed away on 23 February 2004. What is the role of dance in Indian cinema? Do you think it has always been an important element? There used to be many more songs in the early films and hardly any dancing. Songs had a bit of dancing: the heroine moved her hands around a little, but the actresses as such were not required to be dancers.
- 135. The arrival ofthe choreographers Hiralal and Sohanlal brought about a very big change, and by the 1960s they had become firmly established. They were extremely good dancers themselves, because they were trained in classical dancing. Most directors depended on them to picturise the songs and dances. They did not tolerate a bad director, so some directors would not even be on the set when the song was picturised. What is the essential difference between composing a stage dance or a film dance? Cinema choreography is very different. You cannot compose a dance in a film as you would for the stage. Choreographers like Sachin Shankar, who came from the stage, could not succeed in films unless they worked with a very good director who brought a strong cinematic sense and could translate the dance into cinematic language. I think Sachin Shankar was very good when he choreographed “a performance within a performance”—I am thinking of “Gore Gore O Banke Chhore” (Samadhi, 1950). It takes place on a stage-like setting with the heroines dancing and the other characters, including the hero, looking on. Yes, but that song was for the stage, even if that stage featured in a film. In Johny Mera Naam I worked with Sachin Shankar. When he composed the dance, he showed it to me. He had the performers on one side and the audience on the other. We made changes together because finally it is the camera that is the audience and the camera angles must change in every shot. So you cannot have a strict division between performance and audience. Unlike a stage dance, the film director has to divide the dance into shots. If you compose for the stage, you are also confined to a small space. The dance movements are restricted . . . usually within 20 x 20 feet. And cinema does not want to confine itself to space. It can go anywhere. How did you work with a choreographer? If the director is good, he uses the other artists [cameraman, composer, art director, choreographer, etc] as tools. He appreciates their talents and finds out whether they have ideas that can enhance his own vision. If this can happen, the entire team gives themselves into your hands. They flow with your work. But if they find the director has no idea what he wants and just wants an entertaining dance, then the choreographer will compose, film and edit the song. Some choreographers have a limited understanding of editing. They want too many cuts and do not allow the shot to be held long enough … Nowadays, film editors are in love with the rhythm. They don’t allow you to see the faces of the heroine or hero. You mean nowadays the rhythm determines the cut, not the narrative of the lyrics? That’s right. Not the narrative. If the choreographers have understood the filmic situation, they do better work than if they were left alone to conceive a dance. Otherwise they usually come up with a repertoire of moves they have learned from their guru that may be good, but do not necessarily work for the scene. The story comes first for good directors. When I worked with Hiralal, he knew the song had been written for a certain situation and context in the movie. The choreographer was not really in a position to guide me, because he had to fit his dance moves into my existing concept and narrative. Sometimes a dance number has no lyrics. Take the snake dance in Guide. There were no words like naina [eyes] or sawariya [beloved]. So what guides the choreographer? The director guides him. In the snake dance I wanted the heroine to express her troubled life. You must explain the emotions that the song or dance is meant to convey. Can you tell me about the very first song you directed?
- 136. It was inNau Do Gyarah. I did not have a choreographer. I did not need one. I [only] needed a choreographer for Helen’s and Shashikala’s dance—even there the choreographer, Surya Kumar, had to choreograph the dance in a multi-dimensional way. He knew the dance could not be seen from a static viewpoint, as the camera was moving in many directions. I spent my childhood with people like Zohra Sehgal, Kameshwar Sehgal, Mohan Sehgal and Guru Dutt. They were almost living in our house. So were Balraj and Damayanti Sahni. My brother Chetan brought them to Bombay, and until they found their own places to live in, they stayed with us. Zohra and Kameshwar came from Uday Shankar’s dance academy and started a dance school in our Pali Hill home. A lot of students, including Premnath, used to come to learn dancing. Prithvi Theatre people used to come too. So I imbibed a lot by observing them. I knew what choreography was. I am wondering if Uday Shankar indirectly inspired the film dances in the 1950s. Like Guru Dutt had Zohra Sehgal choreograph Baazi. Yes, they were both [Guru Dutt and Zohra Sehgal] from Uday Shankar’s dance academy and so they clicked together. Left to myself I would not have used theatre choreographers. They were too stagey. As I said, in earlier times there wasn’t much emphasis on film dancing. Dancing was required as a romantic element in a song, but it did not jump out of the story to show itself. “Look at me. I am part of the story yet not part of the story. I am an entity in myself.” Coming back to Nau Do Gyarah, which was the first song you shot? “Hum hain raahi pyaar ke hum se kuchh na boliye.” Then “Kali ke roop mein chali ho dhoop mein kahaan”. I shot those songs outdoors. At that time I used to think a choreographer ruined songs. They interfered with the characterisation. I felt they imposed their own personalities through their dance steps and didn’t allow the artists to express themselves in the way they should.
- 137. I am happyto hear you say this, because I have always thought when your characters sing they somehow stay in character. I am thinking of Dev Anand and Nutan in Tere Ghar Ke Samne. Many of the tunes and dance movements in your films match the personality of your characters. If the director understands his subject, story and characters well, he will not compromise in any aspect. If he is working on a film like Devdas then he has to have songs for Devdas, not for Shammi Kapoor. The Teesri Manzil songs were not for Dev Anand or Waheeda Rehman, they were for Shammi Kapoor and Asha Parekh. When I was working on Jewel Thief, we discussed this with the composer. I would tell SD Burman: “Dada, this song is for Vyjayanthimala. I am going to use her talents as a dancer.” Waheeda Rehman always underplays her scenes, so she needs a different kind of song. If you have a song for Dev Anand, you have to bear in mind that he can’t dance. He has grace but not rhythm. You can’t make him dance. With Shammi Kapoor, if you don’t make him dance he will make a fool of himself. You cannot tell him: “Shammi, don’t move. Just sit still and sing.” He won’t photograph well if the camera is fixed on him. But he has rhythm—an inborn rhythm that is superior to any movement a choreographer may compose for him. I have always told my choreographers not to make the hero dance, but to imbibe his character into the choreography. Imbibe the character or the personality of the star? The character of the character. When you cast someone like Govinda, for example, you have many choices. When you cast Shammi Kapoor, you have choices, but not too many. Cast Shammi and you want a little bit of the character and more of Shammi Kapoor. You want to use the glamour and inborn talent that he has… Shammi did not regard himself as a dancer, nor had he ever learnt dancing. But you played a song to him and told him: “Go wild!” He would, because he had such a tremendous sense of rhythm. He just got into the music and every fibre of his body would dance. The only thing you had to make sure was that he did not overdo it. OK, the character is fooling about—this much is allowed, but not beyond that. All the expressions are in the song words: “Dekhiye… naazneen…” It’s all there, so you don’t have to do much more. What can the actor do beyond portraying the words of the song that has been composed, written and recorded for him? These elements define the limitations. An actor cannot go beyond the camera framing either. If Shammi Kapoor jumped up and down, he would find himself out of the frame… I used to tell him to bring the song alive through his eyes. A little nod was enough. PL Raj is credited as the choreographer for Teesri Manzil. Tell me more about him. PL Raj was Hiralal’s assistant. Once Hiralal and Sohanlal had worked with me, they thought of me as a director not to be interfered with. That was the same with all their assistants, including Saroj Khan, who was Sohanlal’s assistant. She would always ask me: “Goldie saab, what do you want?” I used to sit with the choreographer when they were composing. Sometimes they would get nervous and ask me to come back the next day when they were ready to show me a few moves. Sometimes I would tell them they were going off track. This is not the character. I did not want any artificiality. My characters should not become artificial when they sing. The characters are not supposed to be dancers in the film. They are merely expressing an emotion through a song. Take Govinda, he can do difficult movements. If we have Shammi Kapoor, then keep the moves flexible.
- 138. TERE-GHAR-KE-SAMNE-06 What about DevAnand? Dev saab’s biggest problem was that he never rehearsed. He’d say: “Nahin yaar, don’t make me dance.” And you shouldn’t make him dance because he doesn’t know how. But he had a great presence and audiences used to see the film for his songs. He had style and other actors have copied him. Some of the songs may look ridiculous today, but at that time they were his plus points. In the Kala Bazar song “Khoya Khoya Chand”, Dev sings as he runs down the hill. He is madly in love and believes his dream is coming true. So let him move his hands— white hands against dark clothes—[as] he makes his way down the hill. It suited the scene, so once in a while you let him go. [In the same movie] there is a scene in a train compartment. Dev Anand is sitting on the lower berth and Waheeda Rehman is lying on the upper berth. The girl’s parents are also in the compartment. Dev saab sings the song: “Apni to har aah ek toofaan hai/ Kya karen woh jaan kar anjaan hai/ Uparwala jaan kar anjaan hai.” Waheeda Rehman is listening to him but she cannot move much because she’s lying on the upper berth. There is a double meaning behind the whole situation, which is beyond choreography. You mean the double meaning is in the line “Uparwala jaan kar anjaan hai”. The song is directed at Waheeda, while her parents think it’s a reference to God. Very clever. Tell me about that other wonderful song “Dil Ka Bhanwar”. In Tere Ghar Ke Samne, Dev Anand and Nutan sing the song on the steps of the inner stairway of the Qutab Minar. The sense that they have reached the peak of emotions is in the location, because you cannot get higher than the Qutab Minar. Were these conscious decisions? Yes, certainly. Forty years have passed since I made the film. I cannot really analyse how I came to make all these decisions. But I did feel that love was like climbing the Qutab Minar—it’s an effort. When you let yourself go, there is no effort any more. The film is set and shot in Delhi just after the India-China war . . . so the story of Tere Ghar Ke Samne is about two neighbours who fight with one another. When you use the city of Delhi as a setting, you have to have the Qutab Minar as well. In “Dil Ka Bhanwar” you make an appearance as an extra. How did that come about? The space was restricted and we could not get anyone else up there besides the actors, a small crew and myself. We needed government permission to shoot inside the Qutab Minar and we were told to have a small unit and not to use many lights. I needed two or three characters passing them on the stairs and could not find anyone who could give the proper expression, so I thought let me do it. It sounds like you were a very confident director from the start. I was arrogantly confident, you know. I didn’t want to be a film director. I just took the chance. I thought if I succeeded or failed, what the hell! I didn’t care about success or failure. I was doing my Master’s, and thought I’d make Nau Do Gyarah and then go back to studying English literature. Unfortunately, I could not go back to studying. I still dream I will someday. I never cared much for a profession. Even now I don’t. I was not aware of international cinema. I respected my seniors for their contribution to Indian cinema. But somehow I couldn’t be what they were. I did not want actors to perform in a theatrical manner, nor did I care much for larger-than-life stories. How old were you when you made Nau Do Gyarah?
- 139. I was 22.I made it just for the heck of it. I had written a script called Taxi Driver and my brothers made it into a film and it did well. Of course there was more of Chetan saab in it. He didn’t respect the script that much, but he stuck to the theme and characters and kept some of the dialogue. That gave me a lot of confidence. I used to write one-act plays in college and wrote scripts for the heck of it. So I wrote Nau Do Gyarah and sold it to Shahid Lateef. He liked it very much, but he couldn’t make the film. There was another producer called Nyaya Sharma and when he heard the story, he bought it. But he could not produce it. He was the man who later made Kinare Kinare. At that time, Navketan needed to produce a film. Raj Khosla, who was working at Navketan, was making Kala Pani and could not make up his mind about what he wanted to do next. In those days people were on the payroll and Navketan wasn’t making the kind of profit that you could wait around for a year before making a film. So they needed a script and needed to produce a film. Our manager, Mr Prashar, told Dev saab: “Goldie has got a very beautiful script. Shahid Lateef bought it and he is no fool. He was going to make it, but couldn’t. So the script is just lying about. Why don’t you listen to the story?” Dev saab said I could narrate it to him. But I was too young and arrogant, and said I would not give it to anyone else to direct and I would direct it myself. My brother was working with all the leading directors of the time and was shocked, and thought I was too young to direct. Dev saab said: “He hasn’t assisted any director and hasn’t learnt the craft. He may have written a few college plays and the script for Taxi Driver, but Chetan saab was there to direct it. How can Goldie direct? Tell him not to be foolish.” But I refused to budge and Dev saab refused to budge … Finally, when Dev saab heard the script and the way I had written all the details, he took a chance and said let’s do it. I had not learnt filmmaking from anyone. In my script I had imagined situations no one had conceived before. I wanted my characters to exchange musical lines and not dialogue in some scenes. Luckily for me, I had such a fantastic composer in SD Burman. He loved me so much that he encouraged me, and instead of saying “You are very young. Don’t make a foolish mistake”, he said, “Let’s try.” We had a song that worked like a question-and-answer scene: “Aankhon mein kya ji/ Roopehla baadal/ Baadal mein kya ji/ Kisi ka aanchal/ Aanchal mein kya ji/ Ajab si hulchul.” If these words were spoken in dialogue, it would sound very prosaic. But if it is done musically, it becomes very interesting. No one had done this kind of thing before. Majrooh Sultanpuri wrote the lyrics. He was great at writing in this style. I was too young and will not say I contributed to the song itself. It was Burman saab who made Majrooh saab write these lines. And I, like a child, sat there very excited. They must have felt this boy has something; let’s listen to him. “Aankhon mein kya ji/ Sunehra baadal.” I said: “Majrooh saab, it’s a moonlit night. You can’t say sunehra. Let’s try roopehla.” Majrooh saab said: “Roopehla is a very sweet word. Shabaash! Goldie, tum achhe director banogey. [Goldie, you’ll make a very good director.] I don’t usually listen to anyone, but that’s a good word.” A lot of people encouraged me when I was young. You inspired people to think differently. I was a catalyst. I wouldn’t say I inspired them, but my demands were unlike the usual demands. Plus I would say no if I didn’t like something. I was very young and very proud. Tell me something about your parents.
- 140. My mother diedwhen I was six years old. I don’t remember her very much. All I remember was that she was always ill. I was born in Gurdaspur . . . My father was a lawyer. It was he who loved music and invited musicians home whenever they visited Gurdaspur. My father passed away in 1970 when I was making Johny Mera Naam. He didn’t adjust to Bombay and did not want to live here. Who raised you? I was raised by my two sisters and later by my sister-in-law, Chetan saab’s wife, Uma. She didn’t want me to join films and said: “Chetan has a giant intellect. I suffer when I see how he has to compromise in filmmaking. Since Neecha Nagar, all he has had to do is compromise.” She thought I should become a writer or a playwright. When I started writing in college, Uma came to watch the plays I wrote. Sometimes Chetan saab accompanied her. Dev never came. She told me to write a script and said she would guide me. That is when I wrote Taxi Driver. Did you ever consider making a film without songs? No. I love songs. I never dreamt of making films without them. They asked me to make a film in English, and I said I didn’t want to. I will not do anything beyond my capability. If they like my work, they will accept it as it is. I am not going to become artificial in order to please anyone. Nasreen Munni Kabir began her research on Hindi cinema in 1978. Since then she has made over 80 documentaries and written 16 books. Her best known documentaries are In Search of Guru Dutt, Lata In Her Own Voice, and The Inner/Outer World of Shah Rukh Khan. Her latest book is Conversations With Waheeda Rehman (Penguin Books, 2015).
- 141. Here's Why VijayAnand Was The Original Rockstar Director Of Indian Cinema Mimansa Shekhar Updated: Feb 24, 2016, 16:49 IST Ref : https://www.indiatimes.com/entertainment/bollywood/a-director-with-a-midas-touch-vijay- anand-gave-bollywood-its-golden-era-here-s-how-251103.html If the director understands his subject, story and characters well, he will not compromise in any aspect." - Vijay Anand Vijay Anand is a legendary name in Bollywood. So much so, that his films are still considered classic and masterpieces. Much ahead of his times, Vijay Anand never restricted his work to one genre. Most of his films had his elder brother Dev Anand as the male lead. While not much has been written about the ace filmmaker, he remains to be an inspiration for every director in any given era of Indian cinema. Here are 10 reasons Vijay Anand's work is one of the highest points of Bollywood. An ode to you Sir! 1. Also known as Goldie Anand, Vijay Anand justified his name by being instrumental in giving Indian cinema one of its best films. Vijay Anand was the name behind memorable films like Guide, Johny Mera Naam, Jewel Thief, Teesri Manzil, Kala Bazar and Tere Mere Sapne. His production banner Navketan Films churned out major blockbusters in 1960-1970. While Dev Anand was his favourite male lead, his leading ladies included Waheeda Rehman, Mumtaz, Asha Parekh, Vyjayantimala and Hema Malini. 2. He has been a constant influence for many directors, who call him an encyclopedia of filmmaking. Ask any director his major inspiration and Vijay Anand's name pops-up instantly. Why? Because many say he was not just a textbook of cinema. He was an entire curriculum. He was never limited by any genre or hampered by his own sensibilities. Romantic comedies, sentimental classics, suspense thrillers and potboilers, he touched everything with perfection. "Cinema is far more varied than poetry, music, drama, painting…it is more of architecture! But architecture is frozen… Film is a flowing architecture!" - Vijay Anand
- 142. 3. "He wasway ahead of his times". No article on Vijay Anand is complete without this sentence. In the times when filmmakers stuck to simple, linear filmmaking, Vijay Anand brought in some rare technical finesse and gloss into his films. And all this without losing his grip on the narrative. His storytelling was as expressive as it was sensitive. Shammi Kapoor became India's Elvis Presley after matching Vijay Anand's vision of a rockstar in Teesri Manzil. Even Mumtaz draped her sexuality with grace in homely cotton sarees in her career best film Tere Mere Sapne. "The man who wants to express, doesn't want to limit himself to only the visual. If he can make people feel the touch of his film, he'll use it definitely! Why not! Limitations limit him, not his need to express and touch the other man." - Vijay Anand 4. He is credited for a stylish picturization of his songs. Yes, even his music outlived his times. His songs had a unique screenplay. Like love awakening against a rising sun in "Tere mere sapne ab ek rang hain", dreams penned down in "Pal pal dil ke paas" and love soaring heights in "Dil ka bhanwar kare pukaar". Vijay Anand loved long shots, lush backdrops and sharp intercutting which brought out the poetry in the tracks. His creative picturizations took the story forward. From "O Haseena" (Teesri Manzil), "Kaaton Se Kheech" (Guide) to "Honthon Mein Aisi Baat" (Jewel Thief), they are still our favourites. "My camera listens to the song and moves with it." - Vijay Anand
- 143. 5. Nutan washis favourite actress. He is credited for giving Bollywood its legendary pair of Dev Anand- Nutan. No wonder he experimented with his camera work in a Nutan film. The song "Ek ghar banaaonga" had camera tricks where the actress is seen in the glass of whiskey. The song "Dil ka bhanwar kare pukar" was shot in the Qutub Minar to bring the feel of Delhi onscreen. In the song, both Dev and Nutan climb the Minar as friends but come down as lovers. That's the magic, this song weaved. 6. Vijay Anand has given Bollywood some of its biggest icons in every field of filmmaking. Biggies like Shailendra, S.D. Burman, Majrooh Sultanpuri, Neeraj, R.D. Burman, Dev Anand, Waheeda Rehman, Fali Mistry and Ashok Kumar, they all have been the products of Vijay Anand's films. 7. Kala Bazar was Vijay Anand's only film which had all the three brothers working together. Dev Anand produced it and Goldie wrote and directed it. The two also had eldest brother Chetan Anand acting along with them in it. Vijay's childhood memories of seeing movie tickets being sold in black gave him the idea for this film. It also had real shots of the premiere of film Mother India with actors including Dilip Kumar, Nargis Geeta Dutt, Guru Dutt, Raaj Kumar and Rajendra Kumar doing a cameo. 8. Vijay Anand did not follow stereotypes. He created a stir by marrying his much younger niece.
- 144. His passions includedballroom dancing and fox trot. He was also a trained waltz performer and did a dance number with Bindu in the film Chupa Rustom. He also loved shirts, watches, and colognes. He would end up picking a dozen at a time. His lavish taste also included his love for horses. 9. A seasonal actor, Vijay is remembered by the 90s generation for playing detective Sam in the television series Tehkikaat. He also served as the chairman of the Censor Board for a short period of time. He resigned soon due to ideological differences with the government over introduction of ratings for adult movies. "And as an active student of cinema, I want to learn and learn and learn, and in that state I feel… Why should anyone else write my story or screenplay or make my music? Because, every other man's limitations are diluting and weakening my strength!" 10. An inspiration for all, Vijay Anand was in turn inspired by several other Indian filmmakers. Goldie liked Guru Dutt's realism, Raj Kapoor's glamour and the existential philosophy that Satyajit Ray showed in his films. "A great filmmaker, if ever there is one…will not know why he is making a film. Only after being prodded by limiting questions by enthusiasts wanting to slot the soul, shall he answer. Very rarely would you find an artist who can create, express, evaluate, judge, formulate rules and teach. I am a student, I am not a teacher yet. But I know I have the makings of a teacher." - Vijay Anand Yes, he has left a legacy for future filmmakers and film enthusiasts to learn from him. He was a teacher right from the very start. And we, mere students. Thank you Vijay Sir!
- 145. Collaborators on manyclassics: Dev and Vijay Anand Dev Anand was always memorable on screen, especially when directed by younger brother Vijay. On Vijay's 13th death anniversary (23 February), we go through the films the two brothers made together. Mumbai - 23 Feb 2017 11:00 IST, Updated : 17:17 IST by SONAL PANDYA Ref : https://www.cinestaan.com/articles/2017/feb/23/4455/collaborators-on-many-classics-dev-and- vijay-anand Dev Anand launched Navketan Films in 1949 with elder brother Chetan. In Sanskrit, navketan means newness. The banner flourished with the creative talents and inputs of Chetan and Dev. Occasionally, an outside director came into the fold. After their successful partnership on films like Taxi Driver (1954) and Funtoosh (1956), the Anand brothers took a little break. Dev then turned to younger brother Vijay, fondly called Goldie, to step up. Together, they created some instant classics. Dev solidified his star image and produced some of his greatest work under Goldie's direction. Vijay and Dev jointly made 10 films as director and actor, respectively, and helped further each other's reputation as the best in the business, against fierce competition. Nau Do Gyarah (1957) was Vijay Anand's debut as director. The film was shot in 40 days in spite of separate filming locations in both Delhi and Mumbai. Nau Do Gyarah was an early road film with a runaway bride masquerading as a young man while Dev Anand played the lead, Madan, who has recently come into a small fortune from his late uncle. Vijay handled the romance, comedy and suspense of Nau Do Gyarah well with the added bonus of the newly married couple Dev and Kalpana Kartik, in only their fourth film together (they had eloped while working on Taxi Driver). Vijay Anand then brought all three brothers together for Kala Bazar (1960). He was inspired by the touts dealing in tickets outside cinemas for the lead character of his film. Like his brother Chetan before him, Vijay succeeded in including the city of Bombay as a character in his film. Dev's Raghuvir changes his ways for the love of a good woman, Alka, played by Waheeda Rehman. Kala Bazar (1960) featured the grand premiere of Mother India (1957) with stars Nargis, Dilip Kumar, Sohrab Modi, Raaj Kumar and Rajendra Kumar making a cameo appearance in the film. Vijay Anand was also rumoured to have ghost-directed the evergreen Hum Dono (1961), which he also wrote. Dev Anand played a double role as Major Verma, who goes missing in action during World War II, and his lookalike Mahesh, who is given the task of delivering the news to the major's family. Their next film was among the handful that Nutan and Dev starred in together — the romantic comedy Tere Ghar Ke Samne (1963). The film is remembered for its crackling chemistry between the two as a modern young couple who want to convince their rival fathers of their love for each other. As time progressed, Vijay Anand's films also became known for their song sequences. They furthered the story and also stood alone as stellar examples of visualization of lyrics and music. In Tere Ghar Ke Samne, 'Dil Ka Bhanwar' sung by Mohammad Rafi and composed by SD Burman was filmed inside a replica of the Qutub Minar as the pair climb down a winding staircase while in the title song, a duet by Rafi and Lata Mangeshkar, Dev Anand imagines Nutan in a whiskey glass. Dev Anand won his second Filmfare award for Best Actor for Guide (1965). It is widely regarded as one of his best performances on screen as Raju the guide and Vijay was hailed for adapting a difficult book to
- 146. screen. It veeredoff the essence of RK Narayan's novel, but the acting of its leads, including Waheeda Rehman, and SD Burman's songs like 'Aaj Phir Jeene Ki Tamanna' and 'Gata Rahe Mera Dil' remain hummable today. Guide picked up the top four honours at the Filmfare awards and Vijay picked up his first major Best Director award. Following the critical and international success of Guide, the brothers made the spy thriller Jewel Thief (1967) in which Dev plays the ordinary Vinay who is mistaken for the jewel thief Amar. Again, Vijay wrote the screenplay and took the usual tropes of amnesia and lookalikes and heightened them using his charismatic brother's screen presence. Once again, the songs in a Vijay-Dev feature were the highlight, especially the tense song before the film's big finale, 'Honthon Pe Aisi Baat'. The highs of Jewel Thief led to a lesser known film, Kahin Aur Chal (1968), which had all the equations of a hit film, stars Dev and Asha Parekh, music composers Shankar-Jaikishan and the direction of Vijay. However, the financier and Vijay never saw eye to eye and Kahin Aur Chal faded away from memory. Meanwhile, Dev made his own directorial debut in 1970 with Prem Pujari, which wasn't a great success but taught him enough to make sure his next, Hare Rama Hare Krishna (1971), was. Vijay and Dev resurfaced with Johny Mera Naam (1970), a story of brothers Sohan and Mohan separated in childhood. Made under the Trimurti Films banner of Gulshan Rai, the film saw Dev play a detective who goes undercover while Pran played the misguided brother Mohan. At 47, Dev romanced the much younger Hema Malini effortlessly. Vijay was recognised with Filmfare awards for Best Editing and Best Screenplay the next year. For their next collaboration, Tere Mere Sapne (1971), Vijay adapted the 1937 AJ Cronin novel, The Citadel, and made it relevant to the decade the film was set in. In this sincere take on the plight of the medical community, Dev transformed himself from a simple country doctor to one who only cares about the money. SD Burman continued his long association with Navketan Films and scored hits like 'Ye Maine Kasam Li' (for which Vijay provided the lyrics) and 'Jeevan Ki Bagiya Mehkegi'. By now, however, Dev and Vijay's partnership had diminished as Dev went on to star in other directors' films and also continued with his own directorial productions. Chhupa Rustam (1973) was another
- 147. complete Vijay feature.Besides direction, he produced, contributed to the film's lyrics, wrote the screenplay and even acted as Jimmy Fernandes. Once again, Dev was paired with Hema Malini in this story where he takes on many avatars. After Chhupa Rustam came the film Bullet (1976). Largely made to celebrate the silver jubilee of Navketan, this James Hadley Chase adaptation of Just Another Sucker had Dev playing a character after his own name, Dharam Dev. Bullet also featured actors Kabir Bedi and Parveen Babi and was the film debut of actress Jyoti Bakshi. Bullet became the last film Dev and Vijay worked on together as actor and director. Another ambitious production, Ek Do Teen Chaar (1980), was never released. The film was cast with some of the biggest stars of the time — Dharmendra, Shashi Kapoor, Rakhee, Hema Malini, Rishi Kapoor, Tina Munim and Dev Anand, of course. In his memoir Romancing With Life, Dev Anand wrote, “Together, we became an unbeatable team of writer-director and star, the cause of great envy for the rest of the film industry.” The films the two of them made were celebrated for taking Indian cinema to new heights internationally and, within India, creating stories and settings that resonated strongly with audiences.
- 148. Late director VijayAnand's wife remembers the true blue genius by Farhana Farook | June 22, 2018, 6:23 PM IST Ref : https://www.filmfare.com/features/late-director-vijay-anands-wife-remembers-the-true-blue- genius-28990-2.html Ask any director who he’s been influenced by and Vijay Anand’s name will feature notably in that list. Because the filmmaker was not just a textbook of cinema. He was an entire curriculum. Not limited by any genre or stymied by his own sensibilities he could flit through comedy, thriller, drama, musical and even masala fare with ease. His directorial excellence was as much about his deft camera work as it was about his nuanced characters. Waheeda Rehman in Guide, despite playing an adulteress, went on to become an iconic symbol of rebellion. Vyjayanthimala went notches further as a dancer after she kept pace with his trailing camera in Jewel Thief. Shammi Kapoor became India’s answer to Elvis Presley as he matched Anand’s vision of a rockstar in Teesri Manzil. So did Mumtaz drape her sexuality in homely cotton sarees to give her best performance in Tere Mere Sapne... Anand’s songs too outlived his times, most being the pride of satellite TV. Love awakening against a rising sun in Tere mere sapne ab ek rang hai. Dreams lettered in Pal pal dil ke paas... Love scaling heights in Dil ka bhanwar... Vijay Anand’s creative picturisations took the story forward. “My camera listens to the song and moves with it,” he once said. Long shots, lush backdrops and sharp intercutting brought out the poetry in the prose. Yet Anand’s life was not confined to the boundaries of fame. He was essentially a seeker, his quest leading him to somewhere finding the ultimate answers with guru UG Krishnamurthy. It was also this philosophical side that helped him tide an ebbing career and health. For someone who could almost predict the period of his death, the shenanigans of fate were no threats. Today, Anand’s genius lives on in the cinematic jargon. In fact, Sriram Raghavan’s Johnny Gaddar, a noir thriller, paid a subtle tribute to the master in a scene where his blockbuster Johny Mera Naam played... Memories of an unforgettable man and an extraordinary filmmaker in the words of wife Sushma Anand... Goldie’s (Vijay Anand’s pet name) childhood was spent in Gurdaspur in Punjab. A fair child with blonde curls, he was naughty. Hence, his father called him ‘Goldilocks’. With time, locks nikalgaye, ‘Goldie’ rehgaya! Goldie lost his mother when he was seven. He, along with his two older sisters (they were a family of nine siblings), came to live with Chetan saab (Anand, filmmaker) and Uma bhabhi (Anand) at their ‘shack’ in Juhu. Chetan saab was older to Dev saab (Anand, actor/filmmaker) by 10 years, who in turn was older to Goldie by 10. Uma bhabhi was like a mother to Goldie and had a great influence on him. She urged him to write, given his sharp imagination. Goldie often said, “I owe everything to Bhabhi.”
- 149. While Goldie wasstudying in St Xaviers College in Mumbai, he directed several plays, including the play Rehearsal. It was a takeoff on Hamlet and the catch phrase ‘to be or not to be’. Just out of college, Goldie wrote the script of Navketan’s Taxi Driver (1954), with Uma bhabhi, which Chetan saab directed. He had also written the script of Nau Do Gyarah (1957) and wanted to direct it but didn’t have the courage to tell Dev saab about it. Once when Dev saab was going to Mahableshwar, he asked Goldie for the script to read it on the way. Goldie refused saying he’d narrate it himself. He hopped in the car and narrated the story through the journey. On reaching Mahableshwar, Dev saab called his office and said, “Navektan’s next production will be directed by Vijay Anand. Make an announcement!” From then Goldie’s career as a director took off. Kala Bazaar (1960) was one film where all the three brothers worked together. Dev saab produced it. Goldie wrote and directed it. Chetan saab acted in it. During his college days, Goldie would see tickets being sold in black at theatres including Metro, Liberty and Empire... That gave birth to this concept. He even included real shots of the premiere of Mehboob Khan’s Mother India with actors including Dilip Kumar, Nargis Geeta Dutt, Guru Dutt, Raaj Kumar and Rajendra Kumar. Amarjeet, who was a publicist and Goldie’s friend, lived in Chetan saab’s shack with Goldie. Once, Goldie fell sick. Amarjeet nursed him with affection. He’d serve him soup, press his legs, check the temperature... Goldie promised him a directorial assignment. Goldie wrote a detailed script of Hum Dono (1961, had Dev Anand in a double role) with everything marked.... entry, exit, camera placement... so that Amarjeet wouldn’t face difficulty while directing. But yet Amarjeet couldn’t do it. Finally, Goldie directed the film but gave Amarjeet the credit that he’d promised him. Nutan was one of Goldie’s favourite actresses and suited perfectly in the comedy Tere Ghar Ke Saamne (1963). Dil ka bhanwar had a beautifully filmed song. It was shot in the Qutub Minar to get the feel of
- 150. Delhi. The duo(Dev-Nutan) climbs up as friends but when they come down, they’re lovers. The song Ek ghar banaaonga had camera tricks - Nutan is seen in the glass of whiskey. Guide (1965) was Navketan’s first film in colour. Based on RK Narayan’s novel The Guide, Tad Danielewski was directing the English version for writer Pearl S Buck. Chetan saab was to shoot the same scenes for the Hindi version He found it frustrating. So when he got a financier for Haqeeqat (1964) he quit. Goldie accepted it on the condition that he’d rewrite the script as a subject like blatant adultery would not be accepted by Indian audiences. Guide became a classic because it excelled in photography (Fali Mistry), acting (Dev Anand-Waheeda Rehman), music (SD Burman), editing (Vijay Anand and Babu Shiekh)... The song Tere Mere Sapne was shot in the early light in Udapiur. It was an emotional mood where Dev saab builds hope in a dejected Waheeda Rehman. Aaj phir jeene ki tamanna hai was filmed in the Chittorgarh Fort in Rajasthan. Her playing with the straw showed her light-heartedness. When she throws the matki singing dil woh chala it spoke of shedding the past and new beginnings. The finest compliment for Goldie came from RK Narayan who said, “The film is more beautiful than my book.” Goldie went on to direct the spy thriller Jewel Thief (1967). For the legendary Hothon pe aisi baat filmed on Vyjayanthimala, three to four cameras were put up including a trolley camera. Later, Dev saab was to do Nasir Hussain’s thriller Teesri Manzil (1966). When he couldn’t, Shammi Kapoor was roped in. Initially, Shammiji came at his own time. But he realised that this man comes at 9 am with a ready script and his cameras are placed beforehand. He too began coming on time. Shammiji and Goldie struck a great rapport. Aaja aaja and Oh haseena zulfonwali will always be remembered for their energy, Shammiji playing a musician in the film. O mere sona re is my favourite because through the song Goldie played interestingly with Shammiji’s briefcase. Later, Johny Mera Naam (1970), an entertainer, further proved Goldie’s versatility. In Pal bhar ke liye... Goldie played with the windows, where the persistent lover (Dev saab) finally woos the heroine (Hema Malini). A film that remained close to Goldie’s heart was Tere Mere Sapne (1971, based on AJ Cronin’s The Citadel). He was hurt that the ‘sensitive’ film was not a commercial success. It was the story of human relationships amidst materialism. Goldie met doctors to understand the authentic body language for his doctor protagonist (Dev Anand). The songs were unique too. Mumtaz sings Radha ne maala japi when she accepts the hero’s marriage proposal. Hey maine kasam li was filmed on Dev saab and Mumtaz on a bicycle. Jeevan ki bagiya was shot in close-ups and established their intimacy. But the less heard Mera antar ek mandir, a song, which hinted at conceiving a baby, was Goldie favourite. Goldie liked Nutan and Waheeda for their
- 151. expressive eyes. Hefound Nanda to be a fine artiste as much as he liked Asha Parekh for her naughtiness. But in Mumtaz, he saw a great dancer and actress. Basically, he liked simplicity in a woman. My favourite in Blackmail (1973) is Mile mile do badan. It’s the first time that the couple (Dharmendra- Raakhee) have come together. They’re hiding among the wood pile in the jungle even as dogs are sent to hunt them. The danger and intimacy makes the song beautiful. Pal pal dil ke saath is romantic because of the dreamy picturistaion. He directed some more films like Chhupa Rustom (1973), Ram Balram (1980) and Rajput (1982) but didn’t meet with much success. He also happened to act Kora Kagaz(1974) and Main Tulsi Tere Aangan ki (1978), which were huge hits. Goldie was proud of his later films Hum Rahe Na Hum (1984), a relationship saga that featured him with Rehana Sultan and Shabana Azmi and Jaana Na Dil Se Door with newcomers. Sadly, he couldn’t release them and that left him dejected. He’d say, “Perhaps, my time is over.” Goldie and I got married in 1978 during the shoot of Ram Balram. We cared for each other to the extent that we wanted to get married. He liked my simplicity. I understood his temperament. He rarely lost his cool. I was the one who’d lose my temper. I was crazier. I’d deliberately do things to annoy him. Sometimes, he manaoed (cajoled) me, sometimes I manoed him. Yes, women did throw themselves at him. But I never felt jealous or insecure. Rather, I’d tease him, “Main dekh rahi hoon! Maze karo! Enjoy yourself.” He rarely complimented me but when he did it made me happy. He liked me in sarees and sometimes picked up sarees and pieces of jewellery for me. We loved to travel. Our best holiday was in Hampstead in London just after our marriage. There were theatres across the road. We shopped a lot. Once when we were in Europe, he quietly slipped out. “Yeh lene gaya tha,” he said later showing me a sweater he had bought for me. He had a passion for ballroom dancing, waltz and fox trot. As a youngster, he’d travel from Chetan saab’s shack to a school in Colaba to learn waltz. He did a dance with Bindu in Chupa Rustom. The song Joh main hota ek toota tara was filmed on the bonnet of a car. He also loved shirts. He’d pick a dozen at a time. He was fond of watches and cologne and had grown fond of horses when he was working with Kalyanji Anandji.
- 152. Chetan saab’s shotdivision was superb. But Chetan saab changed things on the set, he was spontaneous. While Goldie went fully prepared. That’s why actors understood they couldn’t fool with him. They understood he meant business. Goldie liked Guru Dutt’s realism, Raj Kapoor’s glamour and the existentialism in the works of Satyajit Ray. Meghe Dhaka Tara (1960) by Ritwik Ghatak was his favourite. But as a filmmaker he didn’t want to make realistic movies. He’d say, “This is a media for entertainment!” Goldie was not fond of drinks and nursed a peg throughout the evening. Rather, he was interested in spirituality and astronomy. He had read all religious books – the Gita, the Bible, the Upanishads, the Koran... He became a disciple of Osho Rajneesh but reached a dead end when he couldn’t find answers. Then he met UG Krishnamurthy (spiritual guru) in whom he found solace. UG once said, “If anyone, anywhere has understood me, it’s Goldie.” Instead of revolting, he accepted life as it came. He was against pretence. He never missed his past glory. He’d say it was a closed chapter. He didn’t want to write his biography. He believed, “Joh hoga so hogaya. My work will speak for itself.” Towards the end he had developed a heart problem. Vaibhav had assisted him in Jaana Na Hum Se Door and then went off to attend a filmmaking course at the Lee Strasburg Institute in New York. Vaibhav returned in January 2004. Goldie passed away in February 2004. In fact, having some knowledge of astrology Goldie had predicted that February 2004 was a bad month for him. His only regret was that he couldn’t do much for our son Vaibhav, who’s inherited his sensibilities. After he passed away you do tend to get isolated. But it’s fine. I’ve taken to singing – something I was always interested in. And in my circle of friends I often sing Tere mere sapne ab ek rang hai... Taxi Driver was inspired by Hollywood’s noir movement Nau Do Gyarah was an urban thriller/road film with elements borrowed from Frank Capra’s It Happened One Night (1934). Vijay Anand filmed Aaja panchi akela hai in a constricted space (a room and a toilet!) in Nau Do Gyarah. The film’s other hits were Hum hain rahi pyar ke and Aankhon mein kya ji.
- 153. Rhim jhim ketarane (Kala Bazar) is remembered for Dev Anand and Waheeda Rehman under an umbrella! In Tere Ghar Ke Saamne, Anand used camera tricks where Dev Anand imagines Nutan inside his drink! Then Dev’s aide puts an ice cube into the glass causing Nutan to shiver! Hum Dono with Sahir Ludhianvi’s lyrics and Jaidev’s music gave the immortal gems Allah tero naam and Abhi na jaao choddh kar. Aaj phir jeene ki tamanna hai (Guide) had Waheeda dancing along the ledge of the temple while Tere mere sapne was canned in just three shots. RD Burman’s rock n roll inspired score in Teesri Manzil gave Shammi Kapoor his rockstar image. Jewel Thief’s Hothon pe aisi baat had Vyjayanthimala gliding through an entire stanza in one take. Johny Mera Naam had Hema Malini riding on a cable T-bar on Dev Aand’s lap The great music and picturisation of Anand’s films can largely be credited to composer SD Burman, lyricist Shailendra and cinematographer Fali Mistry who translated his vision.
- 154. VIJAY ANAND- AWriter, Director Ahead of His Time. Sunday, 22 January 2017 Ref : https://bolywoodfiles.blogspot.com/2017/01/vijay-anand-writer-director-ahead-of.html Remembering Vijay Anand also known as Goldie on his 83rd Birth Anniversary today who was the visionary director of some of Bollywood’s most respected movies. He was born on 22nd Jan 1934 in Gurdaspur Punjab,he was the youngest of the four Anand siblings, including producer and director Chetan Anand and Dev Anand. He lost his mother when he was only seven, and he along with his other siblings went to live with his eldest brother Chetan and his wife Uma who raised him like their own child. While still a teenager, he co-wrote the script with his sister-in-law Uma for his filmmaker brother Chetan Anand. The film was "Taxi Driver" (1954) where his other brother Dev Anand played the title role, and it was inspired by the crime thrillers of Hollywood. It was released through their home production company Navketan and became Goldie's first big hit. "Nau Do Gyarah" (1957) was Vijay Anand's directorial debut, which was based on his own script. The film starred his brother Dev Anand and Dev's wife Kalpana Kartik. It became another hit. His next film was the story of a black marketer and his redemption in "Kaala Bazaar" (1960). The film starred his brother Dev again, along with Waheeda Rehman. This was also the only film where all three brothers (Chetan, Dev, and Vijay Anand) acted together.The movie was a super hit. In 1961 another hit movie came HUM DONO,the screenplay was written by him,it is said that he was the director of that film though Amarjeet's name appeared as Director. In 1963 "Tere Ghar ke Saamne" (1963) with Dev Anand and Nutan was a romantic comedy that became another hit.
- 155. His masterpiece asa filmmaker came with "Guide" (1965). Based on RK. Narayan's novel The Guide, the film is unforgettable for its bold themes about how a man (Dev Anand) and woman (Waheeda Rehman) live together outside the sanctity of a marriage. Composer S.D. Burman's songs were given stunning visuals. The film became a huge hit and won several major awards, including two Filmfare Awards for Vijay himself for directing and for writing the dialogue for the film. With Guide, Vijay Anand became the Hindi film industry's big star filmmaker. In the next year "Teesri Manzil" (1966) for producer and writer Nasir Husain. The film starred Shammi Kapoor and Asha Parekh and gave composer R.D. Burman (S.D. Burman's son) his first major success. In the next year(1967) another hit movie Jewl Thief released,Vijay Anand was at the pinnacle of his fame, it seemed like Vijay Anand can do no wrong. But his next film(Khin Aur Chal) proved otherwise. After three hit films in a row (Guide, Teesri Manzil, Jewel Thief), Vijay Anand experienced his first flop.It is said that the financer of that film intentionly made it to be flopped by releasing this film in only one show and that too without publicity. He bounced back with "Johnny Mera Naam" (1970), which grabbed the top spot at the box office in 1970. It starred Dev Anand and Hema Malini. Vijay Anand won two Filmfare Awards, one for editing and the other one for his screenplay. In 1971 another film "Tere Mere Sapne" (1971) based on the A.J. Cronin's novel "The Citadel." He also played a supporting role as an alcoholic doctor. His acting was appreciated in that film,the film was not a major hit. His subsequent films like "Blackmail" (1973), "Chhupa Rustom" (1973), "Bullet" (1976) as a director were major disappointments.
- 156. In the midseventies he was more inclined tqwards acting in films, He acted in two major hit films, Kora Kagaz(1974) and Main Tulsi Tere Aangan ki (1978), In 1997, his older brother Chetan Anand's death devastated him. In 2001, he took over as the new censor board chief after Asha Parekh finished out her controversial three year term. His first marriage was with Loveleen, a marriage which took place when Vijay Anand was influenced by Rajneesh,and Lovleen had come to interview him for Russian Times, and wanted to marry him. This marriage was later dissolved by Rajneesh himself, when the couple could not go together. His second marriage was with Sushma Kohli, his sister's daughter. They have a son, Vaibhav, He died on February 23, 2004 due to a heart attack that time he was in the process of making another film with brother Dev Anand. My Tribute to him GOLDIE VIJAY ANAND ON HIMSELF, FILMS & JOURNEY OF LIFE I love making films but I don’t lose out much if I don’t. I am inspired by the philosophy of Buddha and Vivekananda. I am spiritually inclined. In the core of the heart, profession is secondary. “Movies are maya — an illusion that works as long as it lasts,” says , I don’t have the drive to fight and win. I am a researcher of deeper mystery. It may not be a result- oriented journey, but it’s still a self-satisfying one. So I won’t leave my legacy to anybody.
- 157. He gave directorsthe status of a star Ref : http://in.rediff.com/movies/2004/feb/23vijay.htm Source: PTIFebruary 23, 2004 16:55 IST A stunned film industry today mourned the death of noted filmmaker Vijay Anand. Anand made a deep impact in the Hindi film industry with films like Guide, Tere Mere Sapne and the action-packed Johnny Mera Naam. Vijay AnandProducer Gulshan Rai's son Rajiv said it was the success of Johnny Mera Naam which consolidated his father's (and producer of Johnny Mera Naam) position as a leading filmmaker. Vijay was a committed filmmaker and never compromised on principles, he added. Filmmaker and television personality Ramanand Sagar said Anand was a respected filmmaker and his Guide remains a landmark film in the history of mainstream cinema. Producer-director Anil Sharma said Anand was a dedicated filmmaker who gave a new dimension into filmmaking by giving a Hollywoodian sheen and gloss to movies with his action-packed Jewel Thief and Ram Balram. Waheeda Rehman, who acted in Guide, said he was a fascinating filmmaker: "With his deft direction, he balanced the overall tempo of the film." Bigwigs Yash Chopra, Subhash Ghai, Rajkumar Santoshi said, "With Vijay Anand's death, Bollywood had lost a committed filmmaker." Director Mahesh Bhatt said, "Vijay Anand's death marks the passing away of a true, original mind. Vijay had charisma and cinematic dazzle. He was the first who gave Indian film directors the status of a star."
- 158. Goldie: Guide fornew filmmakers Ref : http://www.tribuneindia.com/2004/20040307/spectrum/main5.htm Sunday, March 7, 2004 Devinder Bir Kaur HIS name commanded respect. He was a trusted filmmaker who regaled cinegoers with films that were as flawless and priceless as Guide, Tere Mere Sapne, Taxi Driver, Jewel Thief, Teesri Manzil and Johnny Mera Naam, to name a few. Vijay, aka Goldie, the kid brother of stalwarts Chetan Anand and Dev Anand, was indeed an ace filmmaker, much ahead of his times. However, at the Mumbai International Film Festival held in Mumbai recently, while accepting a lifetime achievement award, Vijay Anand said 50 per cent of the credit for the award went to his eldest brother Chetan Anand from whom he learnt the craft of script-writing and direction. Goldie was still a child when his mother died in Gurdaspur and he shifted to Chetan Bhai's house at Bandra, Bombay. It was a house where at any given time a drama rehearsal would be on. Goldie watched from the wings in sheer wonderment. Later, he participated in them and wrote and produced plays in college. He had discovered a world he loved. Eventually, in 1957, when Goldie wrote a screenplay, he hesitatingly showed it to Chetan Anand. The latter, being out of work, accepted it and shot Nau Do Gyarah in 40 days — with ghar ka hero (Dev Anand), ghar ki heroine' (Kalpana Kartik who was to marry Dev Anand), cameraman and music director S.D. Burman. Both Chetan and Dev Anand got a boost from the film, but Goldie, the writer, a small voice in the family, was sidetracked. Consequently, when he wrote his next script Taxi Driver, he gave it to Dev Anand (Chetan Anand had left their Navketan banner to do his own thing) on the condition that he (Goldie) would direct it. A reluctant Dev relented. Goldie left his studies (he was doing MA) and plunged into Taxi Driver. The film was a silver jubilee hit! Goldie never looked back. He then directed Kala Bazaar (1960) and Tere Ghar Ke Saamne (1963) for Navketan Productions.
- 159. But it isfor the masterpiece Guide (1965) wherein lies Vijay Anand's claim to immortality. He himself often said warily, 'Guide looms over the rest of my work." Interestingly, Vijay Anand had tried his best to dissuade Dev Anand from making the film. Dev was obsessed with the idea of turning R.K. Narayan's novel into a Hindi-English bilingual in collaboration with Pearl S. Buck. Vijay Anand was horrified when he read the script and thought it would ruin the image of the country abroad. The first scene had Marco and Rosie disembarking at the station and encountering Raju guide. In the next shot Rosie and the guide were in bed together! Vijay Anand refused to direct the film. Old friend Raj Khosla was brought in for the Hindi version and Hollywood director Tad Danielewski for the English version. For the heroine, original choices Vyjayanthimala or Padmini were rejected as Danielewski found them too buxom. He preferred Leela Naidu. But she was no dancer. Finally, Waheeda Rehman was brought in. She refused to work with Raj Khosla. In desperation, Dev Anand turned to Chetan Anand. But Chetan was to leave for Ladakh to shoot for Haqeeqat. Dev once again turned to his younger brother Goldie. Vijay Anand agreed, provided he was given complete creative freedom, which included rewriting the script. He went off to Khandala and after 18 days returned with a new script. The shooting in Udaipur was completed in 80 shifts. S.D. Burman's brilliant music, Fali Mistry's excellent photography and Waheeda's mind-blowing performance, especially the dances, made Guide the film to stand the test of time. However, Guide was slow to catch the audience's interest. But when it did, it ran to full houses in Bombay. Just then Gujarat was hit by a drought. Posters came up everywhere saying: Guide prays for rain. The film, expectedly had a silver jubilee run in Gujarat. It won eight Filmfare Awards. Next Vijay Anand directed Teesri Manzil for Nasir Hussain. Guide had taken its toll on him and he wanted to make a light film which would make for easy viewing. He gave thrillers the kind of varnish job that made them gleam. And today, Vijay Anand's Teesri Manzil (1966) and Jewel Thief (1967) are acknowledged as the best among the who-murdered-whom genre. Jewel Thief was followed by Johnny Mera Naam (1970), another superhit. It was so slick that the Principal of the FTII, Pune, showed his students this film to give them an example of a perfect mix of art and the commercial. Chhupa Rustom, Hum Rahe Na Hum, Bullet, Jaan Haazir Hai, Ram Balram and Rajput followed. The veteran filmmaker's films were talked about for their song picturisations. They were never used as items; they carried the story forward. Who can forget Waheeda's burst of freedom in the song Aaj phir jeene ki tamanna hai in Guide? A director par excellence, Vijay Anand's acting skills came through when he starred in films like Kala Bazaar, Haqeeqat, Double Cross, Tere Mere Sapne, Kora Kagaz, Main Tulsi Tere Aangan ki and Hum Rahe Na Hum. He played the role of a detective, Sam, in TV serial Tehkikaat a few years ago. His last film Jaana Na Dil Se Door is still incomplete. His son, 22-year-old Vaibhav, who had been kept away from the showbiz, had recently expressed a desire to go to America to learn filmmaking. His friends asked him why he wanted to go abroad when he had an institution right at home. That was when Vaibhav realised that his father was a filmmaker. He then saw Vijay Anand's films and was learning the craft of filmmaking from him. A pity Vijay Anand is no more to see how his protege would have shaped up as a filmmaker.
- 160. The man whorevolutionized hindi Bollywood songs Ref : http://specials.rediff.com/movies/2004/feb/24rah1.htm Besides directing films that have become indelible classics (Guide, Teesri Manzil, Johnny Mera Naam), the late Vijay Anand was a whirlwind who revolutionised our notions of that Hindi film staple: the songs. Anand created a frieze of images around the actors -- with long shots, plush backdrops, frenzied intercutting and a certain subtextual busyness -- that captivated the eye like never before. rediff.com trains the arclights on six super sizzlers from the Anand repertoire. 1. Aaj phir jeene ki tamanna hai (Guide) Vijay Anand's Guide is a celluloid tone poem, narrating the story of two passionate souls: Raju Guide and the married-to-another Rosie. Both are imbued with their fair share of venal failings -- ambitions, insecurities and jealousies. Since Rosie nurtures ambitions of becoming a famous dancer, Vijay Anand got to showcase actress Waheeda Rehman’s talent in several show stoppers, including the vibrantly colourful Holi song, Piya tohse naina lage re, which lasts for an incredible eight minutes. But the most unforgettable song in the film is Kaaton se kheech ke yeh aanchal/ Aaj phir jeene ki tamanna hai/ Aaj phir marne ka irada hai. Egged on by Raju (Dev Anand), Rosie has finally decided to walk out on her husband and the claustrophobic life he expected her to live. Embarking on a new life with Raju, Rosie's sheer exultation in her new freedom is beautifully captured by Vijay Anand. It is evident in Waheeda’s frenzied dancing, her running on the edge of a precipice in keeping with her dangerous new desires; in her riding in a cart and throwing a pot onto the ground, thereby metaphorically shattering all conventions. 2.Hothon pe aisi baat mein daba ke chali ayee (Jewel Thief) Famous for its shot-in-a-single-take climax song, Hothon pe aisi baat, Jewel Thief is a labyrinthine mystery with mistaken identities and a Sixth Sense style shock ending.
- 161. The climax, setin gorgeous Gangtok, culminates in a plot to rob the king’s jewels. The villains make the captive heroine (Vyjayanthimala) dance in the king’s court to Hothon pe aisi baat, even as she tries to warn off the brainwashed hero Dev Anand. Vijay Anand effectively showcases Vyjayanthimala’s dancing prowess as (despite complex dance movements, camera placements and the need to manoeuvre through hordes of extras), she famously glides through an entire stanza of the song in one single take. And in the process, the breathless tension about whether Dev’s memory will return effectively crescendos to fever pitch. 3.Pal bhar ke liye koi hame pyar kar le (Johnny Mera Naam) In a cinematic culture awash with romantic numbers, Vijay Anand enhanced the melodious romantic numbers of Johnny Mera Naam to stand-out status with his picturisation. The cat and mouse game between a swindler (Hema Malini) and a secret police officer (Dev Anand) is adeptly evoked in O mere raja with an inwardly grimacing Hema forced to keep an amiable face even as she perilously rides a cable T-bar on Dev’s lap. Their budding romance is entrancingly captured in Pal bhar ke liye koi humein pyar kar le, in which a sleepy Hema is prevented from retiring to bed by Dev who pops up in unceasing succession from a profusion of windows. 4.Mile mile do badan (Blackmail) The misunderstandings between a scientist (Dharmendra, would you believe?), and his young wife (Raakhee) are stoked to blazing heights by her jealous ex-admirer-cum- blackmailer Shatrughan Sinha. The film’s finale takes place amidst a raging forest fire. The long-estranged lead pair have finally reconciled, but are now hiding from the villains and ferocious hunting dogs by sandwiching themselves inside a wood pile, and the song Mile mile do badan plays on the soundtrack. Anand uses his characters’ extreme proximity to each other to project a primal physicality and a heightened sense of romance. The mix of sensuality and danger has rarely been so heady.
- 162. 5.Aaja aaja, mainhoon pyar tera (Teesri Manzil) R D Burman's premier hit score and Vijay Anand's slick framings and imaginative shot takings (the camera- looking-though-a-keyhole shot is an eternal classic) in this murder mystery, is still feel fresh and innovative. The thriller emerges as a hybrid with several of producer Nasir Hussain's typical romantic high jinks thrown in but Anand's hip directorial stamp is unmistakable. The very fashionable rock and roll drum beats of Aaja aaja still sells ketchup decades later. And Shammi Kapoor and Asha Parekh's head-swivelling dance steps were the kind never seen before. Aaja aaja also has one of the best codas ever for a song -- the tempo and the aaja aajas build up in a hyperactive fashion with a furious montage of flash cuts of Shammi, Asha and the other dancers. The culminating climax is symbolically reached when a fat woman (Indira Bansal) can't keep up the pace and collapses. 6.Dil ka bhanwar kare pukar (Tere Ghar Ke Saamne) Let’s end the list with the film with which Anand found his groove as far as song picturisations went. Each song is a nugget in this movie about neighbours-cum-lovers (Dev Anand and Nutan), caught in the crossfire between warring parents. The title song has Dev Anand imaginatively visualising Nutan in his glass of whiskey. When he splashes a cube of ice into the glass, Nutan gets a case of the shivers. In Tu kahan yeh bata is nashili raat mein only Dev is shown combing the streets till the finale when he spots Nutan, who throws open her balcony doors, lighting up like a 1000-watt bulb and filling the screen with radiance. And in Dil ka bhanwar, Vijay Anand places his stars inside the Qutub Minar. Anand’s depiction of their romance -- he chivalrously offers her a jacket to avoid the glare of curious tourists, she revels in the joy of being with him and in the exhilaration of the breeze at the top of the tower by throwing open her arms in sheer elation -- is forever young and contagious.
- 163. Master of sophisticatedcinema Ref : http://www.hindu.com/fr/2004/03/05/stories/2004030501260300.htm MARCH 05, 2004 00:00 IST UPDATED: MARCH 05, 2004 00:00 IST FOR ONCE in public, Dev Anand was emotional and looked dishevelled. Unable to hide his grief at the death of his younger brother, well known director-actor Vijay (Goldie) Anand at a Mumbai hospital last week Dev saab, choking back the tears, muttered, "He was my true guide. There is nothing left for us." The reference to "Guide" was deliberate. It was the most famous Navketan production, based on the R. K. Narayan novel, starring Dev Anand and directed by Goldie. ``Guide'' was a new challenge to the Anand brothers. Goldie had the reputation of being at home with urbane, sophisticated themes ("Nau Do Gyarah'', "Tere Mere Sapne'', "Tere Ghar Ke Saamne'') and Dev Anand was uneasy when not playing the city slicker roles. "Guide'' changed all that and revealed new dimensions of both the director and the hero. It was also embellished by S. D. Burman's unforgettable music score and the beauty of heroine Waheeda Rehman. The youngest of the talented Anand brothers, Vijay Anand, who began his career in 1957 with "Nau Do Gyarah'' excelled in another genre of films, the slick crime thriller. Considering the lack of technical facilities of the 1960s, we are amazed watching films like "Teesri Manzil'', "Johnny Mera Naam'', "Jewel Thief'' and "Blackmail''. "Violence is not needed for a successful thriller. It also does not need larger-than- life villains," Vijay Anand once told me. The technical effects and the theme of "Blackmail'' (a different kind of love triangle) were unique but the film did not click because it was ahead of its time. Mumbai's top ranking expert in the Hindi film music of the golden era (1940s to 1960s), Manohar Iyer found Vijay Anand matchless in handling song sequences. "I think music runs in the Anand family," he said.
- 164. Madhur Bhandarkar, anotherGoldie fan who had seen "Guide'' 30 times agrees. "Have you seen better song picturisation than the famous, `O Haseena' (`Teesri Manzil'), `Kaaton Se Keech' (`Guide') and `Honthon Mein Aisi Baat' numbers (`Jewel Thief')? He relished the freedom while directing the Nav Ketan films. "The director should be the most important member of the unit," he told me once. Trimurti films' chief and producer Gulshan Rai provided this freedom to director Goldie. Result? Their film, "Johnny Mera Naam'' became one of the biggest blockbusters in Hindi cinema. He also edited the film with great flair. About his acting roles he shrugged and explained, "It was part of the game. I could not say no to the producers. But I did get some good roles, "Kora Kaagaz'' and "Mein Tulsi Tere Aangan Ki". And don't forget `Haqueeqat' which was directed by Chetan saab, I had a good role in that film." He accepted the post of the Censor Board chief to serve the film industry. And he had strong views. Vijay Anand was not for films which showed how evil acts were planned and carried out. During his college days he saw cinema tickets being sold in the black market outside all the theatres. Well, he directed a film on the subject. "Kala Bazaar'' turned out to be a hit. Vijay Anand refuted the much-discussed theory of the `corrupting influence' of cinema. But he felt strongly about keeping children away from bad films and lamented that except in cities like Mumbai, theatres in the rest of the country seldom bothered about admitting children to watch films with an `Adult' certificate. He found nothing wrong if films dealt with topics like homosexuality, incest and so on, provided the treatment was `adult' and sensitive. Vijay Anand was a man of conviction and he quit the Censor Board over the controversy about his proposal to have special, strictly-supervised theatres to screen adult films. Information and Broadcasting Minister Sushma Swaraj was not amused. There were rumours that the proposal was scuttled by the cash-rich blue film video exhibitor lobby. The industry regretted his departure — he was a gentleman to the core who could have offered a fair deal to the film industry as the Censor Board Chief.
- 165. Vijay Anand, the‘guide’ to Dev Anand who was more than just a noir filmmaker Ref : https://theprint.in/theprint-profile/vijay-anand-the-guide-to-dev-anand-who-was-more-than-just- a-noir-filmmaker/181488/ ANUSUYA SOM 22 January, 2019 5:25 pm IST On his 85th birth anniversary, ThePrint takes a look at the life of Goldie Anand who made his most memorable films under the banner of his brother Dev Anand. “Cinema is far more varied than poetry, music, drama, painting…it is more of architecture! But architecture is frozen… Film is a flowing architecture!” – Vijay Anand. Close your eyes and imagine the film Guide. What do you think of? Dev Anand. Waheeda Rahman. The songs. Less well-known is that the 1965 film was the making of Vijay — Dev Anand’s younger brother, who directed the film. In fact, Vijay’s career has been inextricably linked with that of Dev Anand and his other brother, Chetan Anand. He began his film career with Dev Anand and when he died in 2004, he was working on a project for his brother. Together, Dev Anand and Vijay Anand made 10 films as director and actor, respectively. When Vijay passed away after a heart attack, an inconsolable Dev Anand referred to the film. He said in an interview to The Hindu, “He was my true guide. There is nothing left for us.” The reference to Guide was deliberate. Guide is considered Vijay’s finest work. The film, based on the novel by R.K. Narayan, The Guide (1958), was edited, directed and written by Vijay and starred Dev Anand and Waheeda. It was a box office success and went on to win three Filmfare awards. Guide was also India’s official entry to Oscar’s in 1966. The film is famously remembered for its music and much loved songs like Aaj Phir Jaane ki Tamnna Hai. Filmmaker Madhur Bhandarkar said in an interview to The Hindu that he had seen the movie over 30 times. Vijay went onto enjoy a prolific career in the industry, as director, writer and actor. His successful films include Kala Bazar (1959), Jewel Thief (1967), Johny Mera Naam (1970), Tere Mere Sapne (1971), and Chuppa Rustam (1973). On his 85th birth anniversary, ThePrint takes a look at the life of Goldie, as Vijay was fondly called, who directed 17 movies, acted in 19 and wrote over a dozen movies, many under the family banner Navketan Films, established in 1949 by brothers Dev and Chetan Anand. Also read: Lessons in stardom from Dev Anand Anand’s Music Vijay’s movies are remembered for their music, songs and well choreographed films as much as their star power. Remember Shammi Kapoor’s dance in Teesri Manzil‘s ‘O Haseena Zulfowali’, Vyjayanthimala in Jewel Thief’s ‘Honto Mein Aisi Baat‘ and Waheeda Rehman in Guide. In an interview with Nasreen Munni Kabir he said, “I love songs. I never dreamt of making films without them.”
- 166. Vijay worked withmany of Bollywood’s finest musicians, like lyricist Shailendra, and music directors S.D. Burman and R.D. Burman. Early Life Born in Gurdaspur in 1934, Vijay was the youngest of the three Anand brothers and a sister. His mother died when he was six years old. His first script for Nau Do Gyarah in 1957 could not find a producer. Dev Anand heard the script, liked it, and though he was reluctant to let the novice direct the movie he later relented and Vijay’s career took off. Filmmaking and acting skills Vijay was a versatile director, making films across genres, but he his legacy is most widely felt on the noir thriller genre, particularly Jewel Thief and Johny Mera Naam. New-age filmmaker Sriram Raghavan, another noir proponent, has consistently paid homage to Vijay’s work though his films. The most crucial aspect of his filmmaking, though, was his modern approach to characters in his films, like Tere Ghar Ke Saamne (1963) or Tere Mere Sapne. Vijay tried his hand at acting as well. “(Acting) was part of the game. But I did get some good roles, Kora Kaagaz and Main Tulsi Tere Aangan Ki.” When Doordarshan opened up in India, during the 1980s, Anand acted in the TV series produced by Chetan, Tehkikaat, in which he played a detective — Sam. Adult films and CBFC stint : Vijay also served as chairman of the Central Board of Film Certification in 2002 but resigned within six months due to the ideological difference with the Atal Bihari Vajpayee government over the screening of adult rated films. The then Information and Broadcasting Minister Sushma Swaraj and he disagreed on the screening of X rated films in theatres. At a press conference she said, “I am even ashamed of telling publicly what his proposals are.” Vijay passed away on February 23, 2004 due to a heart attack while he was making another film for Dev Anand.
- 167. With Navketan, Anandbrothers among Bollywood’s first families By - TNNUpdated: Dec 5, 2011, 10:35 IST Ref : https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/with-navketan-anand- brothers-among-bollywoodamprsquos-first-families/articleshow/10988132.cms The Kapoors are often referred to as the first family of Bollywood, but not many realize that the Anand brothers — Chetan, Dev and Vijay — formed a creative combination with an equally rich legacy. Dev and his elder brother Chetan, founded Navketan Films in 1949, a year after Raj Kapoor established RK Films, which make them two of filmdom’s oldest surviving banners. The Anands have, however, proved to be far more prolific, producing 35 motion pictures under Navketan as compared to the 20 films made by the Kapoor clan. Chetan was the trailblazer of his generation. A graduate of the Government College in Lahore, he emerged as a multi-faceted figure who dabbled in journalism (BBC) and teaching (Doon School) before moving on to theatre and finally movies His first venture as a director was a milestone for the indus try. Neecha Nagar, shorn of songs and dances, was a realistic take on the freedom move ment which won the prestigious Palme d’Or (best film) at Cannes in 1946. His success and encouragement drew his younger brother Dev into the world of cinema. After the latter established himself with a few hits, the duo set up Navketan (which means newness in Sanskrit). The company, true to its name, produced a range of path breaking noir films dwelling on the darker side of urban life in the 1950s. Its principal charac ters were drunks, card-sharpers taxi drivers and bootleggers. Chetan’s Leftist outlook and the influence of the Indian People’s Theatre Association, where he spent his formative years were evident in their work Navketan became the training ground and launch pad for leg ends such as Guru Dutt, Jaidev Sahir Ludhianvi and Balraj Sahni. “I remember when Dev Ana nd would come by occasionally to pick up Guru Dutt. He was al ready on the top of his career but he was a shy and quiet per son. It’s amazing how he trans formed himself,” said Lalita Lajmi, painter and Guru Dutt’s sister. “Of course, my brother and he went their own ways finally.” It was the entry of the youngest of the Anand triumvirate Vijay, which brought about a shift in Dev Anand’s career. The Dev Vijay collaboration as actor-director resulted in a series of dramatic thrillers and screwball comed ies that consolidated the by then middle-aged star’s hold over the box-office. Dev moved away from his older brother’s brooding art istry to burnish his own image as the romantic man-about-town ‘Helped strugglers’ Dev Anand was the first person I met in the film industry who did not make strugglers feel small. He used to take me around in his Fiat and once or twice dropped me to FTII, where I was studying. He gave me my first role in Prem Pujari. Later, he offered me Gambler, which had a bigger role. I remember director Amarjeet pulling me up for shouting at Dev saab in a scene where I had to put a knife to his neck. “How dare you speak that way to Dev Anand?” he yelled. Dev saab stopped Amarjeet. “Shatru is in character. Let him do the scene.” I was much appreciated for that scene later. — SHATRUGHAN SINHA
- 168. Vijay--known for hisdirection and oratory skills Ref : https://www.outlookindia.com/newswire/story/vijay-known-for-his-direction-and-oratory- skills/203142 23 FEBRUARY 2004Last Updated at 10:27 AMNATIONAL Mumbai, Feb 23 (PTI) Actor-director and former Chairman of the Censor Board Vijay Anand, who passed away early today, was known for his strong direction skills and fine oratory. Vijay began his career with film `Nau Do Gyarah' (1957) and went on to direct a number of films `Kala Bazaar', `Tere Ghar Ke Samne', `Guide', `Teesri Manzil', `Jewel Thief', `Kahin Aur Chal', `Johny Mera Naam', `Tere Mere Sapne'. The 71-year-old Vijay was the youngest of the four Anand siblings and took up to films like his elder brothers, Chetan and Dev Anand. His other films included, `Chuppa Rustam,' `Black Mail,' `Bullet,' `Ram Balaram' and `Rajput.' He also directed the box office hit, `Teesri Manzil,' outside his home banner, Navketan Productions. Vijay's acting skills came through when he starred in some of the films like `Kala Bazaar,' `Double Cross,' `Haqueeqat,' `Barood Road,' `Main Tulsi Tere Aangan Ki,' `Hum Rahe Na Hum.' The outspoken Vijay, popularly known as `Goldie', had resigned from the Censor Board following differences of opinion over the censorship issue. Goldie had also planned an ambitious project to launch a channel, Lamhas, which would produce quality television programmes.
- 169. They ruled anera but there is no happy ending for them Directors are supposed to be the driving force behind films, are the one with vision, technical knowhow is secondary. Ref : https://www.newkerala.com/news/read/99901/they-ruled-an-era-but-there-is-no-happy-ending- for-them.html But, how does a director with a successful track record, a number of hits behind him, lose the plot and fade out? An editor, a sound engineer, a cinematographer and other technicians don't fade. They keep up with the new technologies in their fields as and when needed. But, directors are supposed to be the driving force behind films, are the ones with vision. They translate the writer's ideas on screen. There are a few examples where most successful film directors come to a dead end! Manmohan Desai to start with. Desai started off early with a mythological film under a different name. He was barely out of his teens then. He immediately moved on to the big league with "Chhalia" (1960) starring Raj Kapoor and Nutan. His first success came only in 1970 with the Rajesh Khanna starrer "Sachaa Jhutha" followed by "Bhai Ho To Aisa", "Raampur Ka Lakshaman", "Aa Gale Lag Jaa" (hit in parts of India) and "Roti". With such a glorious success record, it was time he launched his own production house beginning with "Amar Akbar Anthony". Everybody, including the film's stars thought the idea was corny, that of three brothers separating when young and being brought up by a Hindu, Muslim and a Catholic family, respectively! Desai made a few more home productions and many outside assignments continuing with hits. He started taking his audience for granted. Amitabh Bachchan, a regular feature in his films, usually cast against the likes of glam girls Zeenat Aman or Parveen Babi, was paired with much lesser Amrita Singh, Rati Agnihotri and such. Desai also kept making similar films his argument being, "Why should I derail a train which is moving smoothly?" "Coolie", a mediocre film, worked as Desai decided to highlight on screen the Bachchan accident that happened on the sets while shooting the film. "Mard" was ranked poor and just scraped through. His next two directorial ventures, "Gangaa Jamunaa Saraswathi" for S. Raamnathan and home production, "Toofan", came as a cropper. His favourite star, Bachchan was no more inclined to work with him. That was demoralising. His efforts to launch his son, Ketan Desai, as a director also did not work out. That was disheartening enough for a man with a glorious track record to die an unnatural death. Talking of inspirations, where did Desai's inspiration come from? It came from the people around him. He lived in the middle and lower middle class Khetwadi area of Mumbai. He played cricket with the local lads in the nearby municipal grounds every Sunday. Then, he moved to an area at the other extreme, Napean Sea Road, a seven-storey apartment on an incline where each flat was like a bungalow with an in-house garden and a private parking lot. Unbelievable, but despite all his wealth and success, he felt out of place here. And soon decided to give up his luxurious home in South Mumbai and moved back to his old Khetwadi home where he got his inspirations from to make the kind of films he made. The best example would be that of Vijay Anand, acclaimed as a genius of a director. Some of his films rate as classics besides excelling technically in their time. He was multitalented being a writer, editor as well as a director. His sense of script was unique. It was when he decided to add one more credit to his name, as an actor, that his fall began. Incidentally, his fall was also incidental to the fall of his brother, Dev Anand, whose films Vijay directed.
- 170. His inspiration seemedto stem from the fact that most of the films he directed were for the family or for his brother playing the lead. The other films he directed were either average or not accepted by the audience. But, when Vijay Anand took a fancy to acting and playing the lead at a rather late stage in life, his career stumbled. It was okay till he made cameos in some films. Almost all the films where he played the male lead flopped, save for "Kora Kagaz", was fair in "Bombay Circuit" and "Main Tulsi Tere Aangan Ki", which was more of an Asha Parekh-Nutan film. Dev Anand, on his part decided to direct his own films which was not his forte. He directed 20 films since and, save for just two, "Des Pardes" and "Hare Rama Hare Krishn"', which managed to pass muster, the rest were disasters at the box office. A Manmohan Desai contemporary was Prakash Mehra, who kept on delivering hit after hit with Bachchan. While Desai made mass appealing films, Mehra's bent was more towards emotional content. Mehra's track record was as impressive as that of Desai. The ace up his sleeve was also Bachchan. Making his debut as director with "Haseena Maan Jaayegi", followed by "Mela" and "Aan Baan", his first success was "Samadhi", a Dharmendra starrer. But, soon he came across a pair of new writers, Salim- Javed, who sold him the script of "Zanjeer". No reigning star was willing to do the film. On the veteran actor Pran's suggestion it is said, Mehra looked up Bachchan, a struggling actor, and the rest, as they say, is history. Prakash Mehra had arrived and so had Bachchan, the megastar in the making. Mehra and Bachchan went on to make a few more hits in "Haath Ki Safaai", "Hera Pheri", "Muqaddar Ka Sikandar", "Laawaris", "Namak Halaal" and "Sharaabi". All the other films he directed with other actors as gap fillers flopped badly. His major setback came in "Jaadugar" with Bachchan again. The story of the film happened to be the same as Manmohan Desai's "Toofan", which released first while "Jaadugar" followed two weeks later. Bachchan deserted both the makers thereafter which as good as put paid to the careers of both. Mehra directed two at the beginning of his career which passed muster, nine films with Bachchan. The 10 he made with other stars while also making films with Bachchan, all failed badly. Then there was Ramesh Sippy who gave racy musical hits like "Andaaz" and "Seeta Aur Geeta" at the start of his stint as a director. He peaked with "Sholay", the biggest hit the Hindi film industry produced. May be it was his youthful enthusiasm. "Sholay's" success was not without hiccups as the film opened to a tepid response and mostly negative public response. The trade as well as the media had written it off. Don't know if that shook his self-confidence but his next, "Shaan", where he put together a mammoth star cast of Bachchan, Shashi Kapoor, Sunil Dutt, Shatrughan Sinha along with Rakhee, Parveen Babi and others, proved to be a debacle. Sippy's other films by him which followed, "Shakti", "Saagar", "Zameen", "Bhrashtachar", "Akayla" or "Zamaana Deewana" could not replicate his earlier success as each of these films failed. Was it because the people were accepting much more from the man who delivered 'Sholay'? Like Manmohan Desai, another case of running out of inspiration gained through life and surroundings is the director N. Chandra. He spent his growing years in a chawl in Mumbai's Worli area. He began his film career in the editing department and like most who come to the film industry, always nursed the aspirations to make his own films. Chandra made his directorial debut with the film "Ankus", about four aimless youth in Mumbai. The film reflected his observations and experiences of the life around a chawl. His next was "Pratighaat" for which he did not deserve much credit since it was a frame to frame remake of a South Indian film. However, his next, "Tezaab", launched not only Chandra as a hit maker but also launched Madhuri Dixit on a glorious acting career. Chandra managed to give one more hit, "Narsimha'". He now had money and snapped his links with the chawl life and moved to a gated society in the suburbs. He just had his reputation of the maker of four hits but nothing to inspire him. He delivered a line-up of big budget films with the best of stars on the roll.
- 171. The directors mentionedhere made a splash. They became trendsetters, commanded their own audience and hence the price. Till it lasted. There were a lot of other directors who made films on regular basis: some worked, some did not. Shakti Samanta, Pramod Chakravorty, Raj Khosla, Chetan Anand, B.R. Chopra, Yash Chopra, Hrishikesh Mukherjee and Subhash Ghai to name a few. A hit or a flop once in a while did not affect their careers. These makers were an institution unto themselves. But, they also faded out as trends and the demands changed. The problem with the Indian filmmakers, as it is with film directors is that, in most cases, the only aspiration they have is to make films. They are not qualified to do anything else or have Plan B. In most cases, the refuge is bottle. @ The Box Office *The USP of "Ek Ladki Ko Dekha Toh Aisa Laga" were quite a few. It brought the father and daughter pair of Anil Kapoor and Sonam Kapoor together on screen. The title was inspired from a hit R.D. Burman song from the past Anil Kapoor film, "1942: A Love Story", and the maker of the film was the very same, Vinod Chopra Films. All to no avail. Here, the content sells. Not family pedigrees. As it were, the subject has limited appeal. "Ek Ladki Ko Dekha Toh Aisa Laga" comes a cropper. The film had a poor opening and, by Monday following its release, came to a point when the shows had to be cancelled due to lack of audience. The film has collected a meagre Rs 16 crore for its first (and last week). *"Manikarnika", Kangana Ranaut's ambitious foray into direction and venturing into a not so readily accepted historical theme of Rani Of Jhansi, is maintaining well so far. The film has added about Rs 21 crore for its second week taking its two week total to Rs 78 crore and may just sail through. *"Uri: The Surgical Strike" is scaling new heights every week and no opposition seems to affect it. For a non-established lead player and the rest of the star cast, the film asserts that the content and the public sentiments work more than anything. The film has collected Rs 199 crore in four weeks and is set to cross the Rs 200 crore mark as it enters into its fifth week. (The writer is a veteran film writer and box office analyst) (IANS | 1 year ago)
- 172. Vijay Anand -Master of Picturising Songs Tuesday, 22 January 2019 Like Dev Anand, Vijay Anand also believed that songs are the soul of Indian films. He knew songs are the glue that binds audiences to Hindi films. Close your eyes and you can see Shammi Kapoor with a scarf around his neck, singing “Deewana Mujhsa Nahin” on a colourful hilltop, or instantly recall the smiling faces of Dev Anand and Nutan as they sing “Dil Ka Bhanwar Kare Pukaar” on the inner stairway of the Qutab Minar. Few could rival his abilities when it came to writing natural and easy-flowing dialogue or picturising songs. Most directors depended on choreographers to picturise the songs and dances. He believed that if the song is picturised well it will bring back the audience back to the theatre. In this blog, we will look into some of his fantastically picturised songs. “Hum hain raahi pyaar ke hum se kuchh na boliye.” from Nau Do Gyarha was the first song he picturised. He didn't take any choreographer in that film. At that time he used to think a choreographer ruins songs. They interfere with the characterisation. He felt they impose their own personalities through their dance steps and don’t allow the artists to express themselves in the way they should. He used to say that if the director understands his subject, story and characters well, he will not compromise in any aspect. If he is working on a film like Devdas then he has to have songs for Devdas, not for Shammi Kapoor. As a director, he was very particular about its music. When he was working on Jewel Thief, he discussed with the composer. he told SD Burman: “Dada, this song is for Vyjayanthimala. I am going to use her talents as a dancer.” In Teesri Manzil P L Raj was the choreographer. He used to sit with the choreographer when they were composing the songs. That time all their assistants, including Saroj Khan, who was Sohanlal’s assistant. She would always ask him: “Goldie Saab, what do you want?” Sometimes he would tell them they were going off track. This is not the character. I did not want any artificiality. My characters should not become artificial when they sing. The characters are not supposed to be dancers in the film. They are merely expressing emotion through a song. He told in an interview that during the picturisation of Teesri Manzil's songs he told Shammi to Go wild!” He would because he had such a tremendous sense of rhythm. He just got into the music and every fibre of his body would dance. The only thing you had to make sure was that he did not overdo it. OK, the character is fooling about—this much is allowed, but not beyond that. All the expressions are in the song words: “Dekhiye… naazneen…” It’s all there, so you don’t have to do much more. In the Kala Bazar song “Khoya Khoya Chand”, Dev sings as he runs down the hill. He is madly in love and believes his dream is coming true. So let him move his hands— white hands against dark clothes—[as] he makes his way down the hill. It suited the scene, so once in a while, you let him go. In the same movie, there was a scene in a train compartment. Dev Anand is sitting on the lower berth and Waheeda Rehman is lying on the upper berth. The girl’s parents are also in the compartment. Dev saab sings the song: “Apni to har aah ek toofaan hai/ Kya karen woh jaan kar anjaan hai/ Uparwala jaan kar anjaan hai.” Waheeda Rehman is listening to him but she cannot move much because she’s lying on the upper berth. There is a double meaning behind the whole situation, which is beyond choreography.
- 173. Why Vijay Anandwas the master of song picturisations Back when songs were an essential part of a feature's storytelling process, the filmmaker set the bar high for song picturisations in Hindi cinema. For his 83rd birth anniversary on 22 January, Cinestaan.com looks at how he changed the way songs were filmed. Mumbai - 22 Jan 2017 10:00 IST, Updated : 21 Jan 2019 13:44 IST by SONAL PANDYA In one of the early Navketan films directed by Chetan Anand, Funtoosh (1956), younger brother Vijay was the assistant director who ended up taking responsibility of some of the film's song picturisations, something that remained with him as he eventually turned director. It was around this time that the directing baton got handed over from Chetan to Vijay, as Chetan never made another film for Navketan again. Dev played the title character Funtoosh, a longtime resident of the International Mental Asylum who is discharged in grand style. As he enters the real world, Funtoosh quickly loses his parting gifts and Vijay cleverly incorporated a song on an errant hat with an SD Burman composition 'Aye Meri Topi' written by Sahir Ludhianvi and sung by Kishore Kumar. The hat is always shown a little out of his reach throughout the song, until it meets with its crushing fate, literally. Vijay was also in charge of another song from the Funtoosh, ‘Dene Wala Jab Bhi Deta’, in which Dev changes his look several times. Examined now, the picturisation has some troubling racist undertones with its portrayal of the Chinese and African guests at the party. In the lovely, imaginative title song from Vijay Anand's Tere Ghar Ke Samne (1963), Dev Anand's character Rakesh sees the girl he loves, Sulekha, played by Nutan in a whiskey glass while sitting at a bar. Drowning his sorrows in the drink, the young architect is plotting a grand scheme to win over his father and future father-in-law with adjoining identical houses. The befuddled bartender has no idea who Rakesh is singing to, and when he adds an ice cube to his drink, the Nutan in the glass shivers to effect. In the song, Sulekha works as great motivation for Rakesh to finish his work. With lyrics by Hasrat Jaipuri and music splendidly composed by Navketan staple SD Burman, the duet was sung by Rafi and Lata Mangeshkar. The film was the last time Dev and Nutan acted onscreen together. Till today, this comedic film is also remembered for its timeless songs 'Tu Kahan' and 'Dil Ka Bhanwar' set in Shimla and Delhi with its charming lead pair. Vijay's next after Tere Ghar Ke Samne was the epic adaptation of RK Narayan's novel, The Guide. Navketan's first colour film showed off Vijay Anand's talent like never before. Once again, he stepped in after brother Chetan left the project due to creative differences. Showcasing the dancing skills of Waheeda Rehman as Rosie, the song 'Piya Tose Naina Laage Re' is an explosion of colour, as Rosie becomes Miss Nalini and rises up to stardom, from small arenas to the big league. Rehman effortlessly moves through several looks designed by Bhanu Athaiya and choreography led by B Hiralal. She was not the first choice for the character, but actor-producer Dev Anand stuck by his pick. Guide remains a landmark film both for Navketan Films and Hindi cinema and Vijay Anand's vision for the film's songs are still lauded today as he brought alive the words by Shailendra and the music of SD Burman. Vijay Anand followed up Guide with Teesri Manzil, a film he directed for Nasir Hussain's banner. This was a rare Hussain production which he did not direct. The crowd-pleasing whodunit featured the hit pair of Shammi Kapoor and Asha Parekh. In the film's most popular song, 'O Haseena Zhulfonwali', Kapoor is a well-liked performer at a hotel when he runs into Parekh's Sunita. She is looking for clues that led to her sister's untimely death. Besides an elaborate stage setting headlining Kapoor's stage name 'Rocky', both Shammi and Helen performed for the crowd, especially for the gruff Sunita seated at a table. Helen even transitions into a
- 174. Spanish flamenco danceralongside a giant eye. Teesri Manzil was RD Burman's first big success as a music composer and Hindi movie audiences hadn't heard a sound like his before. With lyrics by Majrooh Sultanpuri, this duet was sung into infamy by Mohammad Rafi and Asha Bhonsle. Anand did double duty on this film as the editor, helping shape many of Teesri Manzil's songs and sequences. Out of all the songs Vijay Anand picturised for the screen, 'Hothon Mein Aisi Baat' from Jewel Thief (1967) was by far his most complex, both in scope and story. In this classic thriller by Navketan, Vijay Anand handles the actors, their words and work onscreen deftly as an editor and dialogue writer too. Dev played Vinay who impersonates a famed jewel thief Amar. Along the way, he channels James Bond with sophisticated lair and encounters several beautiful women. A key section of the film's action took place in the kingdom of Sikkim and the music and sets incorporate it brilliantly in this final song before the end of the film. Navketan relied on SD Burman once more and he delivered yet again. Vyjayanthimala's Shalini is keeping close to heart a dangerous secret, brought home with Majrooh Sultanpuri's lyrics in 'Hothon Mein Aisi Baat'. Her dance, like Rehman's in Guide, is a crucial part of the film's success. Anand ramped up the tension in the song with fast cuts and interesting camera angles, ably assisted by Burman's score.
- 175. NAVKETAN FILMS-A StudioThat Always Looked Forward Saturday, 26 May 2018 Dev Anand's Fans and Hindi-movie buffs have many reasons to be grateful for the production house Navketan, founded in 1949 by the Anand brothers Chetan and Dev Anand.In the 1950s most of the studios were making historical or involved the village in some form or the other,Navketan was making Urban based movies.True to its name Navketan,which is a Sanskrit word that means Newness,the banner made films with new subjects and introduced new talent and technology. The Kapoors are often referred to as the first family of Bollywood, but not many realize that the Anand brothers — Chetan, Dev and Vijay — formed a creative combination with an equally rich legacy.The Anands have, however, proved to be far more prolific, produc ing 35 motion pictures under Navketan as compared to the 20 films made by the Kapoor clan. It was under the Navketan roof that directors Guru Dutt, Raj Khosla and Vijay Anand, music directors S D Burman and R D Burman, cinematographer Fali Mistry and V Ratra did some of their best work. Unlike R K Film Studio or Mehboob Studio, Navketan does not possess a shooting floor. So all of his (Dev Anand’s) films were shot in Mehboob Studio. Dev Anand had bought the 19,000 sq ft Pali Hill property in the early ‘50s and established Anand Recording Studio in 1986 to mix and dub all the films produced by Navketan Films. When it was running, the studio specialised in voice overs, dubbing and surround mixes in all formats.It is perhaps the most technically advanced studio in the country, with great expertise in all fields.Over 10,000 films such as Taare Zameen Par (2007) and Ghajini (2008) have been mixed here.Shah Rukh, Aamir and Salman Khan come regularly to dub their films In 2009, it was decided that the studio will make way for a 12-storeyed swanky tower. At the time, Dev Anand wished for a penthouse to be built for him and his family in the plot AFSAR The first film of Navketan Banner was AFSAR released in 1950,a romantic comedy film directed by Chetan Anand. It was produced by and starred Dev Anand. It co-starred Suraiya, who also recorded the playback singing for the film. The film was based on Nikolai Gogol's play The Government Inspector. The film was an average in Box office. Baazi The second film of Navketan was Baazi released in 1951.The movie stars Dev Anand with Geeta Bali and Kalpana Kartik. It is a crime thriller and had very popular music composed by S.D. Burman.This film was the game changer for Dev Anand and Navketan.It was very successful at the box office.Had it not been hit we would have not seen the great films of Guru Dutt and Navketan Films. Aandhiyan It is a 1952 Hindi drama, written and directed by Chetan Anand. It starred Dev Anand, Nimmi and Kalpana Kartik in lead roles.The music of the film was from a classical musician Ali Akbar Khan.The background score of the film was also done by Ali Akbar Khan along with other Hindustani classical musicians Pandit Ravi Shankar and Pannalal Ghosh. Taxi Driver Taxi Driver is a 1954 Hindi movie produced by Navketan Films. The film was directed by Chetan Anand and stars his brother Dev Anand, Dev's wife-to-be Kalpana Kartik and Johnny Walker. The film was written by
- 176. Chetan himself, alongwith his wife Uma Anandand his other brother Vijay Anand. The film's music director was S. D. Burman and the lyrics were written by Sahir Ludhianvi.The film was a super hit and it was the film that started outdoor shooting of Bollywood films. Dev Anand's taxi in the movie was the British made Hillman Minx, a black car with the number 1111. Such became the popularity following the film, that the British made Hillman Minx became a vehicle of choice as a taxi in Bombay until the 1970s House No. 44 House No. 44 is a 1955 Hindi film directed by M. K. Burman and produced by Dev Anand for his banner Navketan Films. The movie stars Dev Anand and Kalpana Kartik in a lead role.[1] The film is also noted for its popular songs with music by Sachin Dev Burman, with lyrics by Sahir Ludhianvi, including "Teri Duniya Mein Jeene Se" and "Chup Hai Dharti Chup Hain Chand Sitaare", sung by Hemant Kumar Funtoosh Funtoosh is a 1956 Bollywood film directed by Chetan Anand. The film stars Dev Anand, Sheila Ramani and K.N. Singh. It was the ninth highest grossing film of 1956, and was declared a "Hit". The music of the movie was an instant hit and songs such as "Dukhi Mann Mere" were topping Binaca Geet Mala. Other hits were "Woh Dekhen To Unki Inayat", "Humne Kisi Pe Dore Dalne Hai", "Ae Meri Topi Palat Ke Aa" and "Denewala Jab bhi deta Poora Chappad Phad Ke Deta". The Songs cemented the bond of SD Burman, Dev Anand and Kishore Kumar. Nau Do Gyarah It was a 1957 Hindi film produced by Dev Anand. This was his brother, Vijay Anand's directorial debut.[ The film stars Dev Anand, Kalpana Kartik, Madan Puri, Shashikala and Jeevan. The film's music is by S. D. Burman and the lyrics are by Majrooh Sultanpuri Kala Pani Kala Pani was a 1958 Hindi movie, produced by Dev Anand for Navketan Films and directed by Raj Khosla.The film stars Dev Anand, Madhubala, Nalini Jaywant, Bir Sakuja and Agha. The film's music is by Sachin Dev Burman, and the lyrics are by Majrooh Sultanpuri. The movie won two Filmfare awards including Filmfare Best Actor Award and Filmfare Best Supporting Actress Award. Kala Bazar Another Super hit film from Navketan in 1960.Written and directed by Dev's younger brother Vijay Anand, the film starred Dev Anand, Waheeda Rehman, Vijay Anand, Chetan Anand, Nanda, S.D. Burman composed the music, while the lyrics were penned by Shailendra. It was noted for having several of Bollywood's stars in a cameo at the film premiere of Mother India (1957), and it was also the only film to star the three Anand brothers together. It became a Superhit at the box office. Hum Dono Hum Dono was a 1961 Hindi film produced by Dev Anand and Navketan films.The film stars Dev Anand in a double role, and also has Nanda, Sadhana The film is also known for its music by Jaidev and became a box office hit Tere Ghar Ke Samne
- 177. It is a1963 super hit film.The film, produced by Dev Anand and written and directed by his brother Vijay Anand.The film's music is by S. D. Burman, while the lyrics have been penned by Hasrat Jaipuri. Guide It is a 1965 romantic drama film starring Dev Anand and Waheeda Rehman. It was directed by Vijay Anand, who contributed to the screenplay. The film is based on the novel The Guide, by R. K. Narayan.The movie proved memorable for its award-winning performances by the lead actors and memorable music by S. D. Burman. The film was a box office hit upon release and considered as the Top five Classic of Bollywood. Jewel Thief It is a 1967 Hindi spy thriller film directed by Vijay Anand. The film stars Dev Anand, Vyjayantimala and Ashok Kumar in the lead roles.The film became a box office hit.The music for all the songs were composed by S. D. Burman and The lyrics for this film were by Majrooh Sultanpuri Prem Pujari This was the first film directed by Dev Anand.It was released in 1970 with a great hype but it did not fare well in Box Office.The movie stars Dev Anand, Waheeda Rehman, Shatrughan Sinha, Prem Chopra, Madan Puri and a then-unknown Amrish Puri. It has several popular songs composed by S. D. Burman. Tere Mere Sapne It was a 1971 film produced by Dev Anand, and written and directed by his brother Vijay Anand for Navketan Films. The movie stars Dev, Vijay, Mumtaz and Hema Malini. The film's music is by S. D. Burman Hare Rama Hare Krishna It was a 1971 Indian film once again directed by Dev Anand starring himself, Mumtaz and Zeenat Aman. The film was a hit[1] and a star-making vehicle for Zeenat Aman, who played a westernized hippie, and won the Filmfare Best Supporting Actress Award. It aimed to have an anti-drug message,hippie Culture and also depicts some problems associated with Westernization such as divorce. Shareef Budmaash It was a 1973 Bollywood action thriller film directed by Raj Khosla. The film stars Dev Anand, Hema Malini, Shatrughan Sinha and Ajit in pivotal roles.The film was an average at the Box Office. Heera Panna It was a 1973 Hindi film. Written, produced and directed by Dev Anand for Navketan films, the film stars Dev Anand, Zeenat Aman, Raakhee, Rehman, Jeevan, A.K. Hangal, Paintal and Dheeraj Kumar. The film's music was composed by R. D. Burman. Des Pardes It was a 1978 Hindi film, produced and directed by Dev Anand. This family drama stars Dev Anandand Tina Munim (in her debut film), with Ajit Khan, Pran, Amjad Khan, Shreeram Lagoo, Tom Alter, Bindu, Prem Chopra, A. K. Hangal, Sujit Kumar, Mehmoodand Paintal in the supporting cast. For the first time, Dev Anand chose comparatively new music director Rajesh Roshan for this film, who did full justice to his selection as most of the songs became quite popular.
- 178. 'Beauty is Latain that small recording room with her headphones on...' - Goldie Ref : Lata Khubchandani Ref : https://www.rediff.com/movies/2000/sep/27anand.htm I have no words to express what I feel for her," says Vijay Anand. "She's one person in the film industry without whom this place would not have been the same for the last 50 years. I love her from the bottom of my heart and I think she knows it even though we don't meet too much." Vijay AnandShe has sung the most amazing songs for our films, but, even without that, she'd still be someone I love very much. She doesn't have to sing for me for me to say this." Vijay had once told me, "Beauty is... in my mind, Lata Mangeshkar in that small recording room with her headphones on...' Lata Mangeshkar has rendered unforgettable songs for the Navketan banner -- including all time favourites like Allah tero naam, Jo tum todo piya, Mose chal kiye jaaye, Kaanton se kheench ke ye anchal to name just a few... And each time S D Burman or Jaidev composed these fabulous numbers, it was Vijay who would bounce with joy and shout "Eureka." Lata MangeshkarAnd then, he would sit up nights listening to numbers like Mere antar ik mandir hai tera hai tera piya, a song so romantic, it is almost devotional. Says Vijay of the number, "There is this scene in Tere Mere Sapne, which is one of the most difficult scenes I have ever shot. It was a love scene between my elder brother, Dev Anand, and Mumtaz. I was nervous about explaining the scene to him because I was so much younger. I just couldn't bring myself to tell him my requirements. So I rang up Mumtaz and explained it to her instead. How the wife's health is in danger, how the couple have fought and how the fight culminates in intimate love-making that almost has a touch of spirituality to it. And this particular number plays in the background during the scene." Those who've seen this incredible example of Vijay's creativity will agree that the scene remains a highlight due to Lata's unbelievably sensitive rendition! Vijay, normally a man of few words, expressed his respect for Lata's talent in the kind of songs he gave her. Which is why almost every song she has sung for the Navketan banner has become immortal.
- 179. 5 Reasons WhyYou Need To Know Filmmaker Vijay Anand All this month on Film Companion, we will be recommending the filmmaker’s best movies. Here’s a primer on his filmography that included hits like Jewel Thief, Guide and Teesri Manzil POSTED ONFEBRUARY 6, 20183 MINUTE READ Ref : https://www.filmcompanion.in/5-reasons-need-know-filmmaker-vijay-anand/ This month on FC Flashback, we focus on the work of filmmaker Vijay Anand, fondly known as Goldie Anand. For the uninitiated, Vijay Anand was the youngest of three brothers. His two elder siblings were legendary director Chetan Anand, and the iconic actor/director Dev Anand. Together, they built Navketan Films – a production house that was known for contemporary story telling and memorable music. Between 1960 – 1970 Vijay Anand gave Hindi cinema several blockbusters like Guide, Johny Mera Naam, Jewel Thief, Teesri Manzil, Kala Bazar and Tere Mere Sapne. Before we give you weekly recommendations from Anand’s stellar body of work, here are 5 things you must know about the filmmaker. Vijay Anand with Dev Anand, his elder brother and star of many of his hit films Vijay Anand was a student of English literature before he made his first film Nau Do Gyarah in 1957 at age 23. As a student of Mumbai’s St Xavier’s College, Anand had won several accolades for writing plays. He shot Nau Do Gyarah in 40 days with his brother Dev Anand and sister-in-law Kalpana Kartik. In an interview to Nasreen Munni Kabir, Anand said, “I was doing my Masters and thought I would make Nau Do Gyarah and go back to studying English literature. Unfortunately, I could not go back to studying.” Vijay Anand’s films all had fabulous soundtracks and beautifully choreographed songs. Take Shammi Kapoor in Teesri Manzil, Vyjayanthimala in Jewel Thief or Waheeda Rahman in Guide. In the same interview to Kabir, Anand explained how he developed a keen eye for dance. “I spent my childhood with
- 180. people like ZohraSehgal, Kameshwar Sehgal, Mohan Sehgal and Guru Dutt. They were almost living in our house. So were Balraj and Damayanti Sahni. My brother Chetan brought them to Bombay, and until they found their own places to live in, they stayed with us. Zohra and Kameshwar came from Uday Shankar’s dance academy and started a dance school in our Pali Hill home.” Teesri Manzil was Vijay Anand’s first film outside Navketan Films, their family banner. Nasir Hussain, who produced the film, showed interest in working with Dev and Vijay Anand. Unfortunately, Hussain and Dev Anand fell out and Vijay decided to go ahead with the movie with Shammi Kapoor in the lead. Filmmaker Sriram Raghavan (Badlapur, Ek Hasina Thi) has often confessed to being hugely inspired by Anand’s films. If you look closely, you’ll find several hat-tips to Anand’s films in his Johnny Gaddaar. There’s a scene where a hotel receptionist is watching Johny Mera Naam and another where an actress is reading R.K Narayan’s Guide. Vijay Anand’s Guide starring his brother Dev Anand and Waheeda Rahman was based on that book. The first film that all three brothers worked on was Kala Bazar. Vijay Anand wrote and directed Kala Bazar, Dev Anand produced and acted in it, and Chetan Anand too had a role. The film was about the black market for movie tickets. The movie had real shots of the premiere of Mother India with actors including Dilip Kumar, Nargis, Geeta Dutt, Guru Dutt and Rajendra Kumar. Ref: https://bolywoodfiles.blogspot.com/2017/01/vijay-anand-writer-director-ahead-of.html
- 181. Vijay Anand: Theman who rejected DDLJ for plagiarism By Ali Peter John Created: Sep 24, 2018 - 1:12 pm IST Ref : https://www.bollywoodhungama.com/news/features/vijay-anand-man-rejected-ddlj-plagiarism/ He was a genius who made his debut as a screenplay writer when he was still in college (St. Xavier’s College in Mumbai) and was given his first break as a director by his elder brother, Dev Anand. He was Vijay Anand who went on to make masterpieces like Tere Ghar Ke Saamne, Guide, Jewel Thief, Johnny Mera Naam and Tere Mere Sapne among many others. He was recognized as a great director by the entire industry and was one of the ten best known directors of India. But, according to me, his life and career took a major crash when he fell for the teachings of Bhagwan Rajneesh (Osho). He turned into such an ardent believer that he took a break from directing films and took to preaching the teachings of the Bhagwan and converted his studio, Ketnav and his house into some kind of a “mandir” where hundreds of men, women and even children gathered and listened to him as he went deep into what he had learned from his Bhagwan. He was now known as Swami Vijay Anand Bharati and wore saffron robes with a mala with a pendant with a picture of his Bhagwan on it. People either believed that he had gone mad or that he had truly turned into a holy man. His fascination for his Bhagwan continued for a year or so till there were major differences between the Bhagwan and him and he renounced his Bhagwan and gave him up as a fraud and publicly declared that he had found the Bhagwan to be a multi-millionaire businessman who ran a business in the name of religion and threw away the saffron robes and put the mala into his commode and flushed it down. With his giving up the Bhagwan, there were others like Vinod Khanna, writers Kamlesh Pandey, Suraj Sanim and the daughters of Ashok Kumar, Preeti and Bharati who also fled from what they felt were the tentacles of the Bhagwan. But, the damage had already been done to the best of minds, led by Vijay Anand. He had somehow lost the touch of the genius he was as a director. He made bigger films like Ram Balram, Rajput and other films for Dev Anand like Main Tere Liye and Jaana Na Dil Se Door, but shockingly not one of these films had the touch of the genius of Vijay Anand and most of them failed at the box-office and his ego got the better of
- 182. him and hedemanded the same high price he used to when he was at the peak of his career which no distributor was now willing to pay for the films directed by him. Two of the films, Main Tere Liye and Jaana Na Dil Se Door are still to be released. He took to acting in films like Ghungroo Ki Awaaz and a TV serial called ‘Tehqiqat’ and made an impression, but he was not happy with the way work was being done. He finally decided to produce and direct his own film, Nyaymurthy Krishnamurthy which was supposed to be an expose of the judicial system in the country and he had even asked me to join him as one of his assistants as he found out that I knew a lot about the way the courts functioned from the lowest level to the highest, but just a week after announcing the film, Vijay Anand died of a cardiac arrest at the Ramkrishna Hospital in Khar, close to his house. A glorious chapter had come to an abrupt end when he was only sixty-three years old… The day he died , Dev Anand said he would not cry, but once he started crying, he did not stop crying for the next two days and nights, he perhaps realized the massive contribution Goldie (the name given to him by Dev because of his golden locks ) had made to his company, Navketan and his own image as a star… Goldie was known for his standing by the rules he had set for himself and no one, not even his mentor Dev Anand could make him change his mind. Dev had invited him to the first ever screening of his first film as a director, Prem Pujari. Goldie sat through the first half of the film and then bluntly told Dev that he had made a very bad film and that was the last time Dev called Goldie to any of the screenings of his films even though they were very fond of each other till the very end… Dilip Kumar who had directed his first film, Kalinga also invited Goldie and Subhash Ghai to the first screening of his film. Ghai vanished during the interval even though he was a great fan of the legend, but Goldie stayed on till the very end and when the legend asked him for his opinion, Goldie frankly told him that he had made a mess of a film and that if he gave him permission to set the film right, he would make a good and reasonable film out of it, but Dilip Kumar never sent for him or called him again. I was responsible for getting him to be the chairman of the jury of the Screen awards and he told me to warn the bosses of my company that he would strictly go by the rules and my bosses agreed without knowing what they were in for… The screenings for the jury were conducted at Goldie’s mini-theatre at Ketnav. Dilwale Dulhaniya Le Jaayenge was the hot favourite for winning awards in all the categories. In fact, Jeetendra who was on the jury attended only the first meeting and said all his nominations were for DDLJ. It was time for the screening of the film and Goldie took the jury by shock when he asked for the screening to stop as he said it was a film that was directly lifted from a Hollywood film made forty years ago. He asked the jury for time and the next evening he screened an old Hollywood film called Love On The Orient Express and made the entire jury agree that the idea of DDLJ was plagiarized from the original and as the rules of the jury disqualified any film that was a copy, he as the chairman had decided to disqualify the film as an entry for the awards and the entire jury was one with him. DDLJ was out of the competition and the news somehow spread all over the industry which was taken by shock. Yash Chopra who was the producer of DDLJ was a dear friend of Goldie and decided to have a talk with him, but Goldie was adamant and Yash fell sick for three days, but Goldie stuck to his decision and the decision of his jury. During the same screenings, Goldie disqualified Aamir Khan’s Akele Hum Akele Tum which was a blatant copy of the Hollywood film, Kramer v/s Kramer which made Aamir lose faith in private awards and which made his cousin, director Mansoor Khan give up direction for good and made him settle down in Coonoor near Ooty from where he has never returned to making films again. Goldie’s war with the bosses who were giving away the awards had still not ended. He came to know that the bosses giving away the awards had decided to give away the Lifetime Achievement Award to Ismail Merchant who had made most of his films in Hollywood even though he was a classmate of Shashi Kapoor and Alyque Padamsee who was the CEO of the company. The bosses did everything possible to make
- 183. Goldie change hismind, but he refused and even threatened the bosses that is they dared to announce the name of Ismail Merchant on the night of the awards, his entire jury would walk out of the awards ceremony in front of the audience and the TV cameras. The bosses had to surrender to him and cancelled the invitation to Merchant and had to give away the award to a maker of Goldie’s choice, the veteran and renowned filmmaker, Dr.B. R. Chopra. Goldie gave the bosses several sleepless nights and restless days… It was during this time that a leading TV channel which had just come up was planning to make a film on Gautam Buddha and Buddhism. I accompanied Kamlesh Pandey who was the creative head of the channel to the meeting with Goldie. Kamlesh told him that they had a script ready and Goldie asked him what he or his channel knew about Buddha and Buddhism. Kamlesh fumbled and then Goldie asked Kamlesh for the budget and when Kamlesh said it was thirty lacs, Goldie just got up from his chair and said, “you can never make this film or rather I will not be able to make the film on your conditions” That was the end of the meeting and the film on Buddha was never made again. The biggest controversy in Goldie’s life was when he was appointed the chairman of the CBFC. He accepted the post only on the condition that he would be given a free hand to conduct the proceedings at the CBFC. He did not accept any official accommodation and travelled to White House, the office of the CBFC in his own red Maruti van, driving himself. He had told me that he had handed over his recommendations to the I & B ministry and was waiting for its response. When the response came, the ministry had rejected all his suggestions. He got out of his office, got into his own Maruti and drove back home in Pali Hill and only told his wife Sushma that he had resigned and it did not come as a surprise or a shock to Sushma who was a victim to all his own whims and tantrums when it came to facing the truth. Goldie who had worked with the greatest stars had started a film with Anil Kapoor, Juhi Chawla and some other stars of the new generation, but he could not proceed after the first schedule and the film was scrapped. On the personal front, he had created a sensation when he married Sushma who was the daughter of his sister and not only the Anand family, but all those who believed in traditional values and customs could not take it easily at first, but they finally accepted it. Goldie has a son called Vaibhav who is trying to revive Ketnav, the banner of his father. Will he succeed in doing even half or less of what Vijay Anand who was and who will always be remembered as one of the greatest filmmakers of India and even the world?
- 184. Vijay Anand's sonmakes his debut By - Mumbai MirrorKunal M ShahCreated: Dec 8, 2010, 10:56 IST Ref : https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/vijay-anands-son- makes-his-debut/articleshow/7063954.cms If his drop dead looks were anything to go by, Vaibhav Anand (fondly called Vibhu) should not have such a tough time getting noticed here. And given his pedigree, talent is something we are taking for granted. Legendary actor, late Vijay Anand’s banner will launch Vaibhav in a thriller (though we’re sure some girls were hoping it’d be a romance). The project is expected to go on floors mid next year. And this film is being pitched as one that would hopefully revive the banner after 25 years; it will henceforth be called Vibhu Vijay Anand Pictures. And guess what? The chiselled face isn’t all Vibhu boasts of; he has written this film himself. When contacted, Vaibhav said, “Yes, we are relaunching our banner. It will be a thriller that I have written and will also be my debut venture. The film’s story is on solving the mystery around a train in the course of eighty years.” It’s not such a surprise, however, that Vibhu, like many others in Bollywood, was trained at The Lee Strasberg Academy. “I have also done extensive theatre with Satyadev Dubey. Besides that, I worked under Ravi Chopra and Sooraj Bharjatya to acquire on-the-set experience.” Enough said Vibhu; now we’ll let your work do the talking.
- 185. The Wizard OfMusic Ref : https://www.outlookindia.com/website/story/the-wizard-of-music/292449 On the 39th death death anniversary of Sachin Dev Burman (October 1, 1906 to October 31, 1975), a look back at the last three years of the maestro's life Khagesh Dev Burman31 October 2014 S.D. BURMAN: THE WORLD OF HIS MUSICBY KHAGESH DEV BURMAN RS 295 / 291 PP RUPA PUBLICATIONS [By 1973] age had begun to impact Sachin's health adversely. He somehow managed to continue working with his indomitable mental strength. Music was his life and he continued working tirelessly in pursuit of his muse. The result was the release of four films in 1973 with him as the music director—Hrishikesh Mukherjee's Abhimaan, Vijay Anand's Chhupa Rustam, Pramod Chakrabarty's Jugnu and Rajendra Singh Bedi's Phagun.... In Abhimaan, Sachin achieved a perfect blend of music that was both artistically and commercially successful, superimposing a popular tune on a classical base. Above all, the engrossing rapture created by the flute fills the mind with the soft glow of moonlight. Lata sang three songs, 'Nadiya Kinare', 'Ab to hai tumse', and 'Piya bina piya bina' for this film. All are unforgettable melodies. Who else but Lata, with her divine voice, could have been chosen to sing the songs which were meant to overshadow the hero's voice? Whatever it may be, whatever might have happened on screen, the melody of Kishore's solo, 'Meet na mila re man ka' was unforgettable. Then there are the duets—the effervescence of Lata and Rafi's 'Teri bindiya re' and the poignancy of Kishore and Lata's memorable 'Tere mere milan ki' based on the classic Tagore song 'Jodi tere nai chini go' Suffice it to say that even thirty-eight years later they remain the benchmark against which duets are measured. In one fell stroke, at an age when people retire from active life and rest on their laurels, Sachin Dev vanquished his competitors once again with his only ammunition—the classico-modern song. More importantly, Sachin Dev Burman's continuous experimentation shattered existing systems and customs of the world of Hindi film music. We have already talked about how he breached the 'tune first, lyrics next' convention. Let me now turn to another custom that still held firm. It had been the custom in
- 186. Hindi films thatonly one playback singer would play for the hero in one particular film—Mukesh for Raj Kapoor, Kishore for Rajesh Khanna, Mohammad Rafi for Shammi Kapoor and Dilip Kumar. Sachin broke this convention right at the beginning. In many of his films, he made the same artist lip-sync to the voice of several singers in the same film. He was never concerned with which playback singer's voice matches the hero's. He used to decide his singers (both male and female) depending upon the situation of the film and the mood of the song. In Abhimaan, Kishore and Rafi sang for Amitabh; likewise, in Manzil, Rafi and Manna Dey sang for Dev Anand. In Sagina, Dilip Kumar lip-synced for Kishore. Given the strong support the custom had in those days, Sachin's experiment was nothing short of miraculous. Continuing with the tradition of popular music for films starring Dev Anand, Chhupa Rustam had a string of peppy numbers. Ever since Aradhana, Kishore had not only become a constant in Sachin's plan of things, he was also the reigning king of playback in the world of Hindi films. Unsurprisingly then, it was Kishore all over in Chhupa Rustam, in his trademark fun avatar with songs like 'Dhire se jana khatiyan mein' (echoing Sachin's Bengali hit 'Nishite jeiyo phulabatie re bhramara'), 'Hum chhupe rustam hain', and the tap-beat-inspired duet with Asha 'jo main hota ek tuta taaj', Another romantic song by Kishore and Lata was also highly popular: 'Bolo kya humko dogey'. Then there was Asha rendering a vampish number, 'janu main jale mera dil.' Though Sachin was nearing his seventieth year, the youthful fire in his heart seemed to be burning brighter as is evident in the sprightly numbers he composed for Jugnu in the same year as Abhimaan. If the latter was vintage classical Sachin, steeped in ragas, Jugnu was a reminder of his versatility, an example of how good he was with modern, romantic and playful numbers. An example is the super-hit Lata-Kishore duet 'Gir gaya Jhumka' with its naughty playfulness. Just as in his own Bengali songs he uses the indeclinable— ah, o-lio, a-ha, o-o-o-to bring the requisite effect, here too he had Lata and Kishore articulate an odd phrase of longing and mischievousness, conveying the playful nature of the romantic relationship between the hero and the heroine. Another example is Lata's 'Jane kya pilaya tu ne bada maza aaya'. Kishore's song 'Tera peechha na main chhodunga' shows Sachin's in creating a efficiency chartbuster in keeping with the demands of the era. Hearing the bubbling effervescence of these songs it is difficult to imagine that the composer was nearing seventy years of age. It was as if Sachin-karta had just stepped into his youth. Noticing the youthful vigour in his songs, Asha Bhonsle asked Sachin Dev: 'Dada, please tell me how is it that your songs are so full of youthful vigour even now?' Karta replied, 'Look Asha, songs are my life, my religion, everything I have. Just remember one thing. Whenever you sing a song, you must merge yourself with its meaning, with its character. You must become the character singing the song, that is, when you are singing a cabaret song, imagine you are Helen.' Asha started laughing loudly at these words. Sachin Dev continued, 'Do not laugh. Look, as long as you cannot cultivate the song in your heart, you will not be able to sing it properly.' (Bhati Gang Baiya) In Phagun, Sachin paid a tribute to his memory of the celebration of Holi in Tripura in his younger days, when he would visit Agartala, compose songs for Holi, and walk through the streets in a group, singing with joy as if drunk with the colours of his beloved 'phagua'. He composed a brilliant Holi number 'Piya sang khelo holi', intoxicatingly rendered by Lata Mangeshkar. With youthful exhilaration in their voices, Kishore and Asha sang 'Kab maney o dil ke mastane'. And there was the exquisite Mira bhajan 'Mere to Giridhar Gopal' in Lata's honey-oozing voice, which almost imparts life to the stone idol of Gopal.
- 187. Though increasingly frail,Sachin Dev did not deprive his fans of Puja songs that year. He came out with one record which had what turned out to be the last songs he sang, 'Se ki amar dushman dushman' and 'Ki kari ami ki kari'. But the voice gives away his illness. In place of the openness for which his voice is famed, one finds a touch of fatigue. The weariness is clear to anyone who listens to the songs. The hoarse voice that scaled E-major with such ease for so long now betrayed his breathlessness. And yet, 'Ki kari ami ki kari? Bol re Subal bol dada' is a heart-rending classic. This wonderful song of separation was his last gift as a singer to us. In 1974, three films were released under Sachin Dev Burman's music direction—K. S. Rao's Prem Nagar, Tapan Sinha's Sagina and Basu Chatterjee's Us Paar. The songs of Prem Nagar became a rage, particularly two Kishore Kumar numbers, 'Bye bye miss good night', which once again demonstrated how wonderfully youthful Sachin could be despite his illness and age, and the classic 'drunk' number 'Yeh lal rang kab mujhe', where Kishore effortlessly conveys the agony of an alcoholic. Another solo by Kishore 'jaa jaa jaa mujhe na ab' is somewhat similar to SD's Bengali song 'Na aamare sashi cheyo na'. In Sagina, Sachin dipped into his repertoire of Bihari folk tunes which he had collected during his tour of Bihar and Uttar Pradesh after the All-India Music Conference of 1934. How lively it turned out in Kishore's 'Aag lagi hamari jhopariya mein hum gaaye malhar'. Another Kishore song from the film still lives in one's memory. This song proves what an expert Sachin Dev was in creating a tune suited to a given situation. I am referring to 'Sala main to sahab ban gaya', Sagina Mahato's mocking self-appraisal after becoming a leader after one peg too many. Some say it is inspired from the Italian song 'Chella Lla' by Renato Carosone. Also, perhaps this is the first Hindi film in which Anup Ghoshal sang. The song was 'Chhote chhote sapne hamar'. Us Paar boasts only five songs of which two deserve mention. Lata's solo 'Yeh jabse huyi jiya ki chori patang sa ude' starts with a romantic dialogue between the hero and heroine. Moushumi Chatterjee's laughter creates an erotic ambience along with the flute which played a vital role. S. D. Burman would definitely have sung this song if he was not unwell. He had chosen Manna Dey' to sing 'Piya maine kya kiya mujhe chhod ke jaiyo naa'. Manna Dey took the challenge in right spirit and sang this song imitating the singing style of S. D. Burman. How far he succeeded is anybody's guess. But it is a marvellous song indeed! The next year, 1975, saw two of his films being released, which were, in effect his swansong—Chupke Chupke and Mili, both directed by Hrishikesh Mukherjee. Well, what music he created in these films! With age, his compositions seemed to have reached an unsurpassable height. In an era that was becoming more and more inclined towards son Rahul's 'Dum maro dum' and 'Mehbooba mehbooba', Sachin stayed true, with absolute devotion, to Indian tradition and culture in his music. The songs from both these films became very popular. Lata had a field day with gems like 'Chupke chupke chal ri purvaiya' and 'Ab ke sajan sawan mein', the former pensive, moody, conveying the lilt of the yesteryears that soothes one and makes one long for one's beloved; the latter naughty, playful, like the monsoon rain drenching one's courtyard while one waits for one's love to come home. And Sachin also brought together the two rivals Kishore Kumar and Mohammad Rafi in what is probably their most popular duet ever: 'Sa re ga ma, ma sa re ga'. What a powerful song it is! This is what a duet
- 188. should be like.Though popularly thought of as a fun song, given the situation in which it is sung, the seeds of classical music are hidden in it. Mili had three immensely popular songs. Lata's 'Maine kaha phoolon se' conveys the wonder of creation and it is no longer surprising that something as young at heart was composed by someone in his seventieth year. Kishore's 'Aaye tum yaad mujhe' and 'Badi sooni sooni hai' were in keeping with the serious and mature nature of the hero, played by Amitabh Bachchan, and remain two of the singer's finest songs. 'Badi sooni sooni hai' is generally credited as Kumar Sachin Dev Burman's last composition. Streaming through the windows of his Bandra home, 'Jet', the setting sun hovered on the horizon, on the verge of dipping into the sea for its ritual evening bath. Watching the sunset was a childhood fascination Sachin had nurtured even in the concrete jungle of Bombay. And now in the evening of his own life, the memories of those baul-bhatiyali days haunted him more and more-sailing on a boat over the Gomti, its waters sparkling in the midday sun, puffing on his hookah in the company of the boatmen, the strains of the bhatiyali harmonizing with the beat of the boat's oars in the calm water. The past beckoned him. He could hear the call of his innermost self. Success, fame, honour counted for little any more. Rabindranath expressed the innate truth in the following words: 'jaha chai taha bhul kare chai / Jaha pai taha chai na' (Whatever I want, I want by mistake! whatever I get I do not need). Increasingly, Sachin-karta's mind travelled to his country horne. Those days of peaceful leisure, those days of playing the flute, beckoned him; the bend in the river, the palm and betel-nut orchards played hide-n-seek with him. The call of the past: 'Whither has gone the smell of mother earth, whither my mother's lap? Where is that smile, that play and the days?' Right from 1930, it had been a difficult struggle for SD. He did not have a foothold and he made a name for himself in the musical world without the help of any godfather. Forty-five long years of disappointments, humiliations and rejections, of continuous hard work, incessant practice and constant experimentation with his art led to victory, the sweet smell of success and international fame. Sachin Dev Burman was truly a wizard of music. The magic of music oozed out of his storehouse of talent like P. C. Sarkar's 'Water of India', limitless, seemingly unending, casting a spell and mesmerizing the listener. Personally speaking, his music electrifies my body and mind. Listening to him I feel his presence. I feel as if some mendicant is playing on his ektara and singing 'Rangila, rangila, rangila re' or a boatman on the Gomti is singing the heart- rending bhatiyali, 'Mere sajan hain us paar'. Sachin Dev Burman's greatness lay in his ability to strike a delicate balance between the classical and the popular. His songs are plain and simple, bereft of complexities and full of grace. His songs hum in one's mind. He was always mindful that his compositions had to be accessible to the common man. The world of film songs has never been a field for exhibiting one's expertise in classical music. Yet, without abandoning the traditions of Indian music, he simplified the rigours of classical music for the benefit of the common listener. At times he had to create classical tunes too. And he did so with such delicate grace as would make the listener hold his breath. To me it appears that even though Sachin Dev's target audience had always been the common folk, his songs never failed to attract the connoisseur. Such a synthesis is rare in music makers. Sachin Dev suffered from a paralytic attack during the recording of the songs for Mili. Rahul took the responsibility of completing the recording.
- 189. Even as Kishoresang 'Badi sooni sooni hai', Sachin-karta was in deep coma. Karta lived for another five months. Meera and Rahul made every possible effort to revive him. Day in and day out they would tell him old anecdotes from their days in Tripura, remind him of close friends from Calcutta and narrate countless other stories from the past. But to no avail. It was only once that he is reported to have opened his eyes. The day East Bengal defeated Mohan Bagan in a league match by 5-0; Rahul shouted the news for the benefit of his father. A die hard supporter of East Bengal, an out-and-out Bangaal, the prince opened his eyes for one last time and never thereafter. On 31 October 1975, the Prince of Music, King of Kings, Kumar Bahadur Sachindra Chandra Dev Burman breathed his last. This excerpt from S.D. Burman: The World of his Music by Khagesh Dev Burman is reprinted by permission of Rupa Publications An older tribute to Sachin Dev Burman A review of the book
- 190. Poet Neeraj saidhis ‘fattest royalty cheques’ came from Dev Anand songs THEPRINT TEAM 20 July, 2018 11:33 am IST Ref : https://theprint.in/pageturner/excerpt/poet-neeraj-said-his-fattest-royalty-cheques-came-from- dev-anand-songs/85566/ Poet Gopaldas Neeraj passed away Thursday. He was 93. This excerpt from Anirudha Bhattacharjee & Balaji Vittal’s book ‘S.D. Burman: The Prince Musician’, talks about how Neeraj composed ‘Rangeela Re’ for Dev Anand’s film Prem Pujari. Dev Anand pulled all stops to promote his directorial debut (Prem Pujari, 1970) and brought in HMV to pitch in marketing. A one- page ad was released which showed Dev Anand dressed as a soldier, which was henceforth to be his Prem Pujari get-up. Finally, after battling several hiccups, the film was released in Bombay in early 1970. However in Calcutta, on 27 February 1970, a few Naxalites attacked cinema theatres showing Prem Pujari. This led to the film being summarily withdrawn a few days later, starting 3 March 1970, with the then dispensation buckling under pressure. Therefore, not only did Prem Pujari have a ‘no-show’ in the East, it sank without a trace in other parts of India as well. It is not as if the film had no redeeming features. If the debut of Zaheeda, despite her oomph, came a cropper, Shatrughan Sinha, who also made his debut as a Pakistani Army officer, certainly made an impact. The legendary Amrish Puri also appeared in a cameo, as did the Lebanese actress Nadia Gamal, who performed the most spectacular belly dance ever seen in Hindi cinema. And there was yet another first to the film—Prem Pujari welcomed a budding lyricist into the Navketan camp, Gopaldas Saxena aka Neeraj. In a series of interviews to Anuj Sharma of The Hindu newspaper, Neeraj spoke about his association with Dev Anand and S.D. Burman in detail. Certain portions of the interview are reproduced as follows: Dev and Neeraj had met at a mushaira in 1955–56. The actor liked Neeraj’s poetry and left with the promise that if Neeraj ever wanted to write for films, he should contact him. “Ten years later, when I saw an advertisement for Prem Pujari in a film magazine, I wrote a letter to him mentioning my inclination to write songs for the film. Within ten days, I got a message from him inviting me to Mumbai.” Neeraj was then teaching at Dharam Samaj College, Aligarh and took a leave of absence or six days to travel to Bombay. Dev Anand was looking for a poet to fill the vacuum created by the demise of Shailendra. But writing to a situation and a tune is a different ball game altogether, and Neeraj discovered that when Dev Anand introduced him to S.D. Burman. “He (Dev) put me up in a luxurious hotel in Santa Cruz and paid me Rs.1000 even before signing me. The next day, he took me to S.D. Burman, who was apprehensive about a poet’s ability to write to tunes and a given situation. Dev Anand said he shouldn’t worry. He should give the tune, and if I failed, I would remain his guest for six days and enjoy Bombay. Burmanda gave me a tune and said the song should start with ‘Rangeela re’; it (the situation) was about a girl who sees her beloved coming to a party with another girl.
- 191. It should havethe elements of jealousy, satire and frustration in love. I worked the whole night and came up with Rangeela re tere rang mein, yun ranga hai mera mann, chhaliya re….” The next day, Neeraj went to Dev Anand’s office and showed him what he had written. After reading it, Dev embraced Neeraj; he was astonished at how Neeraj could write the lyrics in one night. “He immediately took me to Burmanda’s home and presented me proudly to him and said: ‘See, I told you. Neeraj has done it.’ When Burmanda listened to the lyrics, he said, ‘Dev, you go, now we will sit together.’ After he left, Burmanda admitted that he had given me this complex situation to make me give up. After that, we three began to bond.” Shokhiyon mein ghola jaye was taken from his poem, ‘Chandni mein ghola jaye’. It was his take on life, but Dev Anand wanted it to be changed according to the requirement of the film. “I changed the antara completely. Phoolon ke rang se was written to tune.” The above-mentioned three songs had the right mix of lyrical elements—love, compassion, eroticism, hurt, hope, and dreams. SD set the tune for one, re-used a traditional tune for another, and had a tune for the third in his kitty. Rangeela re, in which Neeraj’s lyrics complemented the tune, was fast, taut, and rhythmic. The build-up to the mukhda, just after the introductory line, ‘Rangeela re, O rangeela’, was with percussion instruments like the triangle, the acoustic guitar played without a plectrum, and with the thumb hitting the area near the sound hole, and double bass. The main instruments converged later. The interludes had a distinct mid-Eastern feel. SD’s inflections, reproduced perfectly by Lata, had enigmatic elements to it. The song became a mammoth hit during its time and was played out several times on Binaca Geetmala. Incidentally, it also happened to be Dev Anand’s favourite song from the Navketan stable. Whether the lyrics of Shokhiyon mein ghola jaye was a take on life or not is debatable, but it was a melody of a lifetime. Based on Rajasthani folk music (one does feel the strains of the iconic, Pallo latke in it), the notes and rhythm exuded romantic love between a man and woman. The poetry had such an amazing metre that it succeeded in creating an imagery whereby one could touch the delicate, albeit surprising elements like the high-pitched humming by Kishore; the solo violin in the second interlude; or the multi-instrument build up to the third antara. By his own admission, Neeraj’s fattest royalty cheques came from the songs he wrote for Dev Anand, one of which was certainly Phoolon ke rang se. The magic generated by the collective brilliance of Neeraj, SD and Kishore Kumar was so stunning that it became an anthem for every man who wanted to sing to his new-found love. Apart from the lyrics, the tune was so simple that anyone could sing along, as one can even today, particularly because there is no bifurcation between the mukhda and antara, which makes it easier to recall.
- 192. Gopal Das Saxena‘Neeraj’ dies at 93: Sixteen songs to remember the legendary lyricist ACHYUT MISHRA and FATIMA KHAN 20 July, 2018 5:41 pm IST Ref : https://theprint.in/featured/gopal-das-saxena-neeraj-dies-at-93-fifteen-songs-to-remember-the- legendary-lyricist-by/85944/ From Dev Anand’s Prem Pujari to Madan Sehgal’s Kanyadaan, poet and lyricist Neeraj wove his magic in a raft of films. New Delhi: The death of Gopal Das Saxena ‘Neeraj’, 93, brings to an end an era of evergreen music in Hindi cinema. Neeraj was a ‘jankavi,’ a people’s poet who wove magic in a raft of films, from Raj Kapoor’s Mera Naam Joker to Dev Anand’s Prem Pujari to Madan Sehgal’s Kanyadaan. Over time, his music has stood on his own, separated from the movies in which they were once embedded, across the decades into the 21st century. ThePrint brings you a curation of some of Neeraj’s songs we love: Ai Bhai Zara Dekh Ke Chalo: This song is from the movie Mera Naam Joker (1970). It is said that, on hearing the lyrics, composer duo Shankar-Jaikishan told Neeraj that it wouldn’t be possible to compose its music. However, when they heard the tune Neeraj had in mind, they were thrilled. It is a song whose lyrics encapsulate the essence of life and tell the listener how to live a life beset with continuous challenges. “Girane se darta hai kyon, marane se darta hai kyon Thokar tu jab na khayega, paas kisi gam ko na jab tak bulayega Zindagi hai chiz kya, nahin jaan paayegaa” https://www.youtube.com/watch?v=sqDiqb1GXg0 Shokhiyon Main Ghola Jaaye Phoolon Ka Shabab: This song is from Dev Anand’s Prem Pujari (1970). Sung by Lata Mangeshkar and Kishore Kumar, it was taken from Neeraj’s poem “Chandni Mein Ghola Jaye” and was his attempt to describe love. Neeraj completely changed the antara of the poem for it to suit the requirement of the film. “Rang men pighale sona, ang se yun ras chhalake Jaise baje dhun koi raat men halke halke Dhup men chhaanw men, jhumati hawaaon men Haradam kare jo intajaar, wo pyaar hai” https://www.youtube.com/watch?v=ZamnYzjAZvM Karvan Guzar Gaya Gubar Dekhte Rahe: This song from the 1966 movie Nai Umar Ki Nai Fasal has over the years acquired a cult status. Sung by Mohammad Rafi and recorded with a minimalist tune, this song perfectly captures the sense of loss and the transient nature of everything in life. “Neend bhi khuli na thi ki hai dhoop dhal gayi, Paon jab talak uthe ki zindagi fisal gayi, Paat-paat jhar gaye ki shaakh-shaakh jal gayi, Chah to nikal saki na par umar nikal gayi”
- 193. https://www.youtube.com/watch?v=75mB-zadZgI Megha Chhaye AadhiRaat, Bairan Ban Gayeen Ankhiyaan: The song is from Shashi Kapoor and Rakhee starrer Sharmilee (1971). The movie was a big success at the box office and Neeraj’s lyrics and S.D. Burman’s compositions played a substantial role in it. In Lata Mangeshkar’s timeless voice, the song brings out a sense of hopelessness and dejection. “Ruthh gaye re sapane saare, tut gi re asha Nain bahe re gnga more, fir bhi man hai pyaasa Kise kahun re man ki baat” https://www.youtube.com/watch?v=2aQDjbwc-v8 Likhe Jo Khat Tujhe: The famous song from Kanyadaan (1968) has an immortal touch to it. The collaboration between Neeraj and Shankar-Jaikishan here was given a distinct melodious touch by the voice of the great Mohammed Rafi. The lyrics of the song perfectly capture how thoughts of one’s beloved are sometimes all-consuming. “Koyi Nagma Kahin Goonja Kahan Dil Mein Yeh Tu Aayi Kahin Chatki Kali Koyi Main Yeh Samjha, Tu Sharmaayi” https://www.youtube.com/watch?v=Ax8OWmkhOEQ Kal Ka Pahiya: The song from the Chanda Aur Bijli (1969), for which Neeraj received a Filmfare nomination for best lyrics, was sung by Manna Dey. The lyrics of the song are a perfect blend of religious and existential philosophy. “Karma agar achcha hai tera Kismat teri daasi hai Dil hain tera saaf to pyare Ghar me mathura kashi hai” https://www.youtube.com/watch?v=hd-2T2WsxIc Bas Yahi Apradh Main Har Baar Karta Hoon: From Pehchan (1970), the song won Mukesh a Filmfare award for best male playback. Particularly apt for today’s troubled times, the song talks about the need for compassion and love for fellow human beings. “Main basaana chaahata hun swarg dharati par Aadmi jisamen rahe bas aadmi banakar Us nagar ki har gali taiyyaar karata hun” https://www.youtube.com/watch?v=cLSAwKmFxZM Phoolon Ke Rang Se, Dil Ki Kalam Se: From Prem Pujari, this sublime song is an ode to love. Although a commercial failure, the movie is remembered for all the stunning compositions which continue to live on. Kishore Kumar’s soulful singing makes the song tug at our hearts. In a fun trivia, Neeraj revealed that the
- 194. song was writtento the tune. “I wrote my best songs for him and the biggest royalty I get is from the songs that I wrote for Dev Anand,” the lyricist had said, adding he never signed a contract with the superstar. “Haan Badal Bijli Chandan Pani Jaisa Apna Pyar, Lena Hoga Janam Humein Kayi Kayi Baar” https://www.youtube.com/watch?v=4CwFFWleNNA Sunday Ko Pyar Hua, Monday Ko Iqrar: Asha Bhonsle and Mahendra Kapoor sang this fun and exuberant number which proved that Neeraj can adapt to, and produce lyrics for a variety of genres. From Kanyadaan, the song was a refreshing respite from the other more emotional songs in the movie. “Sunday Ko Pyar Hua, Monday Ko Iqrar hua Monday na jaane ab kya hoga??” https://www.youtube.com/watch?v=N95oUkaO-E0 Dheere Se Jaana Khatiyan Mein: From Vijay Anand’s Chhupa Rustam (1973), the song was listed at number 9 on the Binaca Geetmala annual list of that year. In the setting of the song, the male protagonist teases the actress and Kishore Da and Neeraj managed to produce the perfect song, and bringing a lovely romantic appeal to it. “Mile mushkil se ye mehman Ho bhi jate shayad meharban Aag laga di hai sukhan me o khatmal Dhire se jana khatiyan me” https://www.youtube.com/watch?v=d-GZtzV5UGg Khilte Hai Gul Yahan: Sung by Kishore Kumar and picturised on Shashi Kapoor and Rakhee for Sharmilee, the captivating lyrics by Neeraj and Kishore Da’s voice make for a mesmerizing, almost hypnotic song. “Khilte hain gul yahaan, khil ke bikharane ko Milte hain dil yahaan, mil ke bichhadane ko Khilte hain gul yahaan….” https://www.youtube.com/watch?v=HBgKPyi1aXA Ae Maine Kasam Li: A beautiful melody, the song is picturized on two people vowing to be together always regardless of what they encounter in life. From Tere Mere Sapne (1971), the song is an old-school classic in how Neeraj’s lyrics speak to the idea of ‘forever’ that many couples dream of. “Maine kasam li, tune kasam li… nahi honge juda ham…” https://www.youtube.com/watch?v=iK-47NF7cTU Prem Ke Pujari Hum Hain: The song is again from the movie Prem Pujari. It was the first collaboration between Neeraj and S.D. Burman. After this, they worked on multiple other successful projects in the ’70s like Gambler,Tere Mere Sapne and Sharmilee.
- 195. https://www.youtube.com/watch?v=11-bh2FozLU Aaj Madhosh HuaJaye Re: Sharmilee (1971) produced yet another gem in the form of this song. Neeraj, S.D Burman and Kishore Kumar were an iconic trio and produced one enthralling song after another. Picturized on actors Rakhee and Shashi Kapoor who made a gorgeous couple, the song is an evergreen romantic. “Aaj Madhosh hua jaaye re, mera mann mera mann mera mann Shararat karne ko lalchaaye re, mera mann mera mann mera mann” https://www.youtube.com/watch?v=DP_r-pa8dXA Jaise Radha Ne Mala Japi Shyam Ki: Tere Mere Sapne (1971) featured another classic, filmed on the lead couple’s wedding and post –wedding romance. Sung by Lata Mangeshkar, the song expresses a wife’s devotional love for her husband. “Jaise radha ne mala japi shyam ki, Maine odhi chunariya tere naam ki” https://www.youtube.com/watch?v=ROPIDnr8cJM Rangeela Re: Originally from Prem Pujari, the song has had multiple renditions which is testament to the evergreen lyrics of this song. It is one of the most riveting yet profound numbers to have been produced in Bollywood. Neeraj’s golden words are evocative depth and meaning to this song. “Gaaon ghar chhoota re, sapna har toota re Phir bhi tu rootha re piya Waah re pyaar, waah re waah” https://www.youtube.com/watch?v=d0Mx9gP-C4E
- 196. The X factor- Ex censor board chief Vijay Anand on his resignation Ref : Vickey Lalwani in Mumbai Ref : https://www.rediff.com/entertai/2002/jul/22vijay.htm Last week, Censor Board chief Vijay Anand put in his papers after Union Minister for Information and Broadcasting Sushma Swaraj declined his request to issue censor certificates for pornographic films. The former censor board chief had completed a tour of all film-making centres in the country on assuming office. He had a series of meetings with the regional officers of the Censor Board. In these meetings, the emphasis was on convincing them about the outdated censorship policies and the need to change them at the earliest. He also met the chief ministers and governors of the major states to convince them about this need. "Most of our policies have been the same since the last five decades. We still go by the 1952 Act on this subject. The world has moved ahead. We need to keep up with the pace. In the United States, cinema is used as a medium of expression. I wish that the same can be implemented in our country. In this respect, I interact actively with the film-makers and compile their opinion too. The government has started taking sufficient interest in my recommendations," he began. Anand says that foul words should not be used in films without justification. "I would see the theme of the film. We have allowed such language in Bandit Queen, Bawandar, Satya and Hyderabad Blues. It is imperative that foul words are not used just for the heck of it." he said. Has any action been taken against Sanjay Gupta's Kaante which is reported to contain profanities? "Kaante still hasn't come to the Censor table. Till then, I can't say much," Anand said. He continued, "Actually I keep a very open mind. I try to meet the film-maker halfway. But if a film-maker is irrational, adamant and rude. I can't help much." What is the criteria for the Censor board to give a clean chit to objectionable films? Said Anand, "The Censor board does not permit such films to be released. These film-makers have a tricky modus operandi. They prepare two versions of the same film--one for the public and one for the censors. What is shown and approved by the censors does not see the light of day. Moreover, they release their products in Mumbai's outskirts and the smaller towns. ''Actually, we have our vigilance squad which has swooped down on the screening of such films and even arrested many guys in the past." Is there no law, rather punishment, against such offenders? "There is, that's why they release the sleaze in smaller places where there is no publicity, hype or even any information about the film," he revealed. MORE FEATURES And what about the two upcoming movies on lesbianism and homosexuality, Ghaav and Samvedna? "I wouldn't appreciate such movies. I don't know how the makers of these movies are extremely upbeat about their product. It really amuses me," he smiled. Had he banned Digvijay Singh's Maya? "I have not banned a single film in my tenure so far. In my first 10 days at the office, I passed Tutu Sharma's Paanch which had been lying in the cans for a very long time. Certain portions in Maya which deals with sexual abuse of children have been objected to. Some film- makers run to the media at the first disapproval from the censors' side. This helps them to simply create publicity for their movie. We have many committees. If the first committee finds anything wrong, the
- 197. second committee seesit...and so on. There is no need to press the panic button without rationalising what is right and what is wrong," he remarked. There is a school of thought (from the likes of G P Sippy, Mahesh Bhatt, et al) that censorship should be done away with. What did he have to say to that? "Let them come and sit in my chair and they'll change their opinion. If censorship is done away with, the law of the jungle will come to roost in Indian cinema. What if some anti-nationals take over and make a movie on India being split into different states?" he asked. At the concrete level, did he believe that life imitates films? "Maybe to an extent when kids watch adult films. The theatres should not allow these kids inside if and when they're screening such portrayals," he opined. But will the theatres ever do it? "They will, but only when our films get classified into groups like 'U'(universal), 'PG' (Parental Guidance), 'Adult' (violence, crude dialogues, etc) and 'X' (passion and exotica). X category does not mean pornography. The X theatres will be different, they'll be allotted a special license permitting them to screen that stuff, and surprise-n-frequent checks would be carried out in these cinema houses," he said. Anand said he was not advocating pornography in the form of 'X' category, but these would perhaps be films that were too bold for our cultural sensitivity. Vijay Anand resigns - Censor board chief miffed with Sushma Swaraj Ref : https://www.rediff.com/entertai/2002/jul/20vijay.htm Bharati Dubey in Mumbai Censor Board Chief Vijay Anand has resigned after the Union Minister of Information and Broadcasting Sushma Swaraj turned down his proposal to issue censor certificates for pornographic films. Although, Anand was not available for comment, his wife confirmed he has resigned from the post. It may be recalled that Anand was asked by the Kerala film industry to issue censor certificates to X-rated films, making it possible for such films to be released in select pockets. Anand had put the same proposal in front of Swaraj, who, however, rejected it outright. It is also learnt that the verdict in the Priya Rajvansh murder case may be announced by the sessions court in a few days. This is also speculated to be one of the reasons for Anand's resignation. Arvind Trivedi (Ravana from the television serial Ramayana) is the acting chairman, till the new chairman is declared after a week.
- 198. Censor Board for'A' and 'X' rating of movies Ref : https://www.outlookindia.com/newswire/story/censor-board-for-a-and-x-rating-of-movies/413405 New Delhi, Sep 9 (PTI) The Censor Board has asked the government for an 'A' or 'X' rating for films to avoid any censorship of movies meant for the adult audience due to explicit language or scenes, its Chairperson Sharmila Tagore has said. However, Tagore said she did not agree with her predecessor Vijay Anand's proposal of permitting pornographic films in the country. "There are more and more adult subjects with explicit language or explicit scenes... Yes, I feel there should be a category for such films so that instead of cutting it, censoring it or deleting a few scenes we can show it in its entirety," Tagore told Karan Thapar during the 'Devil's Advocate' programme on CNN-IBN. Tagore said while the Board under her had no qualms about clearing kissing scenes, she would not endorse her predecessor Vijay Anand's proposal to permit pornographic films. "No. I wouldn't endorse that. I don't think society or the Indian people are ready for it. There's a cultural difference between India and the rest of the world," the acclaimed actress-turned-Censor Board chief said. She said she was opposed to the blanket ban on showing adult films on television and said there should be a specified time slot for telecasting such movies on the small screen. "Nowhere in the world does this (the ban) happen. There's a time for adult films... A specified time is necessary for adult viewing... That would be a practical and reasonable solution," she said. Tagore said the Board was planning to go back to the I&B Ministry and ask it for a review of the decision to ban adult movies on TV. She said the films could be safely shown between 11 pm and 4 am and also revealed that the I&B Ministry was thinking of creating an adult viewing time zone on TV. However, Tagore said adult material could not be shown to children, citing her son Saif Ali Khan's latest film 'Omkara' as an example. Tagore was very critical about I&B Minister Priyaranjan Dasmunsi's decision to personally watch 'The Da Vinci Code' before its release even though the Censor Board had already cleared it. She said she was concerned as it could set "a very bad precedent" and she would have stopped the Minister from doing so had she been able to. However, she said the matter has been sorted out between her and Dasmunsi.
- 199. "I don't thinkit's going to have a very long lasting effect. I've discussed it with the Minister and the Ministry and I've made my position very clear... In the long run, for the healthy functioning of the CBFC vis-a-vis the Ministry and vis-a-vis the film industry, it's not a very good thing," she said. Tagore also defended her decision to refer 'Rang De Basanti' to the Air Force before clearing the film, saying her objective was to clear the movie and how she did was simply a matter of strategy. "I've seen a film is released and then it runs into problems like 'Rising' did. Somebody brings a PIL, somebody brings a protest and the film is withdrawn from the theatres. That cause a producer far more anxiety and problems because the film then doesn't pick up," she said
- 200. Vijay Anand :The director with the golden touch plans a comeback to films after a long hiatus Saira Menezes INTERVIEWS Vijay Anand04 December 1996 Ref : https://www.outlookindia.com/magazine/story/vijay-anand/202641 Was your long hiatus imposed by circumstances or a conscious decision? It was a conscious decision. Since I took it at a time when nothing great was really happening in Hindi cinema, I missed nothing. Are you approaching your planned comeback with a sense of trepidation or elation? I take everything in my stride. The comeback does not overwhelm or excite me. I put my heart and soul into everything I do. Is Goldie Anand's golden touch still intact? That is for people to answer. If you think there was a golden touch, it still is there. Would the maker of Guide, Johnny Mera Naam and Jewel Thief find the present climate of the Mumbai film industry bracing? I neither live in nor remember the past. I may be a product of the past, but I always work with a fresh approach. Will Nyaymurthi Krishnamurthi prance around trees and what will the music score be like? The film will be a blend of what's happening in the film world right now. The music score is by Dilip and Sameer Sen. Is the Tehkikaat role a stray foray or is the actor in Vijay Anand still alive? He is still very much there. What necessitated the serial's shift to STAR Plus from Doordarshan? DD didn't want to extend it. They wanted the serial to be shifted to DD2. I didn't want to settle for anything else, then STAR invited us. Is STAR Plus the right choice for a Hindi-language whodunnit? Having a different audience is a challenge. Besides there is more creative freedom on STAR than on DD. Have you slammed shut your relationship with Mandi House? I never had one, so where is the question of reviving the relationship? Isn't television too small a screen for a big name like yours? Nothing is big or small anymore. Cinema and television are inter-dependent. The scenario is a complementary one.
- 201. Good bye Goldie FilmmakerDev Anand spoke at the funeral of his brother, filmmaker Vijay Anand, who passed away on Sunday: I am seeing him going in flames. And his spirit is going to infinity. His work is getting immortal. Vijay Anand was Vijay Anand. This is not a personal loss to my family or me. It is a loss to the entire movie industry. He was a great director, writer, a good speaker and a great intellectual. He was very outspoken, to the extent of being cruel at times, but life is all about that. And there he goes. Filmmaker Vijay Anand dead Ref : http://in.rediff.com/movies/2004/feb/23anand.htm Filmmaker Vijay Anand, who suffered a massive heart attack on Sunday, died this morning. He was 71. The former censor board chairman had been admitted to Mumbai's Lilavati Hospital at 1355 IST. Vijay Anand, popularly known as Goldie, was known for his strong direction skills and fine oratory. He started his career with Nau Do Gyarah in 1957 and went on to direct a number of films like Kala Bazaar, Tere Ghar Ke Samne, Guide, Teesri Manzil, Jewel Thief, Kahin Aur Chal, Johnny Mera Naam and Tere Mere Sapne. He also directed the box office hit, Teesri Manzil, outside his home banner, Navketan Productions. Goldie was the youngest of the four Anand siblings and took up to films after his elder brothers, Chetan and Dev Anand. His acting skills came through when he starred in films like Kala Bazaar, Double Cross, Haqueeqat, Barood Road, Main Tulsi Tere Aangan Ki and Hum Rahe Na Hum. He had also planned an ambitious project to launch a television channel, Lamhas, which would produce quality programmes. Goldie had resigned from the Censor Board due to a difference of opinion over the censorship issue.
- 202. Vijay Anand passesaway 23 FEBRUARY 2004Last Updated at 3:17 PMNATIONAL Mumbai, Feb 23 (PTI) Vijay "Goldie" Anand, who directed classic 'Guide' and acted in a number of Bollywood movies died here this morning, two days after suffering a massive heart attack. 71-year-old Vijay, who gave the country classic films with iconoclastic themes like 'Guide' in which his elder brother Dev Anand had played the role of the protagonist, is survived by wife Sushma and son Vaibhav. He was admitted to the Leelevati Hospital after he suffered the heart attack on Saturday and his end came at 6 a.m., this morning. Vijay was the youngest of the four Anand siblings and took to films like his elder brothers, Chetan and Dev Anand and set-up Navketan productions. The outspoken Vijay had resigned as the Censor Board chairman following differences of opinion over the censorship issue. Vijay began his career with film `Nau Do Gyarah' and went on to direct a number of films `Kala Bazaar', `Tere Ghar Ke Samne', `Guide', `Teesri Manzil', `Jewel Thief', `Kahin Aur Chal', `Johny Mera Naam', `Tere Mere Sapne'. Other films directed by Vijay Anand included, `Chuppa Rustam,' `Black Mail,' `Bullet,' `Ram Balaram', `Rajput', `Sharif Badmash'. He also directed the box office hit, `Teesri Manzil,' outside his home banner, Navketan Productions. `Johny Mera Naam' was the biggest all time hit directed by him. His last film was `Jana Na Dil Se Door' which is yet to be released. Vijay also acted in some of the films like `Kala Bazaar,' `Double Cross,' `Haqueeqat,' `Barood Road,' `Main Tulsi Tere Aangan Ki,' `Hum Rahe Na Hum.' Known for his outspoken nature, his fine sense of direction and his ability to comprehend a concept and put it on the celluloid convincingly, Vijay succeeded in emerging out of the shadows of his talented brothers Chetan and Dev, to create a niche for himself in the industry. Vijay, who took his steps into the film industry with the film ` Nau Do Gyarah', is still remembered for the brilliant adaptation of the R K Narayan novel 'Guide' and continues to be one of the most loved classic. The character of wayward `Raju', played by his brother Dev Anand, the protagonist and the self-promoting tourist guide, who undergoes an accidental transformation continues to be one of the most remembered character to date. The thriller `Teesri Manzil', located in a hill station replete with Las Vegas style decor, night club drummers, fur-draped dancers and a mystery death thrown was immediately lapped up by Indian audience. Burman's snappy scores and Vijay's fine eye for direction created a musical hit. The director, who was chosen as the Censor Board chief, was embroiled in a controversy when he suggested setting up of 'X' rated theatre for soft pornography. The difference of opinion over the limits to be set by the Censor Board and his attempts at modifying the censorship rules of the Board saw the unconformist Vijay quitting from the post. Vijay had also planned to float an ambitious channel 'Lamhas' to produce quality programmes on television.
- 203. He was recentlyin the news when he lashed out at the government at a film festival for failing to recognise the contribution of his brother, Dev Anand. Vijay, who was among those who sought to usher in professionalism into the industry and who tried to adapt many of the working styles of the west, also worked unceasingly to ensure that original ideas and concepts received due recognition on the celluloid. The body of the film maker was later brought to his dubbing and editing studio `Ketnov', located close to his suburban residence, for relatives, fans and film personalities to pay their last respects. The body of the director was subsequently carried to the Santacruz crematorium, where his son, Vaibhav performed the last rites and lit the funeral pyre. Among those who paid their homage to the director were his brother Dev Anand, wife Kalpana Kartik and son Suneil Anand, actor Shammi Kapoor, actress Shabana Azmi, lyricist, Javed Akhthar and anchor Tabassum. Members of the film industry, including Yash Johar, Karan Johar, Darshan Arora, Madhur Bhandarkar, Prem Kishan and Harmesh Malhotra were also among those who paid their respects to the departed director. Bollywood mourns Vijay Anand's death Ref : https://www.outlookindia.com/newswire/story/bollywood-mourns-vijay-anands-death/203180 23 FEBRUARY 2004Last Updated at 2:37 PMNATIONAL Mumbai, Feb 23 (PTI) A stunned film industry today mourned the death of noted film-maker Vijay Anand, who made a big impact in Bollywood with movies like 'Guide', 'Tere Mere Sapne' and action-packed 'Johnny Mera Naam'. Director Rajiv Rai, son of producer of Gulshan Rai, who produced the highly successful 'Johnny Mera Naam', said the film consolidated his father's position as a leading film maker in Bollywood. Vijay was a committed film maker and never compromised on principles, he said. Filmmaker and television personality Ramanand Sagar said Anand was a respected film maker and his "Guide" remains to this day as a landmark film in the history of mainstream cinema. Producer-Director Anil Sharma said Anand was a dedicated film maker, who injected a new dimension into film making by giving a Hollywoodian sheen and gloss to movies with his action-packed "Jewel Thief" and "Ram Balram". Waheeda Rehman, who acted in Vijay Anand-directed "Guide" said he was a fascinating film maker. "With his deft direction, he balanced the overall tempo of the film." Bollywood's bigwigs Yash Chopra, Subhash Ghai, Rajkumar Santoshi and Yash Chopra said "with Vijay Anand's death, the Bollywood had lost a committed film maker". Director Mahesh Bhatt said "Vijay Anand's death is passing away off true original mind. Vijay had charisma and cinematic dazzle. He was the first, who gave Indian film directors the status of a star, Bhatt said.
- 204. NavKetan Movies Reviewand information DEV -GOLDIE - "MISSED OSCAR FOR 'GUIDE' BY A WHISKER " Pali Hill is to Mumbai filmdom what Beverley Hills is to Hollywood. The abode of stars. And Vijay Anand aka Goldie Sahab is one of the inhabitants of this galaxy. After all, he’s the technical wizard who brought star status to the post of a director. Commanding a loftymarket price for his creative inputs, Goldie Sahab ensured that directors got their due.Along with his charismatic brother, he made trailblazing movies. Goldie and Dev Anand made a winning director-actor combo. They drew full houses with successive releases — Jewel Thief, Hum Dono, Tere Mere Sapne, Johnny Mera Naam, Teesari Manzil... to name a few. And they missed the Oscar by a whisker for Guide. If Dev sahab wasn’t my brother, I would have been an actor. Although Inever lacked the talent, I chose to go behind the camera and Ineglected the externals of life as grooming and image building. ( Srinivas Ganti -24/03/2000 --Vijay Ana
- 205. The cult movie: Guide Ref : Dinesh Raheja Ref : https://www.rediff.com/entertai/2002/apr/18dinesh.htm CREDITS Producer Director Music Director Stars Navketan Vijay Anand S D Burman Dev Anand, Waheeda Rehman, Kishore Sahu Flawed characters are always interesting in our cinema, which is full of morally-superior martyrs and righteous behemoths. Vijay Anand's Guide is a celluloid tone poem which gently leads us through the story of a passionate soul, Raju Guide, imbued with his fair share of venalities --- ambitions, insecurities and jealousies -- and his journey towards his eventual redemption. This odyssey is mainly prompted by the rupture of Raju's relationship with his grey-shaded-as-well love, Rosie; and the portrayal of this tempestuous love affair is a major plus point for the film. Based on R K Narayan's novel, The Guide, the film has as its protagonist Raju (Dev Anand), a glib-talking tourist guide. He meets Rosie first when she is already married. Her much-older, archaeologist husband Marco (Kishore Sahu, noted actor-director of the 1940s who also directed the Meena Kumari hit Dil Apna Aur Preet Parayi) hires Raju as their guide while on a holiday. The rather dried-up Marco is shown more comfortable with his explorations in a cave than with his beautiful trophy wife. Not surprisingly, an attraction soon develops between Raju and the repressed-by- her-husband (he won't let her cultivate her dancing abilities), but full-of-vitality Rosie. Raju's love and support gives the unfulfilled Rosie the courage to make bold and defy societal norms by leaving the oppressive atmosphere of her husband's house and moving into Raju's abode. Her sheer exultation in her new freedom is beautifully captured in her crucial song --- Kaaton se kheench ke anchal, chhod ke bandhan bandhe payal. It is evident in her dancing on the edge of a ledge in keeping with her dangerous new desires; in her riding in a cart and breaking a pot, thereby metaphorically breaking all conventions. Raju even defies his mother (Leela Chitnis) for his unconventional love. Rosie flowers because of his strengths. Does she have the heart to forgive his weaknesses too? The film takes you beyond the happily ever after. What happens after a love match fructifies? With Raju's glib managerial skills, Rosie becomes a dancing star. But insecurity soon manifests itself. Raju takes to drinking and gambling. His fear of losing his love makes Raju forge a cheque in Rosie's name. She finds it hard to forgive him, and he is sentenced to prison. When he emerges from prison, he rejects his earlier life. He is mistaken as a holy man by some villagers and goes along with their belief. Misery, it is said, can lead to sublimity. Circumstances make Raju go on a 12-day fast to propitiate the Gods for rain, and leads him to ponder over and seek answers to the ultimate spiritual question. In the end, the Guide finds the path to his own emotional salvation. Dev Anand in what is probably his most famous role is never less than convincing as the guide with all- too-human failings, but also blessed with a higher self.
- 206. Waheeda Rehman effectivelyconveys her character's repressed energy and desires through her many breathtaking dances. She's subtle as ever, and her expressive eyes flash fire as well as frighteningly cold rage. Director Vijay Anand handles the complex subject with maturity and flair. He adopts a largely non- judgemental stand, interestingly evident in this musically-blessed film's two back-to-back Point Of View songs. When the lead couple have an acrimonious fall out, the heroine sings Mohse chhal kiye jaaye while the hero counters with Kya se kya ho gaya bewafa. It is almost as if the director presents both the sides and lets you make up your mind. Sidelights: * Guide was not a blockbuster; it was more of a prestige film. It won the Best Director, Best Actor and Best Actress Filmfare Awards for Vijay Anand, Dev and Waheeda respectively. * The English version directed by Tad Danielski was released beforehand. It left little impact. * For director Vijay Anand it was an early peak. His trendsetting thriller Teesri Manzil was also released within a year. Incidentally, Chetan Anand was to direct Guide first; then Raj Khosla was considered, but Waheeda and Khosla had fallen out during Solva Saal so Vijay Anand ended up directing the film. The Music: Famous songs from Guide: Song Singers Kaaton se kheech ke Lata Mangeshkar Piya tose naina laage Lata Mangeshkar Mohse chhal kiye jaaye Lata Mangeshkar Gaata rahe mera dil Lata Mangeshkar, Kishor Kumar Din dhal jaaye Mohammed Rafi Tere mere sapne Mohammed Rafi He Ram Manna Dey Megh de S D Burman Wahan kaun hai tera S D Burman * S D Burman, who had drastically cut down his work in the early 1960s due to health problems, made a thumping reaffirmation of his enduring talent with Guide. * Lata and Rafi got a lion's share of the film's eternal classics. While Aaj phir jeebne ki tamanna hai remains one of Lata's biggest hits, Rafi smoothly articulated Din dhal jaaye and Kya se kya ho gaya with much pathos. * And with the film having philosophical overtones, lyricist Shailendra wrote some deeply-felt lines in Wahan kaun hai tera. Kehte hai gyaani, duniya hai faani Paani pe likhi likhayi; Hai sabki dekhi, hai sabki jaani
- 207. Haath kiski naaayi; Kuch tera na mera, Musafir, jayega kahan? #1 Guide: Top 100 Bollywood Albums The 1965 film had music by SD Burman and lyrics by Shailendra who together composed a brilliant album with evergreen songs like Tere Mere Sapne, Gaata Rahe Mera Dil and Aaj Phir Jeene Ki Tamanna Hai. Directed by Vijay Anand, Guide starred Dev Anand and Waheeda Rehman POSTED ONNOVEMBER 8, 20173 MINUTE READBY VIPIN NAIR Ref : https://www.filmcompanion.in/1-guide-top-100-bollywood-albums/ ABOUT THE AUTHOR Vipin Nair writes about music on his website MusicAloud.com and curates music on Apple Music as MusicAloud. Movie Details of Guide Music: S.D. Burman; Lyrics: Shailendra Director: Vijay Anand In a recent Nat Geo Traveller article about the search for the real life locales that might have inspired RK Narayan’s Malgudi, I read that one of the reasons RK Narayan was not a fan of the movie Guide was that the places it was shot in – Jaipur, Udaipur etc. – did not match his mental image of Malgudi where his original story The Guide was based in. The said mismatch however did not stop the movie from becoming a massive hit, and like most hits from the time, Guide too owed a lot of its success to the lush musical backdrop it was set to. It is said that SD Burman was ill around the time of the movie, and that Dev Anand waited for the man to recover rather than go for a different composer. His patience was of course rewarded big time when the composer, along with lyricist Shailendra, delivered their career-best soundtrack for the movie. The 11 song album covered a diverse range of genres – classical-rich dance pieces, folksy philosophical compositions, devotional songs etc aside of the usual mix of romance and melancholy – and produced a gem in everything it did. One nugget for the trivia-seekers was the rarity of santoor maestro Pandit Shiv Kumar Sharma playing tabla in the song Mose Chhal, reportedly on the insistence of R D Burman who was assisting his father in this movie. Best Song of Guide: It is next to impossible picking a favourite from an album like Guide where every song is a special one. But since I have been tasked with picking one, I go with the timeless romantic piece Tere Mere Sapne. The comfort and assurance in the protagonist’s declaration of love – fabulously conveyed by Shailendra – are mirrored brilliantly in Burman’s melody and mellow orchestration – that waltz-rhythm, the understated use of instruments (love the use of saxophone, especially the interplay between sax and santoor in the interludes), it’s all just perfect. Then there is of course Mohammad Rafi, with a stellar rendition that is bound to calm your senses any time you listen to it. Vijay Anand’s visual treatment of the song too was exquisite, and rather than speak about it I will just direct you to this detailed analysis of the song sequence. The Guide Playlist: Aaj Phir Jeene Ki Tamanna Hai (Singer: Lata Mangeshkar) Din Dhal Jaaye (Singer: Mohammed Rafi)
- 208. Gaata Rahe MeraDil (Singers: Kishore Kumar, Lata Mangeshkar) Kya Se Kya Ho Gaya (Singer: Mohammed Rafi) Piya Tose Naina Laage Re (Singer: Lata Mangeshkar) Saiyaan Beimaan (Singer: Lata Mangeshkar) Tere Mere Sapne (Singer: Mohammed Rafi) Wahan Kaun Hai Tera (Singer: SD Burman) He Ram Hamare Ramchandra (Singer: Manna Dey) Allah Megh De Paani De (Singer: SD Burman) Dance Music (Instrumental) Guide – Entire movie has been well captured in eBook including many photos and storyline https://www.slideshare.net/rrakhecha/the-guide-immortal-moviegreat-goldie
- 209. On a relatednote: In the opening entry of this series (Julie) I had shared a Malayalam movie–related trivia – it is only fair that I end the series with one too. In 1988, director Bhadran made the movie Siddhartha. The film never released, but its soundtrack did, and one of its songs titled Doore Doore was based entirely on Tere Mere Sapne, with modifications in arrangement from composer Shyam. While the song mostly had Malayalam lyrics, there are segments at the start and end of the song where singers Yesudas and Chithra sing bits from the original verse.
- 210. Guide review Ref :https://upperstall.com/film/guide/ Guide is one of the most remarkable films of Indian Cinema and truly a film that was ahead of its times. Based on RK Narayan’s novel The Guide, the film is immortalized by Director Vijay Anand’s bold, unconventional strokes; who would have dared to show a man and woman living together outside the sanctity of a marriage way back in the 1960s? And that too in a milieu as traditional as that of Hindi cinema, which rarely allows nonconformist relationships even today! In fact, it is one of the earliest efforts in Indian Cinema to actually show its two leading characters as frail human beings who could make mistakes in life, and yet be unapologetic about it. Consequently, Dev Anand, who also produced the film, was advised by all and sundry not to touch this project with a bargepole but it speaks volumes of his conviction towards the subject matter that not only did he get a film made on it but a film that remains one of the landmark films of Indian Cinema. Guide was made in two versions – an English version in collaboration with Pearl S Buck and directed by Ted Danielewski to introduce Dev Anand to western audiences and, of course, the Hindi version directed by Dev Anand’s younger brother, Vijay Anand. Initially, Vijay was dead against directing this film causing Anand to approach elder brother Chetan Anand, who initially agreed but then got busy with his own production that he was also directing, Haqeeqat (1964). Then Raj Khosla was brought in to helm the film. But things didn’t work out here either. Vijay Anand was approached again and this time he took on the film, albeit reluctantly. Ironic because Guide today is regarded as perhaps the best film that Vijay Anand had made and rightly so. Guide shows just how well Vijay Anand understood cinematic language and what’s more the psyche of his audiences. It also is a text book study in understanding just how different the two mediums of writing for a novel and making a film are. One can understand just why RK Narayan might not have been too happy with the film, while at the same time, one fully understands why Goldie Saab made the alterations he did. One of the major changes that Vijay Anand did was to change the setting of the film from Malgudi to Udaipur and while this did give the film an exotic, grand visual look, admittedly perhaps this took away from the ambiance of the small town of Narayan’s novel. But then it would be incredulous to accept Dev Anand as a South Indian in a small town with the aroma of idlis and filter coffee. The ending too of the film was significantly different from that of the novel. But then Vijay Anand has always maintained that he was never interested in merely copying any work of art from one medium to another unless there was scope for value addition and to be fair to him, he has made Guide into a rich and unforgettable cinematic experience. The English version, though closer to the novel and in spite of a nude scene using a duplicate instead of Waheeda Rehman, flopped miserably even causing Narayan to write a piece criticising the film but the Hindi version remains a classic to this day. The film works best as it looks at the development of the relationship between Raju and Rosie. Raju’s courage and compassion, and the hypocrisy of ‘respectable’ society’s attitude toward ‘public women’ are powerfully portrayed, as is the chemistry between him and Rosie aided by tender, poignant moments and superb dialogues. Here, in another deviation from the novel, Goldie Saab takes great care to show us the inside view off Rosie’s marriage, her neglect by Marco, his nastiness to her and even his whoring to justify her walking out of her marriage and living in with Raju. Whereas in the book, Rosie and Raju get physically attracted to each other and straight off hop into bed behind Marco’s back. But we have to understand that Narayan wrote for a niche English reading audience who accepted this affair more easily but Goldie knew it would be blasphemy and morally shocking for the masses who went to the cinema. And one has to say he got it right. He makes us feel for Rosie and we want her to leave Marco and be with Raju. However, once they get together and Raju makes Rosie a big star, ‘Nalini’, their falling out, at the height
- 211. of Rosie’s success,is rendered more sketchily — the film implies (in contradiction to its earlier message), that worldly success inevitably corrupts and that career women must indeed construct (in Rosie’s words) ‘a sort of fortress around the heart’. The film is enhanced richly by the two central performances. Dev Anand gives perhaps his best shaded performance in the title role, playing him perfectly with just the right amount of grey and his nuanced performance won him his second Filmfare Award for Best Actor. Good as Dev Anand is, however, the life and soul of Guide is undoubtedly Waheeda Rehman. It was a daring role to play in those times, of a woman who leaves her stifling impotent husband and lives with her lover, a guide who helps her in her ambitions to become a famous dancer. Waheeda was in fact told she was committing professional suicide taking on this role. However it is to her credit that she was more than able to humanize Rosie to get the viewer’s sympathy. Whether breaking the metamorphic pot of social constraints or dancing precariously over a ledge in keeping with her dangerous new desires, Waheeda Rehman is outstanding in the film with her portrayal of an adulterous, career-minded, strong woman. Never has she looked, acted or danced better! She too won the Filmfare Award for Best Actress for Guide. However, after Guide, Waheeda’s career graph was strange to say the least. Her commercial successes Ram Aur Shyam (1967) and Patthar ke Sanam (1967) hardly challenged her histrionic ability and the films that did so – Teesri Kasam (1966), Khamoshi (1969) and Reshma Aur Shera (1971) bombed at the box-office in spite of some of her best work as an actress. Dev Anand and Waheeda are supported perfectly by the supporting cast, particularly Kishore Sahu and Leela Chitnis. The other highlight of Guide is its phenomenal musical score by SD Burman. The film represents perhaps Burman Dada’s greatest work and he is aided tremendously by Shailendra’s lyrics and the flawless rendering of the songs by Mohammed Rafi, Lata Mangeshkar, Kishore Kumar and himself. Each and every song be it Aaj Phir Jeene ki Tamanna Hai, Tere Mere Sapne Ab Ek Rang Hai, Din Dhal Jaye, Gaata Rahe Mera Dil, Piya Tose Naina Lage Re, Mujhse Chhal Kiye Ja and Kya Se Kya Ho Gaya (a rare case of two songs back to back), Allah Megh De and Wahan Kaun Hai Tera is perfectly written, composed and sung. It is indeed shocking that Burman Dada lost out on the Filmfare Award to Shankar-Jaikishen for their populist score in Suraj (1966), which great as it was, came nowhere near Guide’s scintillating musical score. Guide also sees Vijay Anand at his peak and more than reinforces his reputation as Indian Cinema’s premier song picturizer. Special mention must be made of Aaj Phir Jeene ki Tamanna Hai (The famous low angle tracking shot of Waheeda dancing along the ledge continues to amaze one even today as does the shot of moving from mirror to mirror) and Tere Mere Sapne which he canned in just 3 shots with complex character and camera movements – truly a great filmmaker at the heights of his craft. The film is brilliantly photographed in Pathe Colour (the English version was filmed in Eastman Colour) by Fali Mistry and processed abroad which has helped the print retain its vibrant colours even today. And special mention must be made of Hiralal’s choreography resulting in some of the most famous dance numbers of Hindi films. Initially, Guide had a tough time being sold because of its so called bold theme but thanks to Production Controller Yash Johar’s perseverance, the film was finally sold and released to great critical acclaim and was a big commercial success. As the oft repeated statement goes – ” and the rest is history.”
- 212. Navketan's Guide- FromPages to Celluloid Sunday, 17 February 2019 After the Berlin Film Festival in 1962, Dev Anand and his wife travelled to London and later, at the invitation of the Nobel laureate, Pearl S Buck and the Polish-American TV film director, Tad Danielewski of Stratton Productions, to New York. It was while eating a dish called ‘Scorpion’ at a restaurant in ‘The Village’ (as Greenwich Village is commonly referred to), that Dev Anand presented Pearl S Buck with a copy of R K Narayan’s The Guide. He told them that he intends to make a film on this book. Pearl and Tad were impressed by the possibilities of a cinematic adaptation of the novel, they had doubts about whether Narayan would be willing to part with the film rights of his novel. R K Narayan was an Indian writer known for his works set in the fictional South Indian town of Malgudi. He was a leading author of early Indian literature in English along with Mulk Raj Anand and Raja Rao. Narayan’s The Financial Expert was hailed as one of the most original works of 1951 and Sahitya Akademi Award winner The Guide was adapted for film. His first book "Swami and Friends" was published in 1935. Narayan's next novel The Bachelor of Arts (1937), was inspired in part by his experiences at college, and dealt with the theme of a rebellious adolescent transitioning to a rather well-adjusted adult; He wrote nearly three dozen novels and several short-story collections, The Guide was his thirteenth book and eighth novel. It was published in 1958. Dev Anand in his Biography says “I read it at one go…I thought it had a good story, and the character of Raju, the guide, was extraordinary,”He first wrote a letter to R K Narayan, As per Narayan he got a letter from Anand, modestly describing himself as “a producer and actor from Bombay” and wondering, “I don’t know if my name is familiar to you.” In this letter, he wrote about his interest in making a great film on The Guide. After his approval, Dev immediately sought an appointment with R. K. Narayan and signed a contract with him. There was also a broad consensus that the film is made in both English and Hindi. While Tad was de facto director of the English version, for the Hindi, it was a toss-up between Chetan Anand and Raj Khosla. Neither worked out. Finally, Vijay ‘Goldie’ Anand was chosen to direct the Hindi version. Dev Anand wanted to start English version and Hindi version simultaneously. The idea was to film the scenes common to both versions simultaneously, a Hindi shot to be immediately followed by the same shot in English, to save time and money but it could not be materialised because Vijay Anand was not happy with the script, he wanted to change the script and write a new script. The other reason for the delay of the Hindi version was the music composer S.D. Burman had suffered a heart attack and was not available for the music. Burman Dada advised Dev to sign on a new composer for Guide, but Dev put his foot down and insisted that Burman should first get well and then take over. As we all know that in the novel the city taken by the author was an imaginary town Malgudi but in the film, Udaipur of Rajasthan was prefered by the director Tad. But it wasn’t only the locations, the scale and the general tenor that shifted from page to screen. It was the characters themselves. This annoyed R K Narayan but he was later convinced that Tad could not create the town similar to Malgudi. The next change was the name of the hero as Raju Guide whereas in the novel it was Railway Raju. Raju’s childhood and youth don’t appear in the film. Part of the reason lay in popular cinema’s need to be larger than life. All the small town specificity of Malgudi was erased. The film also has many sequences specifically inserted to impress the foreign audience as some kind of Bharat-Darshan. Similarly, the Rosie who made it to the Hindi film screen was nowhere near as radical as the original Rosie – the Rosie created by RK Narayan, in his novel The Guide.
- 213. Narayan’s character hadchutzpah, but he had his awkward moments. But the film was a star vehicle for Dev Anand, and its hero had to be more Dev Anand than Raju. So Anand’s Raju Guide has no self-doubt. He is never worried about the hairiness of his chest. He never wonders if he could be bold enough to woo Rosie. It is in relation to Rosie that he is most transformed – because Rosie herself has changed. Narayan’s Rosie is no sophisticated, but her ambition is never in doubt. Nor is the carnality of Raju’s interest in her, or her reciprocation of it. The novel has none of the high-mindedness that Hindi cinema forced upon its heroes and heroines so Raju can tell us the truth: he is attracted to Rosie; his support of her dance begins because it is the clue to her affections. The novel’s Rosie is full of plans; Raju need only support them. But Vijay Anand’s film, keenly aware of his conservative audience, turns his Rosie into a bundle of nerves who tries three times to commit suicide, only to be saved each time by Raju, and berated: “Tumhari haalat aaj yeh isliye hai ki tumne apni haalat se baghaavat karna nahi seekha.” The other sociological element that makes both book and film fascinating is that Rosie is a devadasi by birth, and her reclaiming of dance in a new secular public form formed a fictional counterpart to the actual national reclaiming of Bharatnatyam. Here, too, the film has Marco insult dance, while Raju delivers a lecture on how artists are no longer bhaands. By June 1963, the shooting of the English version of The Guide was completed and Pearl S. Buck who viewed the rushes found it up to the mark. When Narayan saw the English version in January 1964, he wrote to Dev, labelling the film profound, artistic, and exquisite. In 1964, Dev began promoting The Guide in the US and the premiere elicited encouraging responses from a cross-section of viewers. The English version premiered at the Lincoln Art theatre in New York in February 1965. The mainstream press in America including The New York Times and the Time magazine didn’t take a liking to The Guide. The English Guide was a flop but Dev Anand was not bothered, he took the failure in his stride. “The film did not fare well, but it gave me a semblance of recognition in a new arena… The new experience was rewarding enough,” he writes in Romancing with Life. Dev Anand had plans to release the Hindi version of The Guide by end 1965. But suddenly, he was faced with a barrage of protests from some quarters who strongly recommended that the film would be banned on grounds that it promoted infidelity, that too of a woman. Finally, Guide released on 8 April 1966. It had a shaky start, for here was a film which didn’t present Dev Anand as the quintessential lover boy. Initially, the response was lukewarm but the film picked up after a few days when all the critics gave good reviews and also the music of the film became hit. Narayan didn’t care for either of the movies, especially the depiction of Rosie as an all-around dancer rather than a Bharatanatyam exponent. Probably referring to the Hindi version, Narayan writes, it “converted my heroine’s performances into an extravaganza with delicious fruity colours and costumes”.
- 214. How RK Narayangave Dev Anand a hit Ref : https://www.cinestaan.com/articles/2016/oct/10/2421/how-rk-narayan-gave-dev-anand-a-hit Fifty-one years after its release, Guide is remembered more for Dev Anand and Waheeda Rehman than the book is was based upon. On the famed author’s 106th birth anniversary, we take a look at how the film journeyed from the book to the screen. Mumbai - 10 Oct 2016 9:00 IST Updated : 12:19 IST SONAL PANDYA Just as authors Ernest Hemingway and PL Travers openly denounced their literary works, A Farewell to Arms and Mary Poppins respectively, being given the Hollywood treatment on the big screen, so did writer RK Narayan distance himself from those who wished to give vision to his words. Narayan's award-winning novel, The Guide, first published in 1958, was turned into two films, one for the English audience and one in Hindi for back home. The English version, directed by Tad Danielewski and scripted by Nobel Laureate Pearl S Buck, eventually faded into obscurity while the Hindi version still attracts viewers more than 50 years later with its lead actors' performances, music and bold storytelling. Narayan, however, despised both adaptations and detailed his journey in the arduous process of turning his novel into a film. Both the English and Hindi versions ignored Narayan's suggestions of how his story should be treated. In his essay, 'Misguided Guide', Narayan wrote: "I began to realise that monologue is the privilege of the filmmaker and that it was futile to try butting in with my own observations. But for some obscure reason, they seemed to need my presence, though not my voice. I must be seen and not heard." The story's location was changed from the small famous fictional village of Malgudi in southern India to the northern cities of India, Udaipur and Jaipur in Rajasthan. Along the way, the filmmakers lost the main essence of where the story and the characters originated from. An ill-conceived tiger fight sequence was added in the English version, while a justification for the adultery plot, which could be seen as highly controversial in India, was tacked on. Narayan recounted several anecdotes wherein the baffling process of movie making was brought to light for him. The films became a visual representation of India to the world as much emphasis was placed on that fact that this was an Indian story with an Indian cast presented in Eastman colour on the big screen. Meanwhile, he wondered the lengths the makers took to promote the film's technological features which led them to ignore the necessary parts of the novel, deeming them unsuitable for the final film. The novel's original ambiguous ending was spelt out in capital letters for the audience. Eventually, Narayan knew it was too late to stop what was happening around him. In the same essay, he recalled, “I trained myself to give up all attempts to connect the film with the book of which I happened to be author of.” One of the book's famous fans, Satyajit Ray told Narayan that he wasn't sure if even he could bring the book to life onscreen. While the Hindi film was more critically acclaimed than an outright box office success, Vijay Anand's Guide won seven Filmfare awards in 1966; for the first time in history a Hindi film had swept the awards for Best Film, Best Director, Best Actor and Best Actress. And as a fitting endnote to the Hindi film adaptation, RK Narayan won the Filmfare Award for Best Story.
- 215. The Song "GataRahe Mera Dil" was the Last Addition in Guide Thursday, 1 November 2018 You would be surprised to know that this super hit song was originally not in the film. Vijay Anand in an interview said that the song Gata Rahe Mera Dil was inserted later, like a patchwork. We shot that song after the film was completed and then it was added. He said he along with Dev Anand thought that there was no song of Kishore Kumar, in fact, Kishore had not sung for Dev since Paying Guest in 1957. It happened just like that. Firstly, Kishore Kumar was preoccupied with Madhubala’s health. He was not being able to devote time to rehearsals and recordings. And then with Rafi Sahab, their association was working perfectly. But Dev Bhai was missing Kishore for a long time and so he went to meet him. And then caught hold of him and sort of dragged him to Burman Dada’s home. The moment he saw Kishore he said in Bengali, ‘why didn’t you come all these days’ and hugged him. They loved each other a lot. Burman Dada then said let us start the rehearsal, we are going to record a song. That time S D Burman was composing a song for Teen Deviyan and the song was Khwab Ho Tum Ya Koi Haqeeqat. This song was the first song Kishore recorded for Dev Bhai after a long hiatus under Burman Dada’s music direction. Kishore sang it so wonderfully, he won everyone’s heart. This is exactly what all of us, including Dev Bhai, was missing. Burman Dada kissed his (Kishore’s) head. He was delighted. Guide was completed and about to release earlier than Teen Deviyan because there was some work still left with the latter. Besides, Teen Deviyan was being made in black and white and on a much smaller canvas. Guide had been mounted on a large scale and it was in colour and thus it was a much-awaited film. So why not include a song by Kishore in Guide. So immediately Shailendra was called to write a romantic song thus this song was recorded in a record time. The song was a very big hit. It was the only song of Kishore Kumar in the film.
- 216. "Tere Mere SapneAb Ek Rang Hain" An Immortal Art in Celluloid. Vijay Anand was an Ace Director. His directorial excellence was as much about his deft camera work as it was about his nuanced characters. He was a master of picturising songs. His songs outlived his times. This great song from Guide is an immortal art in celluloid. Both he and his elder brother Dev had a belief that the songs have repetitive value. Besides the composition of the song, they were very particular about the picturization of the song. Vijay Anand used to say “My camera listens to the song and moves with it,” Long shots, lush backdrops and sharp intercutting brought out the poetry in the prose. Guide (1965) was Navketan’s first film in colour. Based on RK Narayan’s novel. It became a classic because it excelled in acting (Dev Anand-Waheeda Rehman), music (SD Burman), photography (Fali Mistry), editing (Vijay Anand and Babu Shiekh)... There was a situation in the film where the heroine was dejected and to bring hope the hero sings a song. For this situation, three legends, Dada Burman created a tune for which Shailendra wrote the beautiful lines and Mohammad Rafi gave the voice. Incidentally, the saxophone that plays in this song was played by Manohari Singh, a music assistant to S D Burman (and later R D Burman). The song Tere Mere Sapne was shot in the early light(Sun Rise) in Udaipur. This sequence lasts more than four minutes, but it is made up of only three shots, which increase progressively in length – in other words, there are only two cuts in the whole scene. And this isn’t an arbitrary stylistic decision, it is central to what is happening in the film at this point. The two cuts in this scene (the first around the 39-second mark, the second around 1.44 minutes) both occur after a movement of the song has been completed, and both have Rosie drawing away from Raju after initially reaching for him. In the first scene, she strokes his shoulder; in the second she hugs him briefly, but then bunches up her fist and moves away. She is still conflicted at the end of both these movements, and in each case the cut serves as punctuation, indicating that the process of reassuring her must begin anew. And this is done at a dual level, by the lyrics of the song as well as by the sympathetic, probing movement of the camera. In his book Cinema Modern, Sidharth Bhatia quotes the cinematographer Fali Mistry’s son as saying of this sequence, “It was shot over two evenings and a morning, at dusk and dawn, which means they must have had a very small window of about 10 minutes each time, so they had to ensure nothing went wrong in the acting, camera placement, lighting etc … It required great coordination.”
- 217. Journey of aSong from Karbala to Guide, Immortalised by Dada Burman Thursday, 31 October 2019 This immortal song " Allah Megh De Pani De" is one of the two songs sung by S D Burman in the 1965 film Guide. This song was adopted by Burman Da from a Bengali folk singer Abbasuddin Ahmed's song, who taught him his signature technique of “voice breaking”. After Ahmed, several singers have performed this number. Laxmikant-Pyarelal created another version of ‘Allah Megh De’ in the film Palkon Ki Chhaon Mein (1977) with singers Kishore Kumar and Asha Bhosle. Music director Bappi Lahiri rejigged it in Amaanat (1994) and his disco song ‘De De Pyar De’ (Sharaabi, 1984) is also a variation of the tune. Singers Shafqat Amanat Ali and Shubha Mudgal sang a peppy version for composer Debojyoti Mishra in Ramchand Pakistani (2008) but it is the Burman’s version that is best remembered, most likely because he remained true to the original. This song had a long journey from Bengal to Mumbai, and finally to Pakistan. This song is a Bengali folk genre Jaari Gaan. The name Jaari is most probably taken from the Persian word "Zari" Most Jaari Gaan was based on the Islamic legend of the Battle of Karbala, In medieval Bengal, this genre of folk songs was performed by mostly Sunni Muslims. The followers of Husayn ibn Ali during the battle of Karbala. They used to cry out to God to send them rain-bearing clouds, or megh. In this blog, I am posting various versions of this song Allah megh de , pani de chaya de re tui lopamudra mitra
- 218. The Films thatare 50:GUIDE-A poetry on celluloid Wednesday, 12 October 2016 I am starting this series with this film which will be 51 on December 2016.Backed by S.D. Burman’s evergreen melodies, ‘Guide’ became a super hit and was also critically acclaimed. It was India’s official entry for the Oscars in 1966. At the Chicago International Film Festival, Waheeda Rehman won the Best Actress Award. Both Dev and Vijay Anand refused to send ‘Guide’ for the National Awards as they abhorred malpractices by the jury. In 1962 Dev Anand went to attend Berlin Film Festival where he met Author Pearl S. Buck who was very much impressed by R. K. Narayan’s novel, ‘The Guide. ’ The story was appealing. So when she interacted with Bollywood actor Dev Anand at the Berlin Film Festival in 1962, she talked about doing an Indo-U.S. film venture based on the book. This excited Dev Anand, who was basking in the glory of ‘Hum Dono,’ which had won acclaim at Berlin.As soon as he returned to India, Dev Anand called on R.K. Narayan, whose book had already made him a Sahitya Academy winner. Dev Anand successfully convinced R.K. Narayan about creating a classic on celluloid based on the book and the author sold the rights of ‘The Guide,’ to the actor. It was decided that the film would be made in two languages, Hindi and English.the English Version was co-produced by Pearl S Buck.She penned the script of the English version and Directed by Tad Danielewski it starred Dev Anand, Waheeda Rehman and Kishore Sahu. It was Navketan’s most ambitious and expensive venture in colour. Chetan Anand was supposed to direct the Hindi version simultaneously. But Chetan wanted Leela Naidu as the heroine and intended to shoot her dance sequences in long shot, to which Dev Anand disagreed, as he felt that only Waheeda Rehman was ideally suited for the role of Rosy Marco. Chetan also had differences with Tad Danielewski and left the project. Dev anand gave direction of Hindi Version to his younger brother Vijay Anand.The combination of the Anand brothers with Kishore Sahu, Shailendra, S.D.Burman and Fali Mistry created history. Shot in exclusive locales of Udaipur, ‘Guide’ was poetry on celluloid. Backed by S.D. Burman’s evergreen melodies, ‘Guide’ became a super hit and was also critically acclaimed. It was India’s official entry for the Oscars in 1966. At the Chicago International Film Festival, Waheeda Rehman won the Best Actress Award. Both Dev and Vijay Anand refused to send ‘Guide’ for the National Awards as they abhorred malpractices by the jury. The film GUIDE is one of the earliest efforts in Indian Cinema to actually depict both its hero and heroine in negative shade. While Dev Anand, the hero of the movie is shown going errant after acquiring wealth on the other hand the heroine Waheeda Rehman dares to desert her husband who is high headed and a womanizer, and elopes with her lover who helps her in her ambition to become a famous dancer.The subject of extra marital relation when infidelity was considered a forbidden subject in India. Most people assumed that Indian audience was not ready to confront the story on adultery. Vijay Anand presented the subject on the silver screen with such competence that viewers were bowled over by his simple narration laced with dance and superlative music. GUIDE today is regarded as perhaps the best film that Vijay Anand has ever made.Guide was also first film to win all four of the major awards (Best Movie, Best Director, Best Actor and Best Actress) at the Filmfare Awards.Surprisingly S D Burman was not given the Best Music Director award for this film.That Award was given to Shankar Jaikishan for the film Suraj.The film's music was composed by Sachin Dev Burman, the songs were written by Shailendra and they were sung by Mohammed Rafi, Lata Mangeshkar, Kishore Kumar, Manna Dey and Sachin Dev Burman. The soundtrack was listed by Planet Bollywood as number 11 on their list of 100 Greatest Bollywood Soundtracks.
- 219. Dev Anand playedRaju and Waheeda Rahman played Rosie and her husband's role was done by Kishore Sahu. Raju's love and support gives the unfulfilled Rosie the courage to make bold and defy societal norms by leaving the oppressive atmosphere of her husband's house and moving into Raju's abode. Her sheer exultation in her new freedom is beautifully captured in her crucial song --- Kaaton se kheench ke anchal, chhod ke bandhan bandhe payal. It is evident in her dancing on the edge of a ledge in keeping with her dangerous new desires; in her riding in a cart and breaking a pot, thereby metaphorically breaking all conventions. With Raju's glib managerial skills, Rosie becomes a dancing star. But insecurity soon manifests itself. Raju takes to drinking and gambling. His fear of losing his love makes Raju forge a cheque in Rosie's name. She finds it hard to forgive him, and he is sentenced to prison. When he emerges from prison, he rejects his earlier life. He is mistaken as a holy man by some villagers and goes along with their belief.Circumstances make Raju go on a 12-day fast to propitiate the Gods for rain, and leads him to ponder over and seek answers to the ultimate spiritual question. In the end, the Guide finds the path to his own emotional salvation. All in all, Guide was an effective film, quite different from your stereotypical Bollywood love story, and quite sensitive, This is one of the best films of Bollywood. The Most Popular Film Guide (1965) Ref : https://www.outlookindia.com/magazine/story/the-most-popular-film/231650 Namrata Joshi26 June 2006 Facebook Twitter Google + Linkedin Whatsapp It’s easy to see why Guide is so popular a musical. Every song in the film, be it Aaj phir jeene ki tamanna hai, Tere mere sapne, Din dhal jaaye, Gaata rahe mera dil, Piya tose, Mose chhal kiye ja, Kya se kya ho gaya, Allah megh de or Wahaan kaun hai tera, holds its own as a melody, has a life beyond its celluloid innings. Just about everything in each song—the tune, lyrics and singing—comes together in perfect harmony. Ironical then that S.D. Burman should have lost the Filmfare trophy that year to Shankar Jaikishen for Sooraj. Guide’s songs work cinematically as well, integrating perfectly with the film’s theme. The romance between Raju guide and dancer Rosie, the various facets in their life’s journey, are marked by the songs, be it the joy of love in Gaata rahe or the pain in Din dhal jaaye. Guide also reinforces the widely-held view that besides Guru Dutt, director Vijay Anand was the country’s best in terms of song picturisation. He made great use of the Udaipur locales, especially in Aaj phir... in the famous shot of Waheeda dancing along the palace parapet, a rare, rebellious song in which a Hindi film heroine actually celebrates her escape from a restrictive husband. Kya se kya, shot with Raju caught in nets, visually recreated a state of emotional entrapment and Tere mere sapne is said to have been canned by Anand in four shots.
- 220. Why did TheGuide fail in English? Ref : https://www.cinestaan.com/articles/2016/feb/6/562/why-did-the-guide-fail-in-english A landmark in Hindi cinema, Chetan Anand's The Guide didn't fare that well in the English language. Filmed in the language of the book it was based on, all it evoked was a scathing review from its creator, RK Narayan. Mumbai - 06 Feb 2016 11:00 IST SHRIRAM IYENGAR Universally acknowledged as one of the most important films in Indian cinema history, Chetan Anand's 'The Guide' is a stylish retelling of RK Narayan's fabulist tale about the redemption of a wayward tour guide. The Hindi version starring Dev Anand and Waheeda Rehman remains one of the biggest hits of the pair and stands alongside epics like Mughal-e-Azam and Pyaasa in terms of its film importance. The conception of the film occurred on the faraway shores of Hollywood. RK Narayan's book had already found a massive fanbase outside India. Supported by writers like Graham Greene and John Updike, he was on the bestseller list. It is no coincidence that the sharp eyes of Dev Anand came upon the book during his visit to America. After a few phone calls, the author reluctantly agreed to have his story filmed. Dev Anand planned to use the film as his vehicle to enter international waters. Ambitious in his planning, he roped in the celebrated author, Pearl.S.Buck, to pen the screenplay for the film. It was to be directed by Ted Danielewski, whose only claim to fame was directing a cinematic version of Jean-Paul Sartre's existentialist drama 'No Exit'. Initially, Dev Anand tried to rope in his elder brother, Chetan Anand, to helm both versions of the film. Chetan refused because Indian audiences would never accept a hero who is an adulterer, philanderer and a liar pretending to be a saint. Twice Dev Anand tried, and failed on both times. The film was not dubbed, as is mistakenly believed, in English. Its English script was one of the primereasons Chetan Anand nominated Priya Rajvansh as the lead. Dev Anand put down his foot and suggested Waheeda Rehman for both versions of the film. It could be argued that filming a book in the very language that it was written is simpler, than in any other language. However, RK Narayan's The Guide is a novel that depended more on its cultural milieu than the language. Like Narayan famously said about his imaginary town of Malgudi 'If it were a real town, it would be a nuisance.' Among the many things that went wrong with the English version of the film, one key element was the director and the script writer's inability to translate the emotive language of RK Narayan's hero. Where Vijay Anand, who later stepped in for Chetan Anand, brought out the humanism of the characters in their moments of weakness, Tad Danielewski's film had no such emotional bond. The film began with Rosie and Marco stepping out of the train at Malgudi, and in a few moments, the montage cut to Rosie in bed with Marco. Another disappointing factor was the absence of any songs. Sadly, there is no evidence of the 120-minute film anywhere on DVDs or the internet, except for short trailers that feature Dev Anand and Waheeda Rehman. The failure of the English version forced Dev Anand to rethink the strategy of the film. RK Narayan, who was part of the advisory team, was unhappy with the way it was going. Writers Hasrat Jaipuri and Shailendra were roped in for the songs while SD Burman came in to add music. In the end, the Hindi version of 'The Guide' earned the trifecta of Best Film, Best Actor and Best Actress at the 14th Filmfare awards. It mattered little that RK Narayan never really liked either version.
- 221. Review : TereGhar Ke samne Ref : https://upperstall.com/film/tere-ghar-ke-samne/ Two feuding millionaires, Lala Jagannath (Om Prakash) and Seth Karamchand (Harindranath Chattopadhyay), are always finding ways to be one up on the other. They buy adjacent plots to each other and each wants to make a better house them the other. Unknowingly, they hire the same architect, Rakesh (Dev Anand), and insist on the same design! Rakesh is Jaganath’s son, whom he has thrown out, and to compound things further, he falls in love with Karamchand’s daughter, Sulekha (Nutan)… Tere Ghar ke Samne is one of the most enjoyable romantic comedies of Hindi Cinema. It is unfortunate this delightful film is never counted among the best works of director, Vijay Anand, the accolades going to his more obvious works. That is because the film is unfairly looked upon as a cute love story, nothing more. While admittedly the film is a lightweight, frothy musical (and most enjoyable, one might say), it does propagate neighbors living in harmony and looks at issues of the generation gap arguing that everything new needn’t be bad and everything old needn’t be good either. But yes, the essence of the film is the love story. The developing romance of Rakesh and Sulekha is handled beautifully with simple everyday situations (going out for picnics, rides to the country etc), beautifully written scenes, witty spoken dialogue and plenty of charm, both from the script as well as the lead pair. The film is a blend of the urbane, modern and traditional values. The characters are upper middle-class Dilliwalas who go to clubs, parties and the like. While Rakesh and Sulekha may romance each other stealthily behind their father’s backs, when it comes to the issue of marriage, Rakesh is totally clear that there will be no elopement. He will only marry Sulekha with her father’s consent. Say, didn’t the biggest blockbuster of 1995 also rest on this premise??? You know the one – the Shah Rukh Khan-Kajol starrer, directed by Aditya Chopra… But this is not to say the film shoves traditional values down your throat. It shows you both sides of the coin and here it is extremely interesting here to see the characters of the two mothers. Rakesh’s mother rebukes her husband for throwing out their only son because he smokes and drinks once in a while. Not only that, she even confess that she was tempted on taking a peg or two in the club once and also informs him that he is unjustified in believing that like their forefathers, his son should also play the dutiful progeny. She insists that Rakesh means no disrespect with his drinking and smoking and that is hardly any reason for his being thrown out. She goes to the extent of telling her husband that it was his fault that he sent his son for higher education abroad not because he wanted his son to be well- educated but because it added to his prestige of having a son who was ‘foreign returned’. Likewise, Sulekha’s mother tells her better half that he has lost his mind because he bid Rs 2,00,000 for a property worth Rs 40,000 only because he wanted his bid to be higher than Om Prakash’s! The film makes extremely good use of actual locations of Delhi and Shimla – of construction sites in and around Delhi but some of the matching of sets with the actual location is slipshod. Also, unfortunately the resolution – the climactic speech and song bringing the two fathers to their senses is extremely long winded, preachy and much too serious and melodramatic – totally out of sync with the rest of the film which was so smooth and free-flowing till then. Tere Ghar ke Samne is aided greatly by the two central star performances. Dev Anand is at his stylish best, his star persona, his mannerisms being put to brilliant use as the ultimate debonair, dashing, successful young architect. Nutan compliments him perfectly. She had taken a small break from acting, following her marriage to Naval Lieutenant Commander Rajneesh Behl in 1959 and the subsequent birth of her son, Mohnish in 1961. However, she made a major comeback with films as diverse and brilliant as Bandini and Tere Ghar Ke Samne. With both these films Nutan proved what a versatile and matchless actress she was
- 222. – as adramatic performer (Bandini) she was right there with Nargis and Meena Kumari and as a comedienne on the other end of the spectrum, she was as good if not better than Madhubala and Geeta Bali. In Tere Ghar Ke Samne, she displays here a lightness and comic timing that’s a delight to behold as with every smile she lights up the screen! The lead players are perfectly supported by Chattopadhyay and Om Prakash as the rival fathers of the couple. Incidentally the girl playing Nutan’s bother Rajendranath’s love interest, Ginny is Zareen Katrak, now better known as Zareen Khan or Mrs Sanjay Khan. Musically, the film boasts of one of SD Burman’s most popular scores but lifting the film several notches is the way Vijay Anand has picturized the songs. In fact, it can be confidently said that Vijay Anand was arguably the greatest picturizer of songs in the history of Indian Cinema. His use of creating unusual situations and sets, using long complicated takes involving both character and camera movement, incredible use of foreground and background of the frame, dynamic framing with a camera almost always on the move and making the most of tightly enclosed spaces all played a great part in the magic of the songs in his films. The standout songs of the films are Dil Ka Bhanwar Kare Pukar, Tu Kahan Yeh Bata and of course the title song. The filming of Dil ka Bhanwar in particular is mind-blowing – just a set simulating the steps inside the Qutub Minar as Dev Anand and Nutan make their way back down, after beautifully building up their romance to lead into the song as they climb up. As mentioned before, being in a constricted space brings out the best in Goldie. You cannot help but be amazed by the angles, by little camera movements, by the dynamic shot taking! Tu Kahan is the ultimate in romance as Dev Anand searches for Nutan in the misty laden streets of Shimla. However, the song is hampered a little by the not so good mix of sets and actual locations in Shimla. The title song as Dev Anand sings to his glass of whisky imagining Nutan inside the glass is just brilliant. The song has an unforgettable moment when Anand’s assistant, Rashid Khan, puts an ice cube into the glass causing Nutan to shiver with the cold which Dev Anand gallantly takes out! It is indeed a pity that following this gem of a film, Vijay Anand never tried a full fledged romantic comedy again. But then greater challenges lay ahead for him as he entered the best phase of his career with Guide (1965), Teesri Manzil (1966), Jewel Thief (1967), Johny Mera Naam (1970) and Tere Mere Sapne (1971) – masterpieces all! #40 Tere Ghar Ke Samne: Top 100 Bollywood Albums This 1963 film had music by SD Burman and lyrics by Hasrat Jaipuri who created some beautiful songs together like Dil Ka Bhanwar and Yeh Tanhai Haaye Re Haaye. Directed by Vijay Anand, Tere Ghar Ke Samne starred Dev Anand and Nutan POSTED ONSEPTEMBER 30, 20172 MINUTE READBY VIPIN NAIR Ref : https://www.filmcompanion.in/40-tere-ghar-ke-samne-top-100-bollywood-albums/ Movie Details of Tere Ghar Ke Saamne Music: S.D. Burman; Lyrics: Hasrat Jaipuri; Director: Vijay Anand The other day on twitter I came across a letter written by Dev Anand in appreciation of the genius of SD Burman, where he names his banner Navketan Films as synonymous with Burman’s music. If you were to look at the production house’s portfolio from its inception till the early 70s, you would see that most of the musically prominent movies had Dada Burman behind them. Tere Ghar Ke Saamne was one of the key albums in that series, featuring a refreshingly light-hearted set of songs from lyricist Hasrat Jaipuri and the composer. With the charming Dev Anand and Nutan’s onscreen chemistry, the soundtrack also translated into a veritable visual treat.
- 223. Best Song ofTere Ghar Ke Samne: Though Rafi got a larger share of the songs and some fine ones among them, my favourite from Tere Ghar Ke Saamne is the folksy Lata Mangeshkar solo Yeh Tanhai Haaye Re Haaye – I find the melodic progression, especially of the opening verse, incredibly imaginative. The Tere Ghar Ke Samne Playlist: Dil Ka Bhanwar (Singer: Mohammed Rafi) Ek Ghar Banaunga (Singer: Mohammed Rafi, Lata Mangeshkar) Sun Le Tu Dilki Sada (Singer: Mohammed Rafi) Tu Kahan Yeh Bata (Singer: Mohammed Rafi) Dekho Rootha Na Karo (Singers: Mohammed Rafi, Lata Mangeshkar) Dil Ki Manzil (Singer: Asha Bhosle) Yeh Tanhai Haaye Re Haaye (Singer: Lata Mangeshkar) Sun Le Tu Dilki Sada (Singer: Mohammed Rafi)
- 224. Review : JohneyMera Naam Ref : https://upperstall.com/film/johny-mera-naam/ Sohan (Dev Anand), a police officer in Bombay, assumes the identity of a small time crook, Johny, to infiltrate a group of smugglers headed by Rai Bhupinder Singh (Premnath) who has his hideout somewhere in Nepal. He befriends a smuggler called Heera (Jeevan) inside a police station, wins his trust and offers to reach diamonds that he had smuggled from Hong Kong to a certain address for a Rs 5,000. He then stages his own escape, collects the tennis racket that contains the diamonds worth Rs 80 lakhs from the hotel where Heera had put up and reaches them to another hotel room where they are received by a beautiful young woman Rekha (Hema Malini). He charms his way into her confidence; Rekha offers Johny Rs 10,000 to meet her at Nalanda and help her reach the diamonds to Nepal. They fly to Kathmandu from Patna with the diamonds and reach them to Moti (Pran) who works for Rai Bhupinder Singh. Meanwhile Babu (Randhawa), a trusted gang member is entrusted with the money fetched from the sale of the diamonds to reach it to Rai Bhupinder Singh at his hideout near the Indian border. But Babu makes plans to escape to Singapore with the money, along with his girlfriend Tara (Padma Khanna) and start a new life there. Johny gets to know of it through a concealed microphone and betrays them to Moti. Moti takes the couple to Bhupinder Singh’s hideout where the leader orders his men to shoot Babu and then takes his girlfriend as his mistress. Johny wins Moti’s trust and replaces Babu in the hierarchy and gains an important step towards reaching his goal, that of locating the gang leader and breaking the back bone of the gang. Throughout, he is accompanied in his quest by the beautiful Rekha who is none other than the daughter of the so-called Bhupinder Singh, the kingpin. But there is a catch: she herself has never met her father since her childhood and her entire purpose and role as a smuggler is to reach her father and find out why did he suddenly disappear from their lives 15 years ago in Lucknow? In the process Johny and Rekha fall in love and after tumultuous journey that takes them through dangerous missions, it is revealed that Moti and Johny are actually long lost brothers – Mohan and Sohan, who were separated during childhood… Coming three years after Jewel Thief (1967), this film reaffirms the mastery of Vijay Anand as an accomplished craftsman in the annals of popular Hindi cinema and continues many of the elements of the previous film in terms of intricate plotting, themes and style. Here, as in Jewel Thief, the hero assumes different identities to hoodwink the members of the group that he infiltrates and like in the previous film, for a considerable stretch of time even the viewers are taken for a ride as to his actual identity. If in the earlier film Dev Anand was subjected to shock treatments by the villains to brainwash him into believing that he is somebody else, in this film, Dev Anand is beaten, albeit clumsily by a gang member to find out if he is truly what he claims to be – a crook, or a pretender. A simple tale of hero’s quest to reach his goal assumes complex and sometimes confounding layers that keep piling on till it pushes all the boundaries; where could it go from here? But unlike in the other film, in this film the director continues to push the envelope still further and the viewers are happily lost in a maze that carries us from one crisis to another through innovative plot twists and revelations that keep us on tenterhooks. The screenplay by Vijay Anand, based on a story by KA Narayan (who also wrote the story of Jewel Thief), is pompous to the point of being ludicrous but the calibre of the director lies in his ability to pull it off with a straight face without bothering about niceties. This is not to say that the weaving lacks logic or poise; in fact it is an extremely taut screenplay that flows from scene to scene with an ease that belies its complexity. Relevant information is conveyed in the most casual manner through dialogues that never sound verbose or unduly informative and the scene immediately cuts to the next movement. The director comes straight to the point without beating around the bush and resorts to freeze frames at certain places to telescope events which otherwise would take more screen time to establish. One recalls the kid Mohan, just after he has knifed the killer of his father, being discovered by Premnath, hiding inside the dicky of his
- 225. car in thebeginning of the film. The shot freezes and cuts to the next shot where we see a grownup Mohan, now Moti (played by Pran), accompanying an aged Premnath. The print of the shirt of the young Mohan and grown up Moti is the only indicator that they are the same character. No frills, no trappings, straight on to the point, let’s move forward with the story sir. All the elements that constituted popular Hindi cinema of that time are played to their hilt in such a confident style that even so many years since it was made, we can only marvel. It has the theme of brothers separated through a misadventure, done to death in innumerable Hindi films; one brother goes to become a smuggler while the other becomes a police officer, only to be reunited before the climax through an accidental recognition (in this case, their boxing ability as they fight each other on a cliff top); it has ‘hi-tech’ devices like a cigarette lighter that can take immaculate photographs and a transistor radio that acts as a transmitter of covert conversations if one of its knobs is attached to the body of the concerned person. Gang members communicate through secret transmitters concealed behind false walls; diamonds are hidden inside tennis rackets and transferred to a false book with cavities carved out from its pages to hoodwink the customs. Cannabis and other dangerous drugs are concealed in containers meant to carry musical instruments; jewelry belonging to Radha-Krishna statue is smuggled out inside a tanpura, strummed by Rekha (Hema Malini) who sings a bhajan (Chup Chup Meera Roye) dressed as a sexy jogan to fool the cops and other devotees. Moti, Johny and Rekha assume roles and don make-ups as and when the situations demand to outwit the police or whoever comes in their paths; Rekha gains entry into her father’s den dressed as a local village belle and sings a song of fatherly love (Babul Pyare) that reaches the ears of her (actual) captive father… Coming to song picturizations, Goldie’s mastery comes out in full steam in the romantic number Pal Bhar Ke Liye Koi Hume Pyar Kar Le. The camera traces Dev Anand from window to window at a cottage as he romances Rekha through this quintessential Kishore number and a coquettish Hema Malini closes one window after the other, but Johny continues to peep through the next available window till she grows exasperated. The whole song is shot in a series of long sweeping takes as the camera gently follows the main characters in that limited film space effortlessly without calling attention to itself. The whole scene exudes sensuousness as we revel in the ethereal beauty of the Dream Girl along with the Evergreen Hero of Hindi cinema as he tries to court her. It is through such wonderful songs and lovely picturizations that the magic of Hindi cinema continues to charm us through generations and we continue to hum its tune and conjure up the images which have become almost iconic.
- 226. If the abovesong situation overwhelms us with its sensuousness and lyrical quality, then Husn Ke Lakhon Rang thrusts itself on us, quite literally, as a voluptuous Padma Khanna teases Premnath in a no-holds barred striptease that stops short at her shocking red bra and panty. It is one of the highlights of the film and is funny, sexy, bawdy and supposedly poignant too, because she puts up the act to save her fiancé Babu from the clutches of the evil man. But this noble act on her part fails to serve her purpose; Babu is shot dead in the jungles outside and Premnath succumbs to her charms and makes her his mistress without her getting to know about the fate of her lover till towards the end when he also shoots her dead and she dies with the name of her lover on her lips; a sad ending to a vibrant life that dreamt of a better life with her lover outside the world of vice and greed, but by that time she had fulfilled one vital role in the film: provide the viewers with a dosage of sex that heroines of those days shied away from.
- 227. In the contextof the above song, one interesting observation emerges in retrospect at a screenplay level and the ‘rule’ that the protagonist should necessarily be ‘empathetic’ to endear himself to the viewers. We don’t bat an eyelid when Dev Anand betrays the character of Babu who tries to transcend his criminal milieu and aspires to a straight and honest life with his girlfriend Tara. We are carried away by the swift movement of events and do not stop to bother about the immorality of the entire act where two ‘innocent’ people are killed in order for Johny to gain trust and entry into the gang: Johny has blood on his hands but the director pulls it off smartly. Again, this is due to the strength of the screenplay. Kalyanji-Anandji’s compositions are spot on and capture the varying moods and tone of the film to perfection, be it the Lata Mangeshkar bhajan or her pathos filled Babul Pyare; or the sexy cabaret number
- 228. by the quintessentialAsha Bhosle in Husn Ke Lakhon Rang or the romantic numbers sung in the charming voice of Kishore Kumar and Asha in their inimitable styles. Each song captures the mood of the prevailing scene and its characters and raises the film several notches, which of course is immensely aided by Goldie’s deft handling of the song situations. The background score (like the art direction which is gaudy) in contrast is tacky and obvious, but somehow it feels that the tackiness blends with the innocent charm of the film because it is after all a pulp fiction, albeit of a superior quality. The story and the screenplay offered tremendous scope for a wide gallery of colourful characters that fill the screen and the actors deliver some marvelous performances. In a plot driven screenplay, characterizations generally tend to be one-dimensional and stereotypical, especially the stock characters like the Bombay Police Commissioner played by Iftekar or the mother (played by Sulochana). The protagonists in such films are defined more by their physical quests but in this case they – Johny and Rekha, have been provided with back stories which serve as springboards of the story and also constitute the emotional quotient of the film; and that make their characters more rounded and defined, more so Rekha’s character since she is puzzled by the inexplicable disappearance of her father who was charged with discrepancies in the Lucknow bank where he was the manager and now it seems he is heading a smuggling cartel for which she works. Pran’s character goes through the maximum transition in this bewildering tale of calculated killings, ever- shifting identities, clever plot twists and earth-shattering revelations: from being a juvenile killer to being a smuggler who ends up fighting for the law against his benefactor, it’s a life time role for any actor and he carries it off with panache. IS Johar in a tripe role provides the necessary comic relief whenever the screenplay tends to get heavy and pulls it off with flair that is typical of his style. Dev Anand is at his charming best as usual, with his quintessential mannerisms and titled hats and hunched shoulders as he romances Hema Malini or fights the bad guys awkwardly with equal flair, but we really don’t mind. Whoever bothered about Dev Anand’s histrionic abilities, anyway? Hema Malini reminds us of the days when voluptuous Hindi film heroines wore sleeveless blouses and the sensuous magic of translucent chiffon hipster saris showed off their curvaceous bodies and belly buttons to the best possible advantage, alluding to a promiscuity that fell just short of promise and acted only as teasers. If there is one character in the film who takes the cake,icing and cherry with his performance, it is Premnath. He is to Johny Mera Naam what Gabbar Singh was to Sholay. Hitchcock rightly said in one of his interviews that to have an attractive villain adds to the commercial value of a film. And in Premnath, we have a wholesome villain who repels us and charms us at the same time with equal effect. He is demented, a sadist and makes pehelwans fight each other for his entertainment as he grapples scantily clad girls in half saris. He also speaks immaculate English (one recalls the auction scene where foreign smuggles come to his den to buy smuggled jewels). He is at his charming best and wins our heart and also puts us off through his antics and evil deeds. He is coarse, funny, sophisticated, vengeful, smart and lovable! It is not frequently that we see villains like him and he is still fondly remembered for his brilliant role in Johny Mera Naam. No discussion of the film could be complete without his mention and his portrayal of the unmitigated evil that he plays to perfection. The later day villains of the 80s are a pale shadow of Premnath and rapidly deteriorated to buffoonery. But of course, the 80s were the worst period for mainstream Hindi cinema. At the end, Johny Mera Naam is a simple moral tale of a battle between bad guys and good guys where the good guys ultimately win over the bad guys and social order is restored. Almost 37 years later, another film is made that pays homage to this film and its director and borrows from its name. Sriram Raghavan’s Johnny Gaddaar (2007) is a fitting tribute to the genre of thrillers as exemplified by Vijay Anand (not to count the plethora of other influences) but he carries the thriller agenda further to suit the contemporary times that we live in. Sriram’s film, unlike Johny Mera Naam, is an immoral tale about immoral people
- 229. who have noqualms to disturb the social order to achieve their narrow and immediate goals in life, come what may. There are no good guys, no redemption at the end, just a roller coaster ride that transports us from one plot twist to another. Goldie Anand, if he had been alive today, surely would have loved the journey and found in Sriram Raghavan, a true successor! Johny Mera Naam continues to be an important milestone in the genre of popular Hindi cinema not only in terms of its entertainment value but as a seminal study in the craft of immaculate story-telling methods that has continued to inspire film historians, critics, students and filmmakers over the years. Johny Mera Naam, the film that influenced future Hindi films for decades Monday, 25 March 2019 The 1950s and 1960s were the eras of Family dramas but with the release of this film Action and Thriller genre began. This Golden Jubilee thriller was the first Indian film to cross a commercial milestone—it did Rs. 50 lakh business per territory when tickets were priced at a maximum Rs 2.50? Johny Mera Naam remains the career-biggest hit of brothers Dev Anand and writer-director-editor Vijay Anand, together and separately? It also is Vijay Anand’s last hit as a filmmaker. The year 1970 was the beginning of a decade that was to give Indian cinema an amazing thrust. The films came in a wide range to suit the interests of all sections. Romance remained paramount but crime thrillers and offbeat subjects dominated the world of Hindi cinema. It was hardly surprising that Dev Anand chose to take the lead with “Johny Mera Naam”, a huge hit with catchy scores from Kalyanji-Anandji and one of the raunchiest numbers ever with bold lyrics and a bolder dance by Padma Khanna. The movie, a thriller all the way, had the stamp of quality from director Vijay ‘Goldie’ Anand. He and Dev Anand had begun their association with “Nau Do Gyarah” in 1957 and went a long way to give Indian cinema classics like “Guide”, “Kala Bazaar” and “Tere Ghar Ke Samne”. The film was full of entertainment with lots of twist and turns. The music of the film was very popular. Kalyanji-Anandji provided the music. The cabaret, Husn ke lakhon rang, Nafrat karne walon ke and O mere raja are the other popular tunes from the film.Song picturisation was Goldie’s forte and Pal bhar ke liye koi hame pyar kar le, where Dev serenades the dream girl through windows of all shapes and sizes, remains a masterpiece even today. When the film released Dev Anand was nearing 50, formed a dazzling pair with fresh as a dewdrop Hema Malini. This was the first of the nine movies including where Dev Anand and Hema Malini worked together followed by Tere Mere Sapne, Shareef Badmash, Joshila, Chhupa Rustam till Censor in 2001.
- 230. Johny Mera Naam(Hindi) Dev Anand dons many disguises in this one, something which became a sort of leitmotif in his other films Satish Padmanabhan11 January 2016 Ref : https://www.outlookindia.com/magazine/story/johny-mera-naam-hindi/296224 Director: Vijay Anand; Year: 1970 Cast: Dev Anand, Hema Malini, Pran, Prem Nath, I.S. Johar Vijay Anand made many great films with brother Dev Anand in the lead—Kala Bazar, Tere Ghar Ke Samne, Guide, Jewel Thief—and also many without him, like the breathtaking Teesri Manzil. In this film, they come toge-ther for a breezy crime caper, one of the many separa-ted-at-birth-brothers stories that would be a much-used trope in Hindi cinema later. The languid comedian I.S. Johar plays a triple with und-erstated humour, and Hema Malini is at her prime. Dev Anand dons many disguises in this one, something which became a sort of leitmotif in his other films: there was a full film about a different look called Des Pardes with Tina Munim. Vijay Anand was one of the most consummate filmmakers—directing, producing, writing, and acting in films. Nalanda and Vijay Anand Ref : https://upperstall.com/features/of-buddhism-and-vijay-anand/ On a recent visit to Patna for an event that pretty much became a non-event, the one positive to come out of the trip was a visit to the wondrous Nalanda ruins. Nalanda, located about 95 km from Patna, was a centre of (mainly) Buddhist learning from the 5th century AD till about the 13th century AD. The University attracted thousands of scholars and students eager to study Buddhism even from as far flung areas such as Tibet, China, Korea and Central Asia. In fact, it is a very, very early example of an International Residential University, perhaps the first one ever. This great Centre of Learning is said to have been founded by ruler Kumaragupta of the Gupta Dynasty, who ruled from about 415 – 455 AD. Barring Buddhism, the University also taught Logic, Grammar, Medicine, Philosophy and the Vedas. It is said that at its peak, the University had 1500 teachers and about 10,000 students!
- 231. Sure, the structuresremaining – largely from what were monasteries and temples – are spectacular and even as one marveled at the the amazing brickwork, all the crazy filmmaker in me could think about was the O Mere Raja song from Vijay Anand’s classic thriller, Johny Mera Naam (1970). Goldie Saab (Vijay Anand) pictured two-thirds of this song with his usual visual flair at these very ruins. To be honest, the situation is absurd. Hema Malini, carrying a brief-case for delivery, is being followed by the cops and reaches the rendezvous point breaking into a song. This is to give waiting partner Dev Anand the lead to go along with the act and make it appear a meeting of two lovers. Dev Anand uses the opportunity to flirt shamelessly with Hema Malini, who has no choice but to grin and bear it. And so, they run around while being chased by the police, led by the permanent film cop, Jagdish Raj. Still, Goldie Saab using his trademark long takes, dynamic tracking shots, brilliant use of foreground and background, and some amazingly well-taken shots takes the song to another level. Here’s the song, one of the great song picturizations of Hindi cinema, helmed by a master filmmaker at his best. Little wonder even as I strolled peacefully amidst the ruins, I couldn’t help but glance around frequently to see if Hema Malini might just make a grand entry, signaling her coming with the O Mere Raja refrain…
- 232. Dev Anand: theKohinoor of Jewel Thief Ref : By Dinesh RahejaJanuary 18, 2003 13:45 IST Ref : https://www.rediff.com/movies/2003/jan/17dinesh.htm CREDITS Producer Director Music Director Stars Dev Anand Vijay Anand S D Burman Ashok Kumar, Dev Anand, Vyjayanthimala, Tanuja A visibly agitated Ashok Kumar booms at Dev Anand: 'Remove your socks and I can prove you are Amar, and not Vinay as you claim. You have a sixth finger on your right foot.' Dev Anand smirks, 'I would have complied, but I am afraid my socks could be torn.' Ashok Kumar is visibly unamused. A chorus of sceptical voices, including those of Vyjayanthimala and Tanuja, insists that Dev resolve the mystery. Outnumbered, Dev reluctantly obliges. Tension mounts as the camera affords us a close-up of his feet. Dev slowly peels off his socks and teasingly, he places his left foot on the table supporting his outstretched legs before crossing it with his right foot. There is no extra digit. Playfully, he twiddles his toe to mock a gaping Ashok Kumar. Just one of the many gems from the necklace of adrenaline rushes and shocks that Vijay Anand's piece de resistance offers. Both James Bond and Agatha Christie would probably have approved of Jewel Thief. This musical heist film -- it is another indication of its ingenious mix of genres -- is not only strewn with more red herrings than landmines in a battle zone; but also brags of a bevy of semi-clad Bond-like babes (Helen, Faryal, Anju Mahendru) flitting around a debonair Dev. Director Vijay Anand is known for his stylish, perceptive camera framings and you are on a joy ride from the film's credits itself. An unidentified man passes a bejeweled mannequin. When he moves away, the mannequin's neck is bare and a short raucous laugh fills the background. Indeed, who is the jewel thief? Is it Vinay (Dev Anand), an employee of a reputed jewellery shop and the police commissioner's son, or is it his look-alike, Amar? We are initially shown Vinay flirting with a jeweler's daughter Anjali (Tanuja), to land a job with her father. His ploy works though the not-so-coy Anjali sticks to him like a leech. At Anjali's birthday party, a gorgeous stranger Shalini (Vyjayanthimala) wraps herself around Vinay, calls him Amar and claims to be his fiancée. Vinay disproves her, but is shaken and stirred by her extravagant grief. Shalini says she lives with her brother (Ashok Kumar) and a chivalrous Vinay gets inveigled into finding Amar who, he is told, is a famous jewel thief. In quick succession, a cabaret cutie (Helen), a bejeweled and bewigged, dancer (Faryal), and a libertine (Anju Majendru), who likes to hide behind dark glasses and sunbathe on the lawns of a swimming pool, all mistake Vinay for the amorous Amar. This raises the film's noir appeal to a degree where we are compelled to ask, 'Will somebody throw a torch on what's happening, please?'
- 233. Vinay reciprocates onlyShalini's love though he does spend a night with the cabaret cutie. There is a veiled suggestion that they go to bed, a surprise for Hindi films of its time. But the dalliances with the dames are cursory. The emphasis is on Vinay's search for the elusive jewel thief. The climax is set in gorgeous Gangtok and culminates in a plot to rob the king's jewels. Famous songs from Jewel Thief Song Singers Yeh dil na hota bechara Kishore Kumar Rulake gaya sapna mera Lata Mangeshkar Aasmaan ke neeche Lata Mangeshkar, Kishore Kumar Raat akeli hai Asha Bhosle Meri taraf dekho Asha Bhosle Bhanwra bada nadan Asha Bhosle Dil pukare aare aare Lata Mangeshkar, Mohammed Rafi Hothon pe aisi baat Lata Mangeshkar The film has a shock ending of The Sixth Sense brand. Even 34 years later, I don't want to reveal the end and spoil the fun for first-time viewers. Vijay Anand, an acknowledged auteur after Guide (1965), manages a sleight of hand with this taut thriller. Don't expect any depth or ponderous insights. Look for slickness and imaginatively conceived shots, some tension-packed, others purely visually appealing. The camera peers through wooden slats, carpet holes and intricately carved wall dividers to achieve the desired effect of intrigue. The song sequences are ambrosia. Choreographer Sohanlal outdoes himself in the titillating teaser, Raat akeli hai picturised with élan on the full-of-beans Tanuja. A latter-day attempt by Tanuja's daughter Kajol to wriggle her hips like her mother (Yeh Dillagi), seems like a scribble imitation of a calligrapher's writing. The climactic number, Hothon pe aisi baat, showcases Vyjayanthimala's grace as (despite complex dance movements and camera placements), she famously glides through an entire stanza of the song in one single shot. Ashok Kumar concedes to the demand of his character and is exaggeratedly dramatic. If one were to rank the curvaceous beauties on parade, Tanuja puts the others under her (eye) shadow. The pecking order that follows is Helen, Anju and Faryal. But it is Dev Anand with his feckless schoolboy grin and boundless energy who is the Kohinoor of the show. Under a jeweler's microscope you can spot a few blemishes (stretching our willingness to suspend disbelief), but in today's world of imitation jewelery, Jewel Thief is still studded in 24-carat gold. Sidelights: * Thirty years later, Dev Anand starred in The Return Of Jewel Thief (1997) alongside Dharmendra and Jackie Shroff but it was an uninspired sequel.
- 234. * Vijay Anandhad initially been all excited about working with Vyjayanthimala (she was all set to marry Dr Bali then), but, eventually, it proved to be not a very happy collaboration between two genuine talents. Music: * In Navketan's Guide, all the male songs were sung by Mohammad Rafi save one (Gaata rahe mera dil), which went to Kishore Kumar. For Jewel Thief, Rafi had only one song in the score. This paved the way for Kishore's thumping triumph in S D Burman's Aradhana two years later. * R D Burman, though a successful composer by then with the Vijay Anand-directed Teesri Manzil (1966) to his credit, still assisted dad SD on the Jewel Thief score.
- 235. Review : JewelThief Ref : https://upperstall.com/film/jewel-thief/ The whole country is rocked by a series of daring jewellery heists leaving the cops at their wits’ end. The Police Commissioner of Bombay (Nasir Hussain) swears that he would solve the case by 26th January. Meanwhile, his son Vinay (Dev Anand) gains employment with well-known city jeweller Seth Bishwambar Das (Sapru) as an efficient ‘johari’ after gaining his trust. He also wins the heart of his daughter Anjali (Tanuja). But soon, he is mistaken as a certain Amar by a host of unknown people, including Shalini (Vyjayanthimala) who has come down to Bombay from Gangtok with her brother (Ashok Kumar). She claims that Vinay is actually Amar, her fiance. It appears that there is actually somebody called Amar resembling Vinay who could be the real jewel thief. Vinay gets involved in the plot to unearth the mystery. He assumes the identity of Amar and in the course of his investigation meets Amar’s companions. They are all under the impression that he is Amar, aka Prince. The hunt takes him to Sikkim where Amar/Prince has his hideout. Meanwhile, Shalini has fallen for Vinay despite knowing that he is not Amar. Just at the point when Vinay thinks that he has caught up with the real Amar/Prince, it is revealed that it is Shalini’s ‘brother’ who is the real Prince and the jewel thief. What’s more, he isn’t Shalini’s brother either. He had staged this entire drama so that the entire Indian police force believe that the fictitious character he has created, Amar, is the actual jewel thief… Jewel Thief unfolds like a Hitchcockian thriller through an absolutely brilliant screenplay by Vijay ‘Goldie’ Anand that keeps the audience on tenterhooks throughout. After establishing the series of heists through a montage at the very beginning of the film, the director introduces the character of Vinay in a manner so as to raise the doubts in the minds of the audience that he could be the man behind all the robberies. Why does he come to Seth Bishwambar to sell a precious stone and hides behind a pillar when he sees a cop? The audience’s doubts are further underlined when sundry characters point out that he is Amar, which he vehemently denies. When Shalini lands up in Bombay and claims at a party that he is her fiance and shows the ring that he had gifted her, we are sure Vinay has something up his sleeve. Things head to a climax in the scene when Shalini’s brother challenges him to take off his shoes and reveal his fingers because Amar had six fingers on his right foot. The suspense builds up. Under pressure, Vinay slowly takes off his shoe, peels down his sock and reveals his right foot: it has five fingers! Jewel Thief is like a jigsaw puzzle and falls into the tradition of films like The Sixth Sense (1999) that has to be viewed for the second time to appreciate the intricacies of the film’s plotting. It is not only the character of Vinay who is taken for a ride but the audience too! True, on second viewing the viewer does have an advantage over the protagonist now that it knows the route, but the greatness of the script lies in its ability to still hold the audience in its tight grip. Jewel Thief employs all those devices that have come to be associated with mainstream/commercial Hindi cinema and have been misused or overused over the years through their repetition, sometime bordering on the ridiculous. But here, they appear to be so natural because they are so tightly woven into the plot. It has secret chambers where the press of a switch opens a series of cupboards hoarding jewelry as if in Alladin’s cave; it has revolving doors and fake walls that slide open to reveal a well stocked bar; it has dungeons where important characters are held captive and dark tunnels that lead to openings in cliffs through which the same characters can escape; the villain has access to concealed switches that can be pressed to emit smoke which makes the protagonist unconscious; it employs electric shocks to brainwash its protagonist into believing that he is somebody else; it uses the ring as a device of recognition, a purely classical element; and it resorts to the age-old technique of gaining entry into some high profile strictly- by-invitation kind of a congregation by disguising as dancers and singers, a device that can be traced to the gigantic wooden horse in the Greek mythology Iliad where soldiers hide inside its stomach to gain
- 236. entry inside afort to rescue the legendary Helen of Troy. The film unabashedly makes use of the above devices and even after 40 years since the film was made we don’t bat an eyelid, but remain glued to the mystery as it unfolds in a series of clever plot twists and reversals of fortune till its reaches its climax inside the villain’s private aircraft. Vijay Anand is an acknowledged and revered craftsman in the annals of Hindi cinema and his hold over story telling had never been in doubt. In Jewel Thief, his craftsmanship comes out in full steam, not only in the screenplay but also the way he has shot his scenes and of course, his incredible song picturisations. There are 7 songs in the film and each of them forms an integral link in the main plot. Through Yeh Dil Na Hota Bechara, Dev Anand not only sows the seed of love in Tanuja but also uses her earrings to gain entry into her father’s employment. (This song, adapted from the Col Bogey March, was originally composed for Baharen Phir Bhi Aayengi (1966) when SD Burman was its original music director, was rejected by Guru Dutt, but became a superhit through this film.) Rula Ke Gaya Sapna Mera picturised on Vyjayanthimala as she rows a boat in the middle of the night succeeds in planting in Vinay’s minds that there indeed is a character called Amar with whom she was in love; he falls into the trap and it serves as the beginning of their fake romance that becomes serious as the film progresses. Tanuja’s seduction of Vinay through Raat Akeli Hai is another highlight of the film. The build up to the song as Dev Anand waits alone in the huge drawing room for her to appear reveals the director’s mastery over building up moods that act as precursor to something delightful. Lights are switched off at one corner of the room and are switched on at another part; huge curtains are suddenly lighted up in parts and pulled away slowly till a svelte Tanuja in a sexy sleeveless gown whirls into the room with arms akimbo and breaks out into the mesmerizing song. The end of the song acts as the first major turning point of the film when Tanuja’s father enters the room and expresses surprise in seeing Vinay; if Vinay has been here with his daughter then who was the man he was working with for the last two hours inside his jewelry shop and who claimed to be Vinay? My god! All of them rush to the shop and discover that it has been looted! The existence of ‘Amar’ is confirmed. The brilliantly choreographed and picturised Hothon Mein Aisi Baat is used as a crucial plot device to gain entry into the coronation ceremony where the final heist is supposed to happen and ‘Amar’ killed. The grandeur of the setting and the extensive use of circular tracks as the camera follows Vyjayanthimala as she dances away anxiously but in full bloom, interspersed with dynamic angles and cuts that gradually become shorter and shorter and reach a crescendo towards the end prepare us for the showdown that could spell disaster to the characters that we root for. The tension is palpable: What is going to happen immediately after the song ends? Music director SD Burman is in his element as usual and the effect of RD Burman who was an assistant to his father at this time is felt in the arrangement of all the songs. One song in particular, the pacy Baithe Hai Kya Uskey Paas, which introduces Helen, has the distinct RD touch in the way the two female voices harmonize, yodel and change scales. This song is another brilliant example of Vijay Anand’s mastery over song picturisations in the way he cuts between the two female characters by holding one on the foreground and the other in the background as the camera follows them in a circular track; then it immediately switches to reverse angle and maintains the same circular motion. Jewel Thief is a successful amalgamation of talents that complement each other with Vijay Anand ably holding the spurs. The casting of Ashok Kumar as the villain of the piece is a brilliant piece of directorial stroke. Nobody was prepared for such a role by an actor who always came across as somebody who was responsible and dependable in most of the films that he acted in. Tanuja’s supple figure and perky character is contrasted well with the voluptuous figure and anguished character of Vyjayanthimala. The two female leads are well balanced out against each other while the roles played by Helen, Faryal and Anju Mahendra not only serve as necessary eye candies but contribute towards the plot. But of course it is the quintessential Dev Anand with his quintessential mannerisms and dress codes that carry the film on
- 237. his bent shouldersas he romances the two heroines, flirts with the secondary female characters and fights the bad guys with his awkward punches. Hats off to the Anand brothers, Dev and Goldie for giving us such an unadulterated and enjoyable ride! Why You Should Watch Vijay Anand’s 1967 Thriller Jewel Thief It may be over 50 years old, but the Dev Anand-starrer still holds as a joyous popcorn thriller. I wish someone would remake it POSTED ONFEBRUARY 7, 20182 MINUTE READBY ANUPAMA CHOPRA Ref : https://www.filmcompanion.in/watch-vijay-anands-1967-thriller-jewel-thief/ This month on FC Flashback, we are celebrating the films of director Vijay Anand. He was the youngest of the Anand brothers. Vijay along with Dev and Chetan Anand created one of Hindi cinema’s most innovative and exciting banners –Navketan Films. Vijay directed his first film Nau do Gyarah when he was only 22. But he quickly established himself as a master of natural dialogue, pacy narrative and superlative songs. The Vijay Anand song is a dazzling combination of choreography, camera movement, lyrics and music. I don’t know of many directors who match his skill though Sanjay Leela Bhansali is a worthy descendant! You could watch Vijay Anand’s movies only for the songs but thankfully, he was also a skilled storyteller. One of my favourites is the 1967 thriller Jewel Thief. Jewel Thief is over 50 years old so some of the elements will seem comically dated. But the wonderfully, complicated plot still holds. Writer K. A. Narayan, who wrote the story and Vijay Anand who did the dialogue and screenplay created a The Sixth Sense style end twist that still has the power to make you gasp. This is the story of audacious robberies, mistaken identity, doppelgangers, a bevy of sensuous women and at the centre of it the dashing Dev Anand as Vinay, a seemingly good man who is constantly mistaken for Amar – the kingpin jewel thief. Nothing here is what it seems – there is intrigue, deception and several sliding walls that lead to unexpected places. The film has a James Bond feel and it’s not just the glamorous women who invariably throw themselves at Vinay. One of the leading ladies Tanuja even does a scintillating seduction number – Raat Akeli Hai – but Vinay loses his heart to the more reticent Shalini, played by Vyjayanthimala. The film also helped to establish the climax song – Vyjayanthimala’s superlative dancing, S. D. Burman’s unforgettable music and the show-stopping choreography by Sohanlal made Hothon Mein Aisi Baat an instant classic. Watch out for the stanza done in one take. Jewel Thief is a joyous popcorn thriller. I wish someone would remake it. You can catch the film on YouTube. https://youtu.be/0C_slq9VUls #9 Jewel Thief: Top 100 Bollywood Albums The 1967 film had music by SD Burman and lyrics by Majrooh Sultanpuri and Shailendra, who gave us some memorable songs like Yeh Dil Na Hota Bechara, Raat Akeli Hai and Hothon Mein Aisi Baat. Directed by Vijay Anand, Jewel Thief starred Dev Anand and Vyjayanthimala POSTED ONOCTOBER 31, 20172 MINUTE READBY VIPIN NAIR Ref : https://www.filmcompanion.in/9-jewel-thief-top-100-bollywood-albums/ Movie Details of Jewel Thief
- 238. Music: S.D. Burman Lyrics:Majrooh Sultanpuri, Shailendra Label: Saregama HMV Director: Vijay Anand Director Vijay Anand’s 1967 investigative thriller is revered as much for its edge-of-the-seat storyline as for the spectacular music created for it by SD Burman. Working with Majrooh Sultanpuri (who stepped in when Shailendra excused himself from the movie after penning just one song), Dada Burman produced a fine assortment of songs that featured everything from intrigue to romance to sensuality to melancholy. Vijay Anand always did immense visual justice to the songs of his movie, and in Jewel Thief, with Sikkim’s beautiful landscape to his aid, the director produced some of his best song visuals. High point of the man’s work here was of course the tour de force called Hothon Mein Aisi Baat, with its astoundingly detailed and choreographed video. The composer’s opulent orchestration was heavily folk-infused (some of the instruments even featured in the video) with extended percussion-led instrumental passages. Best Song of Jewel Thief: A difficult pick once again, given that every composition in the movie is a gem, but I go with the melancholic Rula Ke Gaya Sapna, the only song written by Shailendra for the movie. The lyricist was apparently reluctant to write lyrics after his debut production Teesri Kasam bombed, and wrote this one piece on the director’s insistence. And what a song it turned out to be. The hopelessness in the words are accentuated by SD Burman’s soft arrangement (beautiful use of violins and guitar) and Lata Mangeshkar’s soulful rendition. Shailendra unfortunately met with an untimely death (he was just 43) before the movie released, but the song lives on as an evergreen entry in his remarkable repertoire. On a related note: The opening lines of Yeh Dil Na Hota Bechaara draw inspiration from the marching song Colonel Bogey March (made famous by its adaptation for the movie Bridge on the River Kwai). S D Burman originally composed this song for Guru Dutt’s Bahaarein Phir Aayengi, but Dutt reportedly rejected the tune and went with OP Nayyar as the movie’s composer. The Jewel Thief Playlist: Yeh Dil Na Hota Bechara (Singer: Kishore Kumar | Lyrics: Majrooh Sultanpuri) Rula Ke Gaya (Singer: Lata Mangeshkar | Lyrics: Shailendra) Aasman Ke Neeche (Singers: Kishore Kumar, Lata Mangeshkar | Lyrics: Majrooh Sultanpuri) Baithe Hain Kya Uske Paas (Singer: Asha Bhosle | Lyrics: Majrooh Sultanpuri) Dil Pukare Aa Re (Singers: Lata Mangeshkar, Mohammed Rafi | Lyrics: Majrooh Sultanpuri) Raat Akeli Hai (Singer: Asha Bhosle | Lyrics: Majrooh Sultanpuri) Hothon Mein Aisi Baat (Singers: Bhupinder Singh, Lata Mangeshkar | Lyrics: Majrooh Sultanpuri) Dance Music (Instrumental) Movies I Love: Sudha Murthy On Jewel Thief ‘I have seen many crime thrillers, but none stand to the charisma of Jewel Thief – the perfect mix of music, dance, acting and screenplay’ POSTED ONJUNE 29, 20192 MINUTE READBY TEAM FC Ref : https://www.filmcompanion.in/movies-i-love-sudha-murthy-on-jewel-thief/
- 239. Hindi cinema portraysa wide spectrum of stories and changing themes across decades that lends to the popularity of Bollywood around the globe. Not all movies stand the test of time but there are some that remain true classics – Do Bigha Zameen, Sujata, Milan, Jis Desh Mein Ganga Behti Hai, Sangam, Lagaan, and the more recent Dangal. The success of a good movie is largely dependent on its storyline, music, acting, and direction. Jewel Thief, which was released in 1967 and produced by Dev Anand’s production house, Navaketan Films, is one of the finest movies made by Indian cinema. The genres of crime and comedy are not easy but this movie turned out to be an exciting thriller starring the evergreen Dev Anand, the beautiful Vyjayantimala and the attractive and tomboyish Tanuja in the lead roles, apart from Helen and Anju Mahendru. It was directed by Vijay Anand. The plot was extraordinary with a flawless storyline, along with great presentation and acting. The music by S.D. Burman remains memorable with hits such as Yeh Dil Na Hota Bechara, Rula Ke Gaya Sapna Mera, Aasman Ke Neeche and Raat Akeli Hai. As an audience, we begin suspecting Amar – the “jewel thief” and until the last scene, the actual thief’s identity remains up in the air. Vinay and his doppelganger Amar are very confusing to the audience till the very end. The character of Amar as the jewel thief gets built gradually through incidents that include: Someone accosting Vinay in a shop. Vyjayantimala expressing her anguish in a party. Ashok Kumar asking Amar to remove his socks, assuming he has six toes but is disappointed at his findings. Mala being grief-stricken at separation from Amar with the beautiful song Rula Ke Gaya Sapna Mera. The jeweler’s disclosure that a lookalike of Vinay robbed him. Multiple sequences with Helen and Anju Mahendru where Amar is depicted as an easy going man, a don, and a jewel thief. The last dance to Hoton Mein Aisi Baat by Vyjayantimala, where she knows the thief but is unable to express it under the watchful eyes of the audience, is stunning. When the audience finally realises the identity of the real thief, and goes back to reconstruct the story, we begin to appreciate the carefully crafted dialogues. I have seen many crime thrillers after that, including the more recent ones, but none stand to the charisma of Jewel Thief – the perfect mix of music, dance, acting and screenplay. Sudha Murthy has written novels, technical books, travelogues and books for children in English and Kannada.
- 240. Jewel Thief goldenjubilee: Masterful whodunit with intricately woven web of deceit Ref : https://www.cinestaan.com/articles/2017/oct/27/8862/jewel-thief-golden-jubilee-masterful- whodunit-with-intricately-woven-web-of-deceit With its enigmatic plot and stellar performances, Jewel Thief, which was released 50 years ago this day (27 October), remains one of the finest suspense thrillers in Hindi cinema. New Delhi - 27 Oct 2017 10:00 IST SUKHPREET KAHLON With a star-studded cast featuring Dev Anand, Vyjayanthimala, Tanuja, Helen and the veteran Ashok Kumar in his first role as outright villain in over three decades as an actor, Jewel Thief is the quintessential suspense thriller. Celebrating 50 years of the film's release today (27 October), we revisit some of its most enduring elements and contemplate what makes the film a classic. The opening sequence of the film directed by Vijay Anand offers a montage of newspaper headlines that tell of daring daylight robberies, heists where jewellery worth lakhs (a massive sum in those distant days) is stolen, and thefts across various states, setting the tone for the search for the slippery 'jewel thief'. Vinay (Dev Anand) is a gemologist who finds employment with a jeweller (DK Sapru). He is also the son of the police chief who has sworn to catch the jewel thief by 26 January. Oddly, random strangers accost Vinay, mistaking him for someone called Amar. When Shalini (Vyjayanthimala) and her brother (Ashok Kumar) meet Vinay at a party, they also think he is Amar. After a robbery takes place, it is revealed that Amar is the jewel thief and Vinay gets sucked deeper into a well- knit plot as he tries to track down his doppelganger, the real jewel thief. This film was one of several nail-biting thrillers directed by Vijay Anand, two of which — Jewel Thief and Johny Mera Naam (1970) — starred Dev Anand. Though Dev Anand was the first choice for the third one, Teesri Manzil (1966), as well, owing to some differences with producer Nasir Hussain, the film went to Shammi Kapoor instead. Brothers Vijay and Dev Anand created magic on the big screen with Kala Bazar (1960), Tere Ghar Ke Samne (1963) and Guide (1965), and after the phenomenal success of Jewel Thief, they collaborated on Johny Mera Naam and Tere Mere Sapne (1971) as well. Vijay Anand’s noir Jewel Thief keeps the audience captivated with its clever story, taut editing and well- placed songs with exceptional music, a hallmark of his films. The editing creates heightened suspense which adds to our bewilderment at Amar’s elusive nature, while the background score is a perfect foil to the puzzling events. With music by the great SD Burman, songs like 'Aasman Ke Neeche', 'Yeh Dil Na Hota Bechara', 'Dil Pukare Aa Re Aa Re Aa Re' and the seductive 'Raat Akeli Hai' are all classic numbers fondly hummed even today. But the number that stands out is the climactic 'Honthon Pe Aisi Baat' with lyrics by Majrooh Sultanpuri. The choreography, the play of camera movements, and angles such as the perspective of the hall from behind a mask heighten the tension in the song. Vyjayanthimala’s lithe dance movements remain unsurpassed as contemporary heroines struggle to imitate her effortless grace. The song apparently also started the trend of placing a song just before a film's climax, though not always with the same impact. Interestingly, Saira Banu, the quintessential beauty queen, was the first choice to play the leading lady in the film. The script was even rewritten for her twice. However, after her marriage to Dilip Kumar in 1966,
- 241. she gave upa number of projects, including Jewel Thief. Saira Banu later confessed that had she accepted the film, she would not have been able to dance to 'Honthon Pe Aisi Baat' the way Vyjayanthimala did. Ashok Kumar, a leading Hindi film star of the 1940s and 1950s, was known by the mid-1960s for his avuncular and genial roles, and was initially hesitant to take up the role offered to him in Jewel Thief as he felt audiences would not accept him in an out-and-out negative role. But Dev Anand persuaded him, saying the surprise element in the film would work only if he played the role. This casting coup remains one of the highlights of the film and was loved by audiences, belying Ashok Kumar's initial reservations. Jewel Thief weaves the web of an alternate reality in such an artful and intricate manner that despite knowing today who the villain is, one is still sucked into the elaborately constructed drama of deceit The psychological play is fascinating as the characters and the audience alike fumble to figure out Amar’s identity. Instead of investing solely in the big revelation, Vijay Anand places emphasis on the way in which the deception is created and the manipulation is executed. The influence of the James Bond series that had started with Dr No (1962) is evident in the architecture of the villain’s lair, sliding secret doors, cavernous spaces, underground tunnels, electric shocks and slinky femme fatales played by Helen, Anju Mahendru, and Faryal, and makes for a splendid thriller! The film also has the distinction of being the first Hindi film to be shot in Sikkim, then an independent country, with several scenes filmed in and around Gangtok. (Sikkim became a part of the Indian Union in 1976.) Aside from the plot, the attention to detail and styling in the film is evident in Vyjayanthimala’s sarees and Dev Anand’s cravats and patterned shirts that were quite the fashion statement, along with the chequered cap that is seen in Amar’s portrait. Interestingly, when the film was released, said cap sparked a rumour that Dev Anand, who was compared in his heyday with the Hollywood star Gregory Peck, had imitated the headgear from a cap he had seen Peck wearing. Apparently, this didn’t go down well with Dev saheb, who didn’t relish the comparison and had, in any case, found the cap elsewhere!
- 242. Story Behind thesong Hotho Mein Aisi Baat Thursday, 4 April 2019 "Hotho Mein Aisi Baat, Mein Dabaa Ke Chali Ayee" is one of the best dance sequences in Indian Cinema. This is from Dev Anand's classic Jewel Thief(1967). That was the time when actresses were actually trained (long term!) in dance. Vyjantimala, of course, was the best of the best. But others like Waheeda Rehman, Hema Malini and others have also given some great dance sequences. Vijay Anand was the director of this film, we all know that he was the master of picturising a song. This movie started a trend where directors began putting a song before the climax. Before that, he tried a song before the climax in Nau Do Gyaraha(1957) but this song remains one of the best Dance Songs of Bollywood. Vijay Anand worked with Vyjantimala for the first time. She was a Super Star at that time. There were some date problems and many distractions but Vyjayantimala being the professional that she was, still came up with a polished performance. Goldie's only grievance was that she could have done better with Hoton Pe Aisi Baat. He wanted her to rehearse the number before we went for a final take. But she told me airily that she didn't need any rehearsals. he insisted she did, but she still didn't report for rehearsals and came straight to the set. he called for "pack-up" and told her firmly that she had to stay back in the studio and practise with the assistants. She did practise, for 15 minutes. Then she got into her car and drove off saying that Saroj Khan would be coming to her place later and they'd go over the steps together. The rehearsal never happened but Vyjayantimala being a good actress and an excellent dancer didn't find it too difficult to pick up the steps and the shots were okayed quickly. So if you see a single camera capture of Vyjantimala’s magic, it was ACTUALLY done in a single shot The song is from those days where technology was so much poorer compared to today, the editing of that song was marvellous. Which means that they didn’t have sharp edits that could get stitched together, and look like one single camera sequence, Think of the choreography with the support dance troupe, and other stars like Dev Anand, floating in between the long sequence otherwise focused on Vyjantimala. Honthon Mein Aisi Baat” (brilliantly choreographed by Master Sohanlal), as the camera follows Vyjayanthimala, he uses the circular tracks, dynamic angles and cuts to build up the tension to a crescendo. Here is an example of how Western technique could merge with Indian art. Even as you enjoy the aesthetics of dance. As we all know that the music was given by S D Burman and he was assisted by his son R D Burman who by that time had become an independent Music Director and was giving the music of Teesri Manzil side by side. The song was sung by Lata Mangeshkar but you will be surprised to know that Bhupinder also participated in that song. Bhupinder sings the opening refrain Hooooo for Dev and in the middle of the song he says " O Shalu". That was his total contribution to the song.
- 243. Teesri Manzil willremain Shammi Kapoor’s, and Bollywood’s, shining glory A musical thriller, Teesri Manzil reels one in with a mystery that's built up well, and the love story between Shammi Kapoor & Asha Parekh keeps audience invested. MADHAVI POTHUKUCHI 18 August, 2019 11:36 am IST Ref : https://theprint.in/features/teesri-manzil-will-remain-shammi-kapoors-and-bollywoods-shining- glory/277731/ New Delhi: It’s hard to think of the 1960s and 70s without Shammi Kapoor. He dominated the Hindi film industry during that time with his ability to liven up any scene with his energetic performances and iconic dance moves. While it would be difficult to pick his best performance, it’s safe to say that the 1966 classic, Teesri Manzil, was his most memorable film. As the country remembers the star on his eighth death anniversary this week (he died on 14 August, 2011), ThePrint flashes back to this musical thriller. Starring Kapoor and Asha Parekh, the movie revolves around a mystery over the suicide of a woman, Roopa, in a hotel in Mussoorie. Her sister, Sunita (played by Parekh), visits the same hotel a year later to exact revenge on Rocky (played by Kapoor), a drummer at the hotel, who Sunita believes is responsible for her sister’s suicide. Rocky is introduced to Sunita as Anil, and she continues her journey up to Mussoorie to hunt for Rocky. Hindi cinema is not usually known for delivering good thrillers, but Teesri Manzil is one exception. Directed by Vijay Anand and written by Nasir Hussain, the plot reels one in with the mystery that is built up well, and the love story between Kapoor and Parekh keeps the audience invested. While it may seem like the film is dominated by Rocky and Sunita’s relationship at first, their love story is actually used to further the mystery behind Roopa’s death and introduce sub-plots with ease. It is not surprising that this is considered Kapoor’s most successful film of his career as he pulls off the role of a smart, resourceful, funny man with ease. Parekh, as Sunita, is equally arresting, while Helen and Prem Chopra shine in their respective supporting roles. R.D. Burman’s compelling music The music of the film, composed by the legendary R.D. Burman, needs special mention. Songs like Aaja Aaja Main Hoon Pyaar Tera, O Haseena Zulfonwali and O Mere Sona Re Sona are party playlist staples even today. These foot-tapping tunes coupled with Kapoor’s signature head-bob — Teesri Manzil was destined to be a hit. The movie was also a mystery in real life. It became increasingly clear, years after the film’s release, that the version available on VHS tapes and DVDs was 30-minute short of the original run-time of 175 minutes. That 30 minutes, which included one song, have not been retrieved so far. Non-traditional script A script that many directors or actors wouldn’t have touched went on to become a huge hit and shape Kapoor’s career trajectory.
- 244. Starting out asa struggling actor, despite hailing from the illustrious Kapoor family, Shammi Kapoor found his feet in the film industry only after a decade into his career — with non-traditional scripts and a fantastic feel for music and dance. In a sense, this film is representative of Kapoor himself. Why You Should Watch Vijay Anand’s 1966 Thriller Teesri Manzil Ref : https://www.filmcompanion.in/watch-vijay-anands-1966-thriller-teesri-manzil/ The first film that Vijay Anand directed from a script that he didn’t write himself is a true meeting of style and substance POSTED ONFEBRUARY 21, 20182 MINUTE READBY ANUPAMA CHOPRA This month on FC Flashback. we are celebrating the films of Vijay Anand and I’m excited to share with you one of my favorites – Teesri Manzil. Teesri Manzil begins with a car speeding down a curving road. We don’t know who is driving. Before the opening credits are over, we have a dead body, suspects and a terrific mystery. It’s hard to believe that Vijay Anand directed this film just one year after making the iconic Guide. The drama and searing emotion of that film are replaced here by thrills and suspense. But first you have to get past some lame comedy in a train and a hare-brained plot twist about a woman’s hockey team trying to beat up the prime suspect, the drummer Rocky, played by a wonderfully louche Shammi Kapoor. Sunita, played by Asha Parekh, comes to find her sister’s killer but ends up falling in love instead. Meanwhile, all sorts of sinister-looking men hover around, including the fabulously creepy Prem Chopra playing the dead girl’s fiancé and the always entertaining K. N Singh and Iftekar. If the mystery doesn’t grab you, the music will. Teesri Manzil was the breakthrough album for R. D. Burman. The composer created an original blend of rock, jazz and Latino music that had never been heard in a Hindi film before. His tunes combined with Majrooh Sultanpuri’s lyrics and Vijay Anand’s extraordinary picturization makes each song a classic. Does any contemporary song sequence compare to this? The sub-text of Teesri Manzil is voyeurism. So much of the film is about watching. Characters are constantly eavesdropping on each other. Vijay Anand creates a shadowy world where killers lurk in corridors and even love can be poisonous – Helen, in gloves and furs, as the dancer Ruby is delightful! When she looks longingly at Rocky and purrs, “Hi, Stranger!”, you know that nothing good will come of it. Teesri Manzil was the first film that Vijay Anand directed from a script that he didn’t write himself. It was written by the iconic Nasir Hussain who also produced the film. But the director’s prints are everywhere – check out the shot in which you see Rocky and Ruby through a revolver. A true meeting of style and substance! You can watch the film on YouTube. https://youtu.be/W4MW3-Eogig #20 Teesri Manzil: Top 100 Bollywood Albums The 1966 film had memorable tracks like Aaja Aaja and O Haseena Zulfon Wali created by composer R.D. Burman and lyricist Majrooh Sultanpuri. Directed by Vijay Anand, Teesri Manzil starred Shammi Kapoor and Asha Parekh POSTED ONOCTOBER 20, 20172 MINUTE READBY VIPIN NAIR
- 245. Ref : https://www.filmcompanion.in/20-teesri-manzil-top-100-bollywood-albums/ MusicDetails of Teesri Manzil: Music: R.D. Burman Lyrics: Majrooh Sultanpuri Label: Saregama HMV Director: Vijay Anand Like yesterday, today’s entry too is the career-defining album of a newcomer. R D Burman was just four movies old when Nasir Hussain decided to give him a try, and convinced the movie’s leading man Shammi Kapoor to audition Pancham in favour of his regulars for this kind of films, Shankar Jaikishan and O P Nayyar. The rest, to resort to the cliché, is indeed history – Burman’s work for the movie became a massive success and the harbinger of a new, more sophisticated era in Hindi film music. O Mere Sona Re, one of the movie’s hit tracks, is known to be the first Indian film song to have employed the electric organ; just one of the many innovations the composer went on to be associated with. Best Song of Teesri Manzil: The male vocalist for the entire soundtrack was Mohammed Rafi, which isn’t surprising given that it was a Shammi film. The only other voice to feature in the soundtrack was one that became a frequent part of Burman’s works, Asha Bhonsle. And my favourite song from the album is a duet between the two – the scorcher of a dance track that was Aaja Aaja. Majrooh Sultanpuri’s flirtatious lines met with a bombastic musical treatment from the composer, heavy on guitars (Dilip Naik, especially with that winner of a solo at the start) and percussion (drums by Leslie Godinho). While Shammi ruled the song video with his moves, Rafi and Asha matched the onscreen swagger to a tee behind the mic. On a Related Note: Another of the album’s exuberant tracks was O Haseena Zulfon Wali. The song opens with a shot of a drummer performing a solo. While the solo was originally played by Leslie Godinho again, the silhouette in the video belonged to Salim Khan (of Salim-Javed). Information partly sourced from myswar.com The Teesri Manzil Playlist: Tumne Mujhe Dekha Ho Kar (Singer: Mohammad Rafi) O Mere Sona Re Sona Re (Singers: Mohammad Rafi, Asha Bhosle) O Haseena Zulfonwali Jaane Jahan (Singers: Mohammad Rafi, Asha Bhosle) Aaja Aaja Mein Hoon Pyar Tera (Singers: Mohammad Rafi, Asha Bhosle) Dekhiye Sahiban Woh Koi Aur Thi (Singers: Mohammad Rafi, Asha Bhosle) Deewana Mujhsa Nahin Iss Ambar (Singer: Mohammad Rafi) Teesri Manzil celebrates 50 years with star Asha Parekh Ref : https://www.cinestaan.com/articles/2016/oct/23/2659/teesri-manzil-celebrates-50-years-with- star-asha-parekh The classic film was screened at the 18th Mumbai Film Festival on 22 October as part of the celebrations honouring filmmaker Nasir Husain. Mumbai - 23 Oct 2016 21:48 IST Updated : 01 Apr 2017 14:06 IST
- 246. Filmmaker Vikramaditya Motwane& Asha Parekh before screening of Teesri Manzil by SONAL PANDYA Directed by Vijay Anand and written and conceived by Nasir Husain, Teesri Manzil (1966) is one of those iconic Hindi films which everyone knows and loves. The film is also remembered for its groundbreaking music by RD Burman and sublime lyrics by Majrooh Sultanpuri. Then, of course, there is the starcast – Shammi Kapoor, Asha Parekh, Prem Chopra, Premnath and Helen. They all contributed to the film’s grand success. Teesri Manzil celebrated 50 years of its release in 2016 and the film was screened again at the 18th Mumbai Film Festival on 22 October. The fun-filled screening was a trip down memory lane for many. It was attended by actress Asha Parekh, actor Prem Chopra and many of the family members of the cast and crew who made the film. Shammi Kapoor’s wife Neila Devi and his children, Vijay Anand’s wife, lyricist Sultanpuri’s family, cinematographer Munir Khan’s family, and most of Husain’s children, grandchildren and relatives were in attendance. Filmmaker Vikramaditya Motwane was at hand to present Teesri Manzil, his favourite film. He grew up watching Husain’s films in the 1970s but said the film had “the best music for a Hindi commercial cinema”. Motwane also spoke to Asha Parekh before the screening. Teesri Manzil was Parekh’s third collaboration with Husain. Parekh was launched in Dil Deke Dekho (1959) opposite Shammi Kapoor by Husain. She recalled the “special rapport” she had with the filmmaker. She said making the film was a lovely experience, almost like “going on a picnic". She talked about shooting the film with director Anand. “Working with Mr Vijay Anand was a pleasure. A director, I feel, par excellence. He was much [ahead of his] time. I remember we were doing [the song] ‘Aaja Aaja’. I had a very bad allergy and the doctors had given me very heavy medicines which made me sleepy. They said they will be taking a few shots here and there and I’ll be able to do it. I went on the stage, it was antara, mukhada and music all in one shot. It was too bad!” Parekh also revealed that she never guessed the main villain of the film, her reel sister’s murderer, until the mystery was solved in the end. She said even in its 50th year, the film was running fresh and people enjoyed it. Indeed, every song was met by the audience with wolf whistles and cheers, and people clapped to the beat of 'Aaja Aaja’. The banter between Shammi Kapoor and Asha Parekh still made us laugh and the suspense of the central killer looming large in the story held our attention even now. The film's screening was followed up by the launch of the book, Music Masti Modernity: The Cinema Of Nasir Husain, which is published by HarperCollins India.
- 247. MakerOpinion : TwoFilms, One Maker Jewel Thief and Teesri Manzil, each film is, in its own way, an epitome of 60s style. Carla Miriam Levy25 February 2015 F Ref : https://www.outlookindia.com/website/story/two-films-one-maker/293506 Vijay Anand's Jewel Thief is one of my all-time favorite movies. It's packed with mod style and magnificent songs. It puts some real cleverness into play in building a mystery that is genuinely intriguing. And underneath its slick, jaunty tone there is some richness of theme, too. The film exemplifies an Indian strain of fetishisation of the West, a contemporaneous and mirror-image view of Hollywood's fascination with elements from the "exotic" East. These ideas find expression in the super-modern style of the characters and the interiors, the James Bond-esque aspects of the jewel thief's life and lair, and the sexual emancipation of many of the film's female characters. But frequently, when I mention my love for Jewel Thief, Teesri Manzil is somewhere in the reply. And Teesri Manzil, too, is a great film – all the 60s style, a full helping of Helen, a rocking soundtrack, and a terrific noir vibe. Its characters inhabit a nighttime fantasy world of smoky nightclubs and cabarets with outrageously trippy sets, a perfect mise-en-scene for shady dealings, dark jealousies, and, ultimately, murder. Indeed, Teesri Manzil and Jewel Thief match up so well, many find it hard to pick a favorite between them. A couple of years ago, I conducted an informal straw poll on Twitter, asking, which of these oft-compared contemporaneous Vijay Anand classics do you prefer? My query received a range of responses. Many noted what a close decision it was; some did not want to make any decision at all. And yet, some folks voted with the enthusiasm of strong opinions, like the one responder who squealed "Teeesreeee manzillllllllll!" and another who prefered "Jewel Thief, by a good mile." And the result? A precise, vote- for-vote tie. Since the anniversary of Vijay Anand's death (23 February, 2004) was just a couple of days back, I put these two beloved movies in opposite corners of the ring again. Here is a look at how they stack up. Opening sequence. Both films have terrific openings, buoyed by driving funky melodies. In Teesri Manzil, title cards are interleaved with quick scenes of the night of Roopa's deadly plummet from the titular third floor, lending a distinctly noir feel that sets the tone for a moody thriller. But Jewel Thief's title sequence is even better. It opens with a beautifully stylised presentation of the jewel thief himself, a pair of white- gloved hands roving across starkly lit displays, grabbing choice pieces out of their cases and plucking them off mannequins. Then an increasingly dramatic selection of headlines flashes across the screen – Biggest Jewel Theft in 20 Years! Police Baffled - Who is the Jewel Thief? Peheredar sote hain to Jewel Thief jaagta hai! These titles hint at the grand scale of the thief's operations and set the stage for the thrills to come. Costumes and set design. Each film is, in its own way, an epitome of 60s style, loaded with beehived women in cigarette pants, gents in stovepipe trousers, and superb mid-century modern interiors. In costume design, Teesri Manzil's offerings aren't bad – like Asha Parekh's fur-collared cape, or Shammi Kapoor's ten-gallon cowboy hat. Jewel Thief too has a superbly unique style, memorable outfits like Vijayanthimala's red saree festooned with tufts of rabbit fur. Jewel Thief's set design is fabulous too, a veritable mid-centrury modern feast, from the marvelous champagne-glass-shaped bar shelves of Tanuja's home to the fish tanks, ancient Egyptian styled sculpture, and polka-dot lamps of the jewel thief's Bombay apartment. But then, Teesri Manzil serves up the awesome set of the song "O haseena zulfonwali,”" with its humongous eye that frames Helen in its pupil and has dancers for eyelashes. Both films simply overflow with rad visual style.
- 248. Romance. Then thereis the romance angle to consider, the appeal of the leads and the dil-squish factor of the pairing. When it comes to hero charisma, Teesri Manzil has the edge. Shammi Kapoor may be tubby by today's standards but he is certainly more appealing than late-60s Dev Anand, who if he wasn't yet aged out of the romantic hero role, should have been. But Teesri Manzil is marred by the invocation of the stalking-as-romance trope. Shammi is uncomfortably relentless in his pursuit of Asha Parekh; the song "Deewaana Mujhsa Nahin" is practically a paean to stalking. Still, Jewel Thief's principal romance, between Dev Anand and a morose, introverted Vyjayanthimala, is admittedly fairly flavourless. But Jewel Thief has more, its secondary romantic thread: Tanuja's feisty attempts to seduce Dev Anand, a subplot that implicitly acknowledges its own inappropriateness with humour, culminating in the delightful boldness and brilliance of "Raat Akeli Hai.”" Deployment of Helen. Both movies offer ample helpings of Helen, not just shoehorned in for a dance, but playing an actual character of significance to the story. Miss Ruby in Teesri Manzil is the more substantial of the two characters; she loves the hero, and sacrifices her life to help him as the film approaches its climax. Many Helen characters take this path – Jerry Pinto's book on Helen contains an entire chapter on her characters who die. And that is just what makes Jewel Thief's use of Helen so remarkable – this incarnation of Helen is a gangster's moll, deceiving the hero for the benefit of the bad guy, and even sleeping with him, but she is nevertheless permitted to remain alive at the end of the movie. Scenery. Neither film is content to remain on the streets of Bombay; both venture far into the mountains for both the exoticism and the views. And while Teesri Manzil's Mussoorie mountainscapes are fine enough, they do not touch the dizzying Himalayan vistas from the steep hillsides of Gangtok, Sikkim, where Jewel Thief begins and ends. In this setting, too, Jewel Thief shows its thematic depth. It fetishises the West, with characters who wear rad European styles, drink Coca-Cola, and drive huge, left-side-drive convertibles. But it also exoticises the East, situating its climax in the royal court of Sikkim, populated with dancers in fierce-looking lion masks. The world is Jewel Thief's playground, and style and flair are ripe for the plucking everywhere. Naach-gaana. Sparkling S.D. Burman vs. rocking R.D. Burman – I would not have to choose a favorite soundtrack between these two. In that informal Twitter poll, several people chose Jewel Thief for Vyjayanthimala's amazing "Honthon Pe Aisi Baat" alone. If that's not enough, Jewel Thief also has Helen dancing backwards on top of a bar, and I have already mentioned the delicious "Raat Akeli Hai.”" But then Teesri Manzil has "Aaja aaja," with Asha Parekh and an army of sparkle-clad chorus dancers shimmying and mashed-potatoing with Shammi in a distillation of everything that makes 1960s movies fun. For sure, there is a lot of style and fun in both films. Teesri Manzil is a great film, a satisfying and entertaining noir thriller, with a few almost Hitchcockian details and a generous helping of romance and style. And that moment in "O haseena zulfonwali," when Helen appears framed in the pupil of that gigantic eye, is sublime, a concentrated moment of pure 1960s Bollywood bliss. Jewel Thief is a wild and twisting romp with stylistic nods to the likes of James Bond and Breakfast at Tiffany's. Two fantastically stylish films, both thanks to the great Vijay Anand.
- 249. In Vijay Anand’sTere Mere Sapne, the idealism is old hat, but intimacy is modern AMIT UPADHYAYA 27 January, 2019 1:11 pm IST Ref : https://theprint.in/features/reel-take/in-vijay-anands-tere-mere-sapne-the-idealism-is-old-hat-but- intimacy-is-modern/183817/ Vijay Anand was more than just a director of noir thrillers, and Tere Mere Sapne shows that. Vijay Anand is a filmmaker known to this generation primarily as the director of noir thrillers — like Teesri Manzil (1966) and Jewel Thief (1967) — that inspired new-age director Sriram Raghavan. But Anand’s filmography is too broad for a critical analysis that reduces him to a single genre, and it most certainly doesn’t end at Guide (1965), an evergreen classic. In 1971, the year following the release of his pulp thriller Johny Mera Naam, Anand reteamed with brother Dev Anand and Hema Malini, along with Mumtaz, to create an intimate portrait of marriage and partnership, disguised as a medical drama, in Tere Mere Sapne. The soaring work of Vijay Anand, whose 85th birth anniversary was observed early this week, is on complete display in this largely overlooked film — from lush song picturisation to good drama to a gripping narrative, it had everything. Dedicated to the medical community, the film starts off with a young, idealistic MBBS doctor Anand Kumar (Dev Anand, a couple of years too old for the role) moving to a village near a coal mine. Also read: Vijay Anand, the ‘guide’ to Dev Anand who was more than just a noir filmmaker The initial set-up stretches are dull, with a lot of sermonising by Anand Kumar to his cynical and wayward colleague at the local dispensary, Jagannath Kothari (Vijay Anand in a fine character). During his tenure at the dispensary, Anand meets a local school teacher, Nisha (Mumtaz) — he falls in love with the headstrong woman while she takes to his idealism. But the film doesn’t reveal this immediately and waits for the right moment, which comes when Anand is forced to find himself another job. The new job requires him to be married. The director slowly builds the drama towards this point, establishing the characters who are going to inhabit the space hereon as the film takes a more personal tone. When Anand proposes marriage to Nisha, she declines for a moment, but just when he turns around to leave, sings to him. Lyricist Neeraj, whose profound work (alongside composer S.D. Burman for a great soundtrack) in the film calls for a separate piece, then gives Nisha words to express her love and admiration for the ‘idealistic’ suitor in ‘Jaise Radha Ne Mala Japi Sham Ki’. Vijay Anand opens the song with a delightful track shot with changing focus, as he frames the two love birds to justify Neeraj’s devotional imagery. The depiction of intimacy in the early days of a marriage through the song is remarkably fluid filmmaking, the kind that’s hard to find in self-conscious modern-day Hindi films. As the couple moves to a new village, the harshness of the broken Indian system hits them (monetarily), testing their marriage in its early days. The two stand by each other, dreaming their dreams together.
- 250. In the song‘He Maine Kasam Li’ — shot in bright mustard fields long before Dilwale Dulhania Le Jayenge (1995) — Neeraj gives shape to their dreams. “Paake kabhi khoya tujhe, khoke kabhi paaya…” “Ek tan hai ek man hai, ek praan apne Ek rang ek roop tere mere sapne…” Nisha’s dream involves a third member, a child — as the lyrics in ‘Jeevan Ki Bagiya’ go, “Hoga koi beech, hum tum kuch aur bandhenge.” Life, of course, plays out at odds with their dreams and Vijay Anand examines the strength of their relationship and Anand’s idealism through Nisha’s miscarriage. While she loses hope, Anand sticks by, although his devotional love for the medical profession is now compromised. Money is God for him now. As he runs after money in Mumbai, he comes across film star Maltimala (a brilliant Hema Malini as the archetypal depressed film star). Anand befriends her, but the relationship is free of romantic undertones from his side — not hers. The strain in the marriage starts to show. She suspects infidelity on his part, he is largely indifferent to her needs. Vijay Anand then uses the mirror situation of another possible miscarriage to dramatise the redemption of Anand and the survival of his marriage with Nisha, despite all odds. Many films from that era have dealt with the idea of collapse of idealism in the face of an unjust system, most notably the series of Angry Young Man films that began two years later. This film, too, targets leaders and system for this cynicism (there’s even a mention of the Congress in the song ‘Suno Re Suno’) through the character of Dr Kothari. But more importantly, Tere Mere Sapne is most fertile when it depicts the intimacy of a partnership and the complexities it brings within a marriage for two individuals. True to Vijay Anand’s forward-looking philosophy, as evident in Guide, Tere Mere Sapne doesn’t relegate Nisha to the background after marriage. It is a relationship between equals. It probes both its male and female protagonists, seeking some truth in the overdone romantic stories of the time. There is dignity in her relationship with her husband — flawed beings in a complex world. Marriage is not easy on young people looking to a brighter future. In a country like India, it’s even harsher with several other identities at play at the same time. Tere Mere Sapne is a not a subdued drama — it resides in the pure Hindi film format — but it contains truth about the marital partnership that is as relevant today as ever. It’s also a testament to the artistry and modernity of Vijay Anand, a filmmaker who was more than just a noir director.
- 251. The Most IntimateLove Making Scene of Dev Anand Thursday, 4 October 2018 Could you believe that how an Intimate Lovemaking Scene has a touch of spirituality in it? It was made possible by the great Vijay Anand in 1972 film Tere Mere Sapne. The scene was picturised on Dev Anand and Mumtaz who played Husband & Wife in the film. Vijay Anand told in an interview, " It was one of the most difficult scenes I have ever shot. It was a love scene between my elder brother, Dev Anand, and Mumtaz. I was nervous about explaining the scene to him because I was so much younger. I just couldn't bring myself to tell him my requirements. So I rang up Mumtaz and explained it to her instead. How the wife's health is in danger, how the couple has fought and how the fight culminates in intimate love-making that almost has a touch of spirituality to it.The highlight of this sequence is the song Mere antar ik mandir hai tera hai tera piya, sung by Lata Mangeshkar played in the background. Though the song is romantic but it appears as a devotional song. Those who've seen this incredible example of Vijay's creativity will agree that the scene remains a highlight due to Lata's unbelievably sensitive rendition! The film was based on the “The Citadel” a novel by A.J. Cronin, first published in 1937. Staying clear of a didactic approach, Anand had managed to spin together an engrossing tale of a doctor – Dev as Dr Anand! – and his experience in rural India where he finds medical amenities elementary at best. Here he meets a school teacher played by Mumtaz.who helps Anand in his work. The two get married too but not all stays fine for ever. On false charges, the doctor is shunted out, and the two have to relocate to Bombay which gives the director an opportunity to throw in a love triangle along the way – utterly forgettable Hema Malini as a big star here. Dev Anand and Mumtaz seem to share a rare chemistry where they say a lot with their silence, and only a little less with their words.
- 252. The Anti-Thesist A careerin the grey zone didn’t dim his genius. It coloured it. Namrata Joshi19 December 2011 Ref : https://www.outlookindia.com/magazine/story/the-anti-thesist/279264 Rosy: “Main tumhein kuchh nahin de sakti, koi vaada nahin kar sakti. Raju, meri parchaee kahin tumhein barbaad na kar de.” Raju: “Tum koi vaada nahin kar rahi ho. Tumhara haath apne dil pe rakh kar main ek vaada karna chahta hoon.” This grand promise of love in Vijay Anand’s Guide (1965) is the lead-in to S.D. Burman’s romantic melody Tere mere sapne ab ek rang hain. It also underscores why Dev Anand’s role of Raju guide would go on to become the most iconic of his sprawling acting career. It’s Raju who supports Rosy’s opting out of a loveless marriage. Rosy (Waheeda Rehman) has to keep her passion for dance at bay and her love life is barren in the hands of a philandering, indifferent husband. She finds liberation in her relationship with Raju guide who also acts as her agent and encourages her to pursue a career in dance. But his life soon goes into a downward spiral and greed forces him to take to crime. It is one of the definitive modern portrayals of adultery in Hindi films and a persuasive character sketch of a weak, avaricious, deceitful man. But in Dev Anand’s filmography, the questioning and challenging of morality and ethics isn’t unique to Guide alone. It runs like a thread, especially in his black-and-white films of the ’50s and early ’60s. Hum Ek Hain The 1946 film in which he made his debut At a time, fan loyalties were very clearly divided between Dilip Kumar, Raj Kapoor and Dev Anand. A devotee of one could not admire the other. Dev Anand got the raw deal in this trinity worship. Dilip Kumar got critical appreciation for his intense tragic heroes and Raj Kapoor got accolades for his social commitment as the Chaplinesque tramp. Dev Anand was largely perceived as suave, slick, urbane and charming. And therefore, shallow. Over the years, we celebrated his songs, his never-say-die spirit, his Gregory Peck styling, puffed hair, mannerisms and awkward gait. But being Dev Anand was about inhabiting a complex, edgy and morally ambiguous zone. The beginnings of an anti-hero, before the term became part of popular lexicon. The fallibility of the characters he played made one feel close to him. That aimlessness and frailty could strike a chord in any era, with any generation. Raju guide’s sinner-to-saint graph had mystical, spiritual undertones. His predecessor had been a far more problematic, transgressive and non-conformist Bambai Ka Babu (1960). Dev Anand is the titular Babu, the criminal who pretends he’s Kundan, the long lost son of a rich zamindar, in order to steal the family’s riches. Unexpectedly, he falls in love with the zamindar’s daughter Maya (Suchitra Sen), ostensibly his sister. It’s an indefinable relationship hanging precariously between deep passion and perceived incest. The friendly, sisterly banter is reciprocated with an obsession without scruple. The taboo, defiant love is brought out in an electric dream sequence where Babu tells Maya that he doesn’t want a sister’s affection from her, but a woman’s love. He does not want her to call him bhaiyya (brother) and rejects her attempts to tie the rakhi. However, he is able to find redemption by eventually subjugating his forbidden desire and being faithful to his parents and a family that is not his own. Namoona The theme of his 1949 film dealt with incest
- 253. Baazi (1951) couldwell be the first Dev Anand film set in such grey zones. He plays Madan, a small-time gambler, essentially innocent at heart, but forcibly sucked into a world of crime to be able to afford his TB-afflicted sister’s treatment. Love reforms him. As it does in Kala Bazaar (1960), where he is the blackmarketeer of film tickets. Jaal’s Tony (1952), however, has fewer compunctions to redeem himself. He seduces brashly, literally trapping the girl in a net of desire with the ensnaring song Ye raat ye chandni phir kahan. The dark, noir feel of the films added to the shadowy characters he played. Be it Taxi Driver (1954), where he is a cabbie who gets involved with criminals who steal his cab for a robbery, or House No. 44 (1955), where he is a pickpocket-turned-police informant. The get-up, easy swagger and cool attitude added to the persona. As did the smoke of the innumerable cigarettes in film after film. In his world, there is moodiness and atmosphere and certain prominent motifs. Like the grungy gambling dens with bar girls seducing, singing and dancing with abandon. And often falling in love with him. The most mysterious of these femme fatales was Waheeda Rehman in CID (1956). Afsar He was the lead in this ’49 movie and its ’77 remake It’s interesting to count the number of films in which he plays an impostor. He dons a disguise in Taxi Driver, leads a double life in Munimji (1955), pretends to be Kalpana Kartik’s husband in Nau Do Gyarah (1957) to claim his rightful inheritance, and masquerades as an old man in Paying Guest (1957). There is even a fight of the two guises. He uses cover-up to nab counterfeiters in Jaali Note (1960). He assumes the identity of a thief to infiltrate a gang of thugs in Jewel Thief (1967) as he does in Johnny Mera Naam (1970). In Prem Pujari (1970), his army officer dons several impersonations to expose a spy ring that is leaking India’s military secrets. Original choice for Shammi Kapoor’s role in Teesri Manzil. (Courtesy: Dev Anand—Dashing Debonair by Alpana Chowdhury) The fallibility of his characters makes one feel close to him. That frailty and aimlessness strikes a chord in any era, with any generation. Despite his starry appeal, Dev Anand’s persona never did overpower his early films. But later movies have, indisputably, been alarmingly bad. I haven’t watched any after Des Pardes (1978). A day after his death, every music store I visited in Delhi had a separate stack of his films to cater to the renewed demand. And 99 per cent were those black-and-white films. Dev Anand himself may not have liked revisiting them or discussing the past. He may have preferred to live in the present and the future. But it is someplace within his sepia yesterday and the shades of grey that his timelessness lies.
- 254. Review : DoubleCross (1972) Vijay LokapallyDELHI, NOVEMBER 11, 2016 17:41 IST UPDATED: DECEMBER 02, 2016 14:53 IST Dev Anand never lost an opportunity to praise his younger brother – VijayAnand. For Dev saab, he was ‘Goldie’. Vijay was nicknamed Goldilocks by his father because of his golden hair. Even the film industry later came to identify him with this nickname. He was special in his family of illustrious film-makers led by Chetan Anand. Vijay Anand was a writer, director, editor…only he did not write songs or sing. He was one of the celebrated names associated with Hindi cinema and way ahead of the times. When he scripted “Taxi Driver” in 1954, a super hit that was made on a shoestring budget, the film industry took note of a teenager who could come up such thrilling subjects. Having written and directed some plays at college, it was the beginning of a long journey for Vijay Anand. It was hardly surprising when Vijay Anand made a splendid debut with “Nau Do Gyarah”. He also wrote the script and it is said the film was completed in less than two months. The success of the movie meant a lot to the film world. Vijay Anand had arrived with a bang and was set to contribute handsomely to the most popular medium of entertainment in India. For a man who directed gems like “Kala Bazaar”, “Guide”, “Teesri Manzil”, “Jewel Thief”, “Johny Mera Naam”, “Tere Mere Sapne”, “Tere Ghar Ke Samne”, to have agreed to do “Double Cross” was surprising. He neither scripted nor directed it. But played the lead role. Here too, he went a step ahead and signed up to perform a double role in a movie that had a weak story and weaker music by Rahul Dev Burman. Music was a casualty that hurt “Double Cross”. Not to forget the most forgettable screen presence of Vijay Anand, who had otherwise made an impression with his cameo in “Kala Bazaar” and a pleasant performance in “Chhupa Rustam”, which he had produced and directed. He preferred light roles but “Double Cross” was different. A story of twins who go different ways only to reunite and part again in tragic circumstances. The film had Rekha and Asha Sachdev, playing the lady love for Ajay and Vijay and Jimmy. For Vijay Anand, it was one thing to direct, another to act, which he did discover in this movie, failing to engage the attention of the audience. In “Kora Kagaz”, he had Jaya Bhaduri as the partner in a movie which perhaps was his best as an actor. The plot in “Double Cross” followed a predictable path. The two brothers dote over each other and do demonstrate it in the only good song of the movie – “Dekho Hum Dono Ki Yaari Kya Kehna” by Kishore Kumar and Bhupinder Singh. The rest of the songs lacked the flair of RD and Kishore. Ajay loves Sonia (Ranjita Thakur) and looks forward to marry her but is left heart-broken when she prefers to settle down with a much-older Maganbhai (Madan Puri) for money. Ajay promises to give her the luxuries of life but she refuses to change her mind and leaves Ajay shattered. Ajay takes to illegal ways of making money and drifts into a world where he finds solace in support from Sonia. As the story progresses, Sonia is appalled to find Ajay dating her step-daughter Rekha. It adds to the intrigue. A docile Ajay is not docile anymore. He has to extract revenge from Sonia even as he adores Lily, his new-found love from the underworld.
- 255. Rekha finds herpartner in Ajay’s brother but sadly, Vijay Anand is unable to deliver and the character remains unconvincing. What prompted Vijay Anand do take up this role shall remain unanswered. He had Rekha for company and Asha Sachdev too but a director in Gogi Anand who never rose to the promise he showed when studying at the Film And Television Institute Of India. The combination of Vijay and Gogi should have created magic on the screen along with RD as composer. If it failed, the reasons were not hard to find. None of the characters involved with the movie seem to have their heart in the project. Therein lay the reason for “Double Cross” being such a disappointment. An intriguing one at that since it involved some of the established and emerging names of Indian cinema.
- 256. As we celebrateKargil victory, ‘Hindustan Ki Kasam’ reminds us not to caricature Pakistan AMIT UPADHYAYA 28 July, 2018 2:45 pm IST Ref : https://theprint.in/features/reel-take/as-we-celebrate-kargil-victory-hindustan-ki-kasam-reminds- us-not-to-caricature-pakistan/89698/ The film maintains a respectful dignity toward the enemy, a sentiment that is relevant in these hyper- nationalistic times. Director: Chetan Anand Producer: Ravi Anand Year: 1973 Cast: Raaj Kumar, Priya Rajvansh, Balraj Sahni, Vijay Anand Music: Madan Mohan Lyrics: Kaifi Azmi Just as we celebrated the 19th anniversary of the Kargil war victory this week, comes the news that the Pakistan army is firmly back in the saddle after engineering an election victory for Imran Khan. It may just be a good week to watch the 1973 Hindi movie Hindustan Ki Kasam. As India and Pakistan grapple with strained ties today, Hindustan Ki Kasam reminds us of an enduring Bollywood tradition when it comes to our neighbour. The film starts with a note that India’s war was not with Pakistan’s citizens but its dangerous military dictatorship. Released two years after the 1971 war, the film is about rivals on the war front, but they are portrayed as brothers and not enemy caricatures. The film also endowed agency to the Pakistanis, unlike the reductive Sunny Deol treatment meted to them usually. This probably contributed to Hindustan Ki Kasam’s massive failure at the box office when it released. The film maintains a respectful dignity toward the enemy, a sentiment that is relevant in these hyper- nationalistic times. The 1971 Bangladesh Liberation War was the third major conflict India fought in a span of just nine years. In that turbulent phase for the country, almost a decade after he made his first war film Haqeeqat (1964) on the 1962 India-China conflict, director Chetan Anand followed up with an even more ambitious Hindustan Ki Kasam. After backing the British forces during World War II, the Indian Left was on the defensive in the first two decades after Independence. Chetan Anand, a leading light of the Indian People’s Theatre Association and a Communist, was, in a way, bridging the nationalism gap through these war movies. Hindustan Ki Kasam revolves around a family that had a long martial tradition, including wing commander Ranveer Batra (Vijay Anand) and squadron leader Rajesh Batra (Parikshit Sahni). As operations begin, Rajesh succumbs to injuries after his aircraft gets shot at by Pakistan Air Force pilot Usmaan, who turns later out to be a cousin separated during Partition. From then on, the Indian Air Force’s mission becomes to destroy the PAF radar blocking Indian pilots’ communication. The Indian intelligence plants Batra family’s daughter, Mohini (Priya Rajvansh), at a TV station in Pakistan as the PAF pilot’s fiancée.
- 257. In a departurefor conventional narratives at the time, Anand’s female protagonist Mohini successfully completes her task as a spy and helps the IAF locate the said radar. But Anand films the climax as a typical hero-rescues-heroine combat with squadron leader Rajiv Shukla (Raaj Kumar) finally taking charge. However, Anand did portray an interesting dogfight in the climactic battle. Based on Operation Cactus-Lilly, the operations of the Indian Air Force in the eastern theatre of the war, Hindustan Ki Kasam can be called India’s first IAF film. Featuring many aircraft including the Sukhoi Su-7s, MiG-21s, Gnats and Hunters, the film intersperses stock footage with combat shots. The IAF is said to have provided a lot of support to the film crew including actual pilots, in probably a hat-tip to the inspirational value for the defence forces of Anand’s Haqeeqat. In her book, The Nation In War: A Study of Military Literature and Hindi War Cinema, researcher Gita Viswanath wrote, “In Hindustan Ki Kasam, Chetan Anand uses a narrative strategy similar to the one he had used in his previous film, Haqeeqat. The film is interspersed with shots of war scenes in the style of documentary leading to what Roland Barthes called the ‘having been there’ quality of the photographic image.” But with its dated performances, especially from the two leads, and poor drama, the only thing that worked unequivocally for Hindustan Ki Kasam was Madan Mohan’s music, in collaboration with lyricist Kaifi Azmi. Singer Lata Mangeshkar’s renditions of ‘Duniya Banane Wale Hai Meri Iltija’ and ‘Hai Tere Saath Meri Wafa’ remain memorable. With its emotional cues and air force setting, the film paved the way for Govind Nihalani’s Vijeta (1982), Sanjiv Puri’s Agnipankh (2004) and Pankaj Kapoor’s Mausam (2011). But the number of movies on the Air Force compares unfavourably to films made on the Indian Army. In both Haqeeqat and Hindustan Ki Kasam, Anand’s choice to use the female protagonist to play an important narrative function was inspired. “In the latter, she is a spy who uses her feminine charm to work her way through the enemy territory. The films (however) end with the recuperation of the conventional image of the heroine as a sexualised being,” wrote Viswanath. Meghna Gulzar’s Alia Bhatt-starrer Raazi, released earlier this year, was particularly reminiscent of this trope. In his illustrious career, Anand made a number of significant films, including the Cannes-winner Neecha Nagar (1946), but Haqeeqat and Hindustan Ki Kasam remain popular, especially among the defence folk. A third war film, on the navy, may have completed a (wishful) trilogy.
- 258. Inspired by loveand war RANJAN DAS GUPTAMARCH 23, 2015 19:48 IST UPDATED: MARCH 23, 2015 19:48 IST Ref : https://www.thehindu.com/features/metroplus/inspired-by-love-and-war/article7024660.ece Looking back at Chetan Anand’s work on the big screen “Chetan, saw Haqeeqat. Strong visuals, excellent music but no story,” Satyajit Ray had reportedly said to Chetan Anand at the Oberoi Grand lobby in October, 1964. Both were to receive the coveted BFJA awards for Charulata and Haqeeqat. Chetan smiled and replied, “ Haqeeqat is not a film. It’s a mosaic.” Ray confessed a number of times that he was inspired to work with maestros Ravi Shankar and Ali Akbar Khan after listening to the music of Neecha Nagar and Aandhiyan. However, it was Chetan Anand, whose birth centenary was celebrated in January this year, who introduced Ravi Shankar ( Neecha Nagar) and Ali Akbar Khan ( Aandhiyan) as composers in films. The eldest of the talented Anands was a recluse by nature, but versatile as a filmmaker and actor. Winning the Grand prize at Cannes for Neecha Nagar (1946), along with David Lean ( Brief Encounter), is a proud testimony to his filmmaking skills. In his 50-year career, Chetan directed 18 films and a tele-serial Param Veer Chakra. Though a majority of his directorial ventures were flops, he has carved a niche in the annals of Indian cinema. When Chetan directed Neecha Nagar in 1946, he was greatly influenced by the leftist leanings of the IPTA and the works of Sergei Eisenstein and Pudovkin. The film too was avant-garde and anti-imperialist. Despite it being a masterpiece, Neecha Nagar bit the dust. It hurt Chetan, but did not demoralise him. In 1950, along with younger brother Dev Anand, he started Navketan films. Chetan directed Dev Anand in Afsar, Aandhiyan, Taxi Driver and Funtoosh. Aandhiyan, though a flop, was India’s official entry to the Venice, Moscow and Peking International Film Festivals in 1953-54. In Taxi Driver, Chetan shot the song ‘Jaaye To Jaaye Kahan’ picturised on Dev Anand, who pulled off the sorrowful scene with sensitivity and restraint. Dev Anand, it is said, idolised his brother. However, after Funtoosh, creative differences arose between the two and each struck out on his own. Chetan eventually handed over Navketan’s creative reins to his youngest brother Vijay Anand. Venturing on his own, Chetan directed Anjali in 1957. A print of the film is said to have been purchased by Francois Truffaut. Anjali did not fare well at the box office and Chetan was almost without work for eight years. But, this did not stifle his creativity, for he directed the Son et Lumiere both in English and Hindi for the Ministry of Tourism in 1963. The show at Red Fort was a tourist’s delight. With his never-say-die-attitude, he bounced back in 1964 with his magnum opus Haqeeqat. Based on the 1962 Sino-Indian conflict, it is still considered one of the best war films to have been made. No less a genius than Andrzej Wajda marvelled at Chetan’s handling of the one-year-old Master Bunty in Aakhri Khat and, that too, without a bound script. Heer Raanjha was acclaimed as being sheer poetry on celluloid and in colour. After Heer Raanjha, Chetan seems to have lost his magic touch. Confusion over whether to follow off-beat or commercial cinema left him in a creative dilemma. “Love and war inspire me,” he said, and these seem to be dominant themes in most of his films.
- 259. #13 Hum Dono:Top 100 Bollywood Albums The 1961 film had a fabulous soundtrack by Jaidev and lyrics by Sahir Ludhianvi, who created iconic songs like Abhi Na Jao Chhod Kar and Main Zindagi Ka Saath Nibhaata Chala Gaya. Directed by Amar Jeet, Hum Dono starred Dev Anand, Sadhana and Nanda POSTED ONOCTOBER 27, 20172 MINUTE READBY VIPIN NAIR Ref : https://www.filmcompanion.in/13-hum-dono-top-100-bollywood-albums/ Movie Details of Hum Dono : Music: Jaidev; Lyrics: Sahir Ludhianvi; Director: Amar Jeet (backseat – Vijay Anand) It was reportedly the unavailability of their regular man SD Burman due to illness that led Navketan Films to go with his long-time assistant Jaidev for the music of their 1961 Dev Anand-Sadhana starrer. The production house, of course, went back to Dada Burman in subsequent films, and the rest of the decade saw the team at their prolific best – but not before Jaidev gave them a fabulous set of songs, some of which were on par with his mentor’s creations. Burman apparently used to instruct Jaidev about the significance of keeping a song simple, and the composer did exactly that here, armed with Sahir Ludhianvi’s fine poetry. Best Song of Hum Dono: This would be Main Zindagi Ka Saath Nibhaata Chala Gaya, where Ludhianvi delivers some profoundly pensive lines within the composer’s charming and incredibly hummable melodic package, that Rafi sings like only he can. One of the standout elements in the arrangement was the glockenspiel (one that plays that haunting motif at the beginning) played by Kersi Lord. On a related note: The melancholic Kabhi Khud Pe from the album sort of acted as the base for the composer’s own Ajeeb Saaneha that he composed 17 years later for the movie Gaman.
- 260. The Hum DonoPlaylist: Abhi Na Jao Chhodkar (Singers: Mohammed Rafi, Asha Bhosle) Adhuri Yaad Pyas Chhod Ke (Singers: Mohammed Rafi, Asha Bhosle) Allah Tero Naam (Singer: Lata Mangeshkar) Jahan Mein Aisa Kaun Hai (Singer: Asha Bhosle) Kabhi Khud Pe (Singer: Mohammed Rafi) Main Zindagi Ka Saath (Singer: Mohammed Rafi) Prabhu Tero Naam (Singer: Lata Mangeshkar)
- 261. 60 Years ofKala Bazar Ref : https://bolywoodfiles.blogspot.com/search/label/vijay%20anand Tuesday, 7 January 2020 Today in the period of Multiplexes and Online ticket booking of films, this generation would not believe that there was a time when there used to be black on cinema tickets. On this subject, a film could be made? . For many of you, the idea of a Kala Bazaar might be alien. but this happened 60 years ago by Dev Anand and Navketan Films. In Kala Bazar, Dev Anand plays Raghuvir, a common man who becomes a successful black marketer by selling cinema tickets to earn money for his family. Raghuvir's dark trade flourishes and he is able to move into a more comfortable home with his brother, sister (Nanda) and mother (Leela Chitnis). Raghuvir meets his match in Alka (Waheeda Rehman), the beautiful girl who stuns him with her idealismThough aware that Alka is in love with someone else, he prodigiously pursues her. The script has plenty of twists, Just when we think that Alka's rejection of Raghuvir will spell the end of their romance, Vijay Anand's character resurfaces and fixes everything. It's awesome how the film shows that a girl is very much capable of falling in love twice. Alka falls in love with Raghuvir. “Kala Bazar” is indeed a timeless classic. With a director like Vijay Anand to make use of their genius, every actor played his part in a composed manner. Some close to reality sequences in this movie only underlined the importance of his direction. No wonder, Dev Anand regarded his brother “a great asset. The rare part of the film was the presence of the three brothers( Dev, Chetan, and Vijay Anand) playing important characters. But the most entertaining part is the first scene where there is a real-life premiere show of Mother India, Mehboob Khan's 1957 blockbuster. The camera captures the excitement breeding heavy amongst the audience who are waiting for a rare glimpse of their favorite movie stars. We, sitting on the other side of the screen, also get to catch the likes of Dilip Kumar, Nargis, Naseem Banu, Kishore Kumar, Nadira, Kumkum, Mohd Rafi, Guru Dutt, Geeta Dutt, Raj Kumar, Rajendra Kumar, Lata Mangeshkar, Sohrab Modi, and Nimmi. It was the genius of Vijay Anand who thought of creating a unique scene that was followed by many filmmakers.
- 262. Vijay Anand's directionand attention to small details contribute to make the movie memorable. There is so much to admire in Kala Bazar, starting with the incredible music by S.D Burman with lyrics by Shailendra. Each innovatively picturized song is a stand-alone classic – Khoya Khoya Chand, Rim Jhim Ke Tarane Leke Aayi Barsaat, Apni Toh Har Aah Ek Toofan Hai and of course Na Mai Dhan Chahoon. Why You Should Watch Vijay Anand’s 1960 Classic Kala Bazar This was the only film to feature all the Anand brothers – Dev, Chetan and Vijay. You see three powerhouses of Indian cinema coming together to create an exceptional film POSTED ONFEBRUARY 15, 20182 MINUTE READBY ANUPAMA CHOPRA Ref : https://www.filmcompanion.in/watch-vijay-anands-1960-classic-kala-bazar/ Hi, this is FC Flashback. This month, we are celebrating the films of Vijay Anand and I’m talking about one of his early classics, Kala Bazar, made in 1960. For many of you, the idea of a kala bazaar, might be alien. Once upon a time, before multiplexes arrived, movie tickets were sold in black right out side the theatre. Men and sometimes women would merge into the crowds, mumbling the rates of the tickets they were selling. If you want to see it done, hang outside a single screen theatre the day a Salman Khan film releases. In Kala Bazar, Dev Anand plays Raghuvir, a common man who becomes a successful black marketer to earn money for his family. But his conscience haunts him. Raghuvir falls in love with Alka, played by a sparkling Waheeda Rehman. Alka is morally upright. She is also engaged to another man, Nandkishore, played by Vijay Anand himself. But that doesn’t stop Raghu. He pursues her relentlessly. She reciprocates once she comes to know and understand him. Raghu’s crimes eventually catch up with him. Kala Bazar illustrates how money and corruption fray a man’s soul. But the film insists that even the worst among us have the potential for redemption. There is so much to admire in Kala Bazar, starting with the incredible music by S.D Burman with lyrics by Shailendra. Each innovatively picturized song is a stand-alone classic – Khoya Khoya Chand, Rim Jhim Ke
- 263. Tarane Leke AayiBarsaat, Apni Toh Har Aah Ek Toofan Hai and of course Na Mai Dhan Chahoon. Look at how brilliantly Vijay Anand captures Raghuvir’s torment. Kala Bazar also has a refreshingly mature attitude about love and relationships. Alka falls in love twice and then she makes a choice between her two suitors. There is no drama here, just an acceptance that human beings are complex creatures and the heart, as Woody Allen infamously said, wants what it wants. There are glorious shots of Marine Drive, with its art deco buildings and scenes set in two of Mumbai’s most iconic theatres – Metro and Liberty. Kala Bazar captures our unique movie madness. A long scene is set at the premiere of Mother India – years before Om Shanti Om, Vijay Anand gave us the ultimate celebrity cameo sequence – we see Dilip Kumar, Guru Dutt, Lata Mangeshkar, Mohammed Rafi, Mehboob Khan and Nargis. It’s an absolute delight. Kala Bazar was the only film to feature all the Anand brothers – the eldest, Chetan Anand, plays a lawyer who triggers both Raghu’s corruption and his redemption. You see three powerhouses of Indian cinema coming together to create an exceptional film. Truly they don’t make them like this anymore. You can see Kala Bazar on Youtube. All this month, Film Companion will celebrate the works of filmmaker Vijay Anand. You can follow our series FC Flashback which aims to reintroduce legendary actors, filmmakers and technicians to a young audience. https://youtu.be/1wVUYH4suXw The Story Behind the Song "Rim Jhim Ke Tarane Lekar Aayi Barsat" This song of Kala Bazar (1960) was picturised on Dev Anand and Waheeda Rehman sung by Mohammad Rafi and Geeta Dutt.The song was written by Shailendra and the music was given by S D Brman. The song became the most iconic rain song and is spontaneously remembered with the pitter-patter of rain. It catches the mood perfectly, the rhythm of falling rain drops and the romance. It is the first time ever any duet was picturised in background. Thanks to the genius of Barman Dada who insisted that this should be played in background. The Director of the film was Vijay Anand who was a master of picturising songs.He was picturising this song on the hero and heroine but Sachin Da told him that instead of singing this song should be played in the background. Vijay Anand in an interview said that SD Burman was very perceptive about the power and impact of the medium of films and took a keen interest in understanding the situation of a song and its context in the landscape of the entire movie. The situation was that Waheeda Rehman is standing at the bus stand. Most people here are holding an umbrella each because it is raining. Only Dev Anand is holding a newspaper over his head. He calls a cab. Both he and Waheeda Rehman approach the stopped cab. When they reach it, they see and recognize each other. Within that moment an old woman enters the cab and leaves with it. Waheeda Rehman wears a dark sari with a light colored blouse, while Dev Anand is wearing a dark kurta pyjama. She had closed the umbrella while approaching the cab. Now both are getting wet. So Dev Anand tells her to open the umbrella and she tells him to come under it too. They try to catch another taxi when it is taken by somebody else. Suddenly, the camera shoots the sea with the playful waves hitting the large rocks on the shore. The playful nature of the waves represents the mood of the song that is to follow. The song begins. They feel the song in their hearts. They remember all the things that had happened to them together in the past.
- 264. During the entiresong, they are walking on the street. The song abruptly ends, when they reach Dev Anand’s home. Sachin Da used to experiment a lot, not only during composition of his songs but during background music as well, at times putting his reputation at stake. Sometimes, he faced opposition but stood firm, the skeptical falling in line when the experiment succeeded.The picturised version of the song is less than two minutes long. but it gave an excellent impact in the film.This picturisation happened, and what an eye candy this picturisation was Dev Anand and Waheeda Rehman,
- 265. 60 years ofNau Do Gyarah: The emergence of Vijay Anand Ref : https://www.cinestaan.com/articles/2017/dec/31/10126 As the classic film starring Dev Anand and Kalpana Kartik completes its 60th anniversary, we go back in time to see how writer-director Vijay Anand got his start to become one of India’s top filmmakers. Mumbai - 31 Dec 2017 19:47 IST, Updated : 02 Jan 2018 17:20 IST By SONAL PANDYA The title of Vijay ‘Goldie’ Anand’s Nau Do Gyarah refers to the colloquial phrase meaning ‘to run away’. The youngest brother of filmmaker Chetan and actor Dev Anand, Vijay Anand got his start assisting his famous brothers and then branching out to take the director’s chair himself. The script for Nau Do Gyarah was written by the 23-year-old Vijay himself and he shot the film in 40 days, with brother Dev and sister-in-law Kalpana Kartik in the lead. Interestingly, the film’s assistant director was Amarjeet, who had earlier assisted Chetan Anand and later directed Hum Dono (1961), Teen Devian (1965) and Gambler (1971). Jeevan, Shashikala and Lalita Pawar rounded out the cast.
- 266. In an interviewwith author-filmmaker Nasreen Munni Kabir, Vijay Anand had said, "I didn’t want to be a film director. I just took the chance. I thought if I succeeded or failed, what the hell! I didn’t care about success or failure. I was doing my master’s and thought I would make Nau Do Gyarah and go back to studying English literature. Unfortunately, I could not go back to studying." The film begins with our protagonist Madan Gopal (Dev Anand) being kicked out of two flats (for which he can't pay the rent). By a stroke of luck he discovers an old letter from his uncle that says he is to inherit a total amount of Rs11 lakh, Rs9 lakh in property and Rs2 lakh in cash (playing on the film's title). The intrepid Gopal buys a truck which converts into a house on wheels and drives from Delhi to Bombay. While doing so, a runaway bride Raksha (Kalpana Kartik) flees from her wedding to the greedy-for-money Surjit (Jeevan) and climbs aboard Gopal's vehicle as a stowaway. The early part of the film serves as a travelogue of Old Delhi, showing landmarks and the vast countryside. The ditty sung by Kishore Kumar, ‘Hum Hain Rahi Pyar Ke’, was the first song to be shot in the film. The first half of the film, which seems inspired by Frank Capra’s It Happened One Night (1934) starring Clark Gable and Claudette Colbert, is like a road movie as it is filmed largely outdoors. Raksha disguises herself as a young Punjabi boy, but her cover is soon blown when she inadvertently exposes her nail- polished toes. Madan and Raksha bicker, sing songs and decide to take up an alliance to travel to Mumbai. Intrigue finally arrives in Nau Do Gyarah (this is, after all, a Vijay Anand film) after 45 minutes have passed. Madan discovers that his uncle has died and another nephew, Kuldeep, has inherited the booty. With the help of his friend Radheshyam (Madan Puri), Madan decides to pose as a married couple with Raksha to get a job as a manager on Kuldeep’s estate at Mahabaleshwar. There, they find themselves in the midst of a suspicious family consisting of Kuldeep (Rashid Khan), his mother (Lalita Pawar) and his small siblings. Madan and Raksha resides in the manager’s allotted cabin and flirtatiously begin to act like a long-married couple. Meanwhile, Kuldeep invites his girlfriend Neeta (Shashikala) home to meet his mother and family. It is then revealed that Neeta, a dancer, is also involved with Raksha's beau Surjit. Her introduction leads to a cabaret song, choreographed by Surya Kumar, and features Shashikala and Helen (in a special appearance). Sung by Asha Bhosle and Geeta Dutt, 'Kya Ho Jo Phir Din Rangeela Ho' was one of eight songs composed by SD Burman and written by Majrooh Sultanpuri for the film. The cabaret number, which opened with a shot of a fashionable cigarette holder and rings of smoke, showed a preview of Vijay Anand’s style and was followed by elaborate set sequences, a track and the dancers. Somehow, Jeevan and Shashikala, who are perfectly cast as the scheming pair Surjit and Neeta, figure out that Madan and Raksha are not really married and plan to blackmail both as well as Kuldeep and his mother. The latter are hiding an important secret and covering up a murder. The road movie has shifted gears to become a murder mystery and Vijay Anand amps up the suspense. Nau Do Gyarah has that Hollywood touch, with the Mahabaleshwar mansion’s long, winding staircase straight out of a Hitchcock movie, and the way the characters are framed for the camera. Vijay takes full advantage of the charming, roguish Dev Anand persona and his easy, teasing camaraderie with his wife, Kalpana. It became her swansong as she retired from acting after this film. The film also works due to the winning combination of SD Burman’s compositions and Sultanpuri’s evergreen lyrics which enhance Nau Do Gyarah’s situational songs. They both encouraged the film’s young
- 267. director to givehis inputs in music as well. Acclaimed composer Jaidev was, incidentally, assistant music director on the film. Mohammed Rafi and Kishore Kumar both sang for Dev Anand while Asha Bhosle sang for Kalpana Kartik. Geeta Dutt was brought in to voice Shashikala’s character Neeta, particularly the song ‘See Le Zuban’, choreographed by Zohra Sehgal, credited as Zohra Saigal. A decade later, Vijay would add a similar song in Jewel Thief (1967) that took forward the tension simmering between the characters and plot. For the overdrawn finale of Nau Do Gyarah, Vijay heightened the tension with the ticking sound of clocks and watches and fast cuts showing closeups of each character. Although many plot points of Nau Do Gyarah are similar to Taxi Driver (1954), the film is decidedly different from the others that were released that diamond year — Mother India, Pyaasa, Naya Daur, Do Ankhen Barah Haath, Tumsa Nahin Dekha and many more. The film, a big success all over India, solidified the Navketan banner and Vijay Anand went on to become a stalwart of the Hindi film industry with his contributions. In the same interview with Kabir, he recalled, “At that time, Navketan needed to produce a film. Raj Khosla, who was working at Navketan, was making Kala Pani (1958) and could not make up his mind about what he wanted to do next. "In those days people were on the payroll [of the studio] and Navketan wasn’t making the kind of profit that you could wait around for a year before making a film. So they needed a script and needed to produce a film. Our manager, Mr Prashar, told Dev saheb: “Goldie has got a very beautiful script. Shahid Lateef bought it and he is no fool. He was going to make it, but couldn’t. So the script is just lying about. Why don’t you listen to the story?” Collaborators on many classics: Dev and Vijay Anand Dev initially thought Vijay was too young to direct but his kid brother stuck to his guns about directing his own script. Dev finally read the script and liked it and there was no looking back. A new voice emerged in Hindi cinema with Nau Do Gyarah. Speaking to Kabir, Vijay Anand had stated, “I was not aware of international cinema. I respected my seniors for their contribution to Indian cinema. But somehow I couldn’t be what they were. I did not want actors to perform in a theatrical manner, nor did I care much for larger-than-life stories.” That, in a nutshell, was Vijay Anand, the filmmaker.
- 268. The Shelved FilmsOf Dev Anand Thursday, 31 May 2018 A film has a long, arduous journey before it finally hits the screens. Not all films complete their journey.Many films are announced in the hope that once a current project will be successful, the next will take off with the same team only to come to a crashing halt because of unsuccessful of their previous project. Dev Anand was one of the most salable star of his time even then many of his films were shelved or unreleased.There was a movie named "Kaafir"starring Dev Anand and Geeta Bali in the 50s but it was not completed after shooting 6 reels.The film was being directed by Chetan Anand .There was another film Saajan Ki Galiyan(1966) starring Dev Anand and Sadhana which was also not completed, Very few know that Dev Anand wanted to make a sequel of Hare Rama Hare Krishna.He planned to return to Nepal to film a sequel and was scouting for a younger Zeenat Aman to carry forward Jasbir’s story of a girl swept by the Hippie culture. But the film never took off — on December 3 that year, Dev Anand died in a London hotel. There was a multi starrer film Ek Do Teen Chaar launched on October 3, 1980 amidst a lot of fanfare at Mehboob studios.Salim-Javed wrote the script for this film Though the film starring Dev Anand, Dharmendra, Shashi Kapoor, Rakhee, Hema Malini, Rishi Kapoor, Tina Munim, Parveen Babi and Amjad Khan, never saw the light of day,The film was being produced and directed by Vijay Anand. There was a film anounced by Dev Anand in 1991 called Purana Paapi in which Amitabh Bachchan was working for the first time with Dev Anand.Amitabh couldn't work because doctors advised him for rest and the film was shelved. There was another film Jana Na Dil Se Door It was an unreleased movie of his brother, Vijay Anand on which he was working before he, Vijay Anand passed away after a massive heart attack. There was a film Shrimanji (1968) Dev anand was playing a guest appearance for the first time but this film also couldn't see the daylight. Kahin Aur Chal (1968) a film directed by Vijay Anand was released but not in all territories Mahesh Bhatt started a film "Ab Meri Bari"starring Dev Anand,Rekha Tina Munim and Rishi Kapoor. Vijay Anand wanted to make a film with Dev,Dilip and Raj Kapoor but it couldn't materialized.The movie got shelved due to ego and dates hassles
- 269. Social Media andGoldie Great Golden Goldie Goldie himself and his contribution have been a gift to a mankind! Super Super intelligent, as Dev said! Goldie was 31 years old while directing Guide! Its unbelievable someone can make Guide at 31! Most of the audiences from 12 to 82 did not get the philosophy of movie Guide while watching it first time! It is said that Goldie has written its dialogues and screenplay in just 18 days! I feel amazed while comparing what were we doing at these ages! He was 19 when wrote a story of Taxi Driver and Dialogues of Taxi Driver. He was 21 when directed the movie Nau Do Gyarah. Goldie was a wonderful human being, polite but tough & determined, having tremendous clarity what he wanted. He was felicitated at Zee Cine award. (url https://www.youtube.com/watch?v=-sS1nRo1gFM) Goldie was at the best emotions, expressions, explanation & expressing #gratitude during Zee award! He expressed gratitude towards older brother Chetan Anand from who he learnt since a child of 10-12 years old. He dedicated 50% of the award to him. 50% of 50% i.e. 25% he dedicated to elder brother Dev Anand from whom he learnt. I feel Goldie was too moderate while expressing the gratitude towards Dev Anand. In fact, there is a huge contribution of Goldie in NavKetan and Dev Anand success story by Goldie himself however he never took the credit. That was his maturity and culture. During Binaca geetmala Ameen Sayani mentioned about Goldie. They both have graduated from Xavier college. Goldie used to write many plays/dramas and act & direct! 22nd Jan 1934! Vijay Anand born and grew in the surrounding of stars and talent, also known as Goldie! At X’vior college he used to write & direct drama! Wrote script of taxi driver at 19, directed first movie nau do gyarah at 21! Later delivered roles as writer screenplay editor director producer and actor! We were entertained till he was around and till continues! Contribution for Hum dono, tere ghar ke samne, Guide, jewel thief, tere mere sapne, johney mera naam and list goes on! Once you witness the best of talent, you expect better or at least same level again! Friends continue your search with the hope! Remembering Vijay Anand - Goldie on 16th death anniversary (23rd feb 2004) By Ashokji 63 years of Nau Do Gyarah: The emergence of Vijay Anand......As the classic film starring Dev Anand and Kalpana Kartik completes its 63rd anniversary, we go back in time to see how writer-director Vijay Anand got his start to become one of India’s top filmmakers..The title of Vijay ‘Goldie’ Anand’s Nau Do Gyarah refers to the colloquial phrase meaning ‘to run away’. The youngest brother of filmmaker Chetan and actor Dev Anand, Vijay Anand got his start assisting his famous brothers and then branching out to take the director’s chair himself.The script for Nau Do Gyarah was written by the 23-year-old Vijay himself and he shot the film in 40 days, with brother Dev and sister-in-law Kalpana Kartik in the lead. Interestingly, the film’s assistant director was Amarjeet, who had earlier assisted Chetan Anand and later directed Hum Dono (1961), Teen Devian (1965) and Gambler (1970). Jeevan, Shashikala and Lalita Pawar rounded out the cast.In an interview with author-filmmaker Nasreen Munni Kabir, Vijay Anand had said, "I didn’t want to be a film director. I just took the chance. I thought if I succeeded or failed, what the hell! I didn’t care about success or failure. I was doing my master’s and thought I would make Nau Do Gyarah and go back to studying English literature. Unfortunately, I could not go back to studying." (REF :CINESTAN ). Goldie’s birthday Whether its birthday or death anniversary or any other occasion or daily routine life, Goldie’s fans keep remembering him
- 270. • Happiest birthdayGoldie wherever you are must be writing stories, scene & thinking about camera movements! Must be concerned about missing IQ, intellect and discipline around? Miss you… • Missing Goldie on his death anniversary what an intellect, sharp dialogue writing screenplay editing direction & acting 1 n only 1 kind human being polite but tough too! • Here is why can’t we have Goldie and Dev Anand again on earth!....Guide Plot! • 22nd Jan 1934! Vijay Anand born and grew in the surrounding of stars and talent, also known as Goldie! At X’vior college he used to write & direct drama! Wrote script of taxi driver at 19, directed first movie nau do gyarah at 21! Later delivered roles as writer screenplay editor director producer and actor! Its unbelievable someone can make Guide at 31! We were entertained till he was around and till continues! Contribution for Hum dono, tere ghar ke samne, Guide, jewel thief, tere mere sapne, johney mera naam and list goes on! Once you witness the best of talent, you expect better or at least same level again! Friends continue your search with the hope! • Photo collection of Goldie : https://goo.gl/photos/7sKXoXxQPTQbzrLK9 • Sensitive Goldie’s most favourite, liked and repeat shots and close-up • GOLDEN GOLDIE-- VIJAY ANAND- a director, writer, editor, producer ,lyricist and an actor- was a very reserve and shy person- felt embarrassed discussing money matters- at most times lost his due fee . LONG LIVE • VIJAY ANAND AT HIS DIRECTORIAL PEAK - Goldie created four runaway hits- all entertaining but miles apart from each other- different treatment- different flavours.. • Dev Vs Goldie : By Sharadji Vyas Dev worked with almost every known heroine of his time. But he missed some of them.... Goldie worked with them as a hero... - With Rekha in Double Cross & Ghoonghroo ki Aawaz - With Leena Chandavarkar in Chor Chor - With Jaya Bhaduri in Kora Kagaz • By Ashokji DEV TO VIJAY ANAND--"JANA NA DIL SE DOOR" GOLDIE... He’d say, “Perhaps, my time is over.”
- 271. Goldie's wife-- Sushmaanand speaks.......... "He directed some more films like Chhupa Rustom (1973), Ram Balram (1980) and Rajput (1982) but didn’t meet with much success. He also happened to act Kora Kagaz(1974) and Main Tulsi Tere Aangan ki (1978), which were huge hits. Goldie was proud of his later films Hum Rahe Na Hum (1984), a relationship saga that featured him with Rehana Sultan and Shabana Azmi and Jaana Na Dil Se Door with newcomers. Sadly, he couldn’t release them and that left him dejected. He’d say, “Perhaps, my time is over.” Towards the end he had developed a heart problem. Vaibhav had assisted him in Jaana Na Hum Se Door and then went off to attend a filmmaking course at the Lee Strasburg Institute in New York. Vaibhav returned in January 2004. Goldie passed away in February 2004. In fact, having some knowledge of astrology Goldie had predicted that February 2004 was a bad month for him. His only regret was that he couldn’t do much for our son Vaibhav, who’s inherited his sensibilities. After he passed away you do tend to get isolated. But it’s fine. I’ve taken to singing – something I was always interested in. And in my circle of friends I often sing Tere mere sapne ab ek rang hai.." Vijay Anand Ref : https://www.britannica.com/biography/Vijay-Anand Vijay Anand, (“Goldie”), Indian film director, writer, and actor (born Jan. 22, 1934, Gurdaspur, Punjab, India—died Feb. 23, 2004, Mumbai [Bombay], India), was the visionary director of some of Bollywood’s most respected movies and the younger brother of the legendary actor Dev Anand. He learned the craft while working with his older brother Chetan, and the three brothers collaborated under the auspices of the film company Navketan. Anand’s work on the script of the 1954 Bollywood film Taxi Driver led to his first directing job, on Nau do gyarah (Nine Plus Two Makes Eleven; 1957). Of the dozens of successful Bollywood films with which he was involved, the most acclaimed was Guide (1965), which won several Filmfare Awards. Guide Movie is special from many aspects, teaching us to be ambitious and contended! Faith in god and believe in human being! About phone call and Tere mere Sapne It was 1992! I was working at Mumbai. I could find out residence and office number of Goldie. Post lunch I dialed at his residence. Goldie picked up, I could recognize the voice. “Tere mere Sapne”, I replied when Goldie asked me which his movies I like the most! When I said I like and love your movies, he asked me Achha...aapke meri konsi film achhi lagati hai?. (o.k.; which movies do you like?) I can not digest why was that movie termed as a flop? Nice story, strong dialogues, excellent acting, great music and songs and emotional theme with few pieces of humour!! What does audience like? It was extremely intelligent film; every frame is unique & sensitive! It has an excellent and Very strong story, dialogue, screenplay, music , acting, direction! Sapno ke tut Jane see aadmi nahi tut jata... Apne bare me bhi kuch kaho...tum Kya ho...doctory ke peshe par ek dhabba. Jaganath Kothari, mbbs Bombay mrcog london...Jinake bharose unko jindagi ki ummid ho sakati hai wo nasheme chur pada hai... Tere mere sapne is one of the most sensitive films in Bollywood produced and directed by Vijay Anand, with excellent acting by all actors including Vijay Anand himself and Dev Anand, and one of the best roles delivered by Mumtaz.
- 272. There is anidealist doctor, who wants to work in the villages. There is a woman school teacher who teaches in the village school. It is a meeting of minds. She inspires him to study further. Unfortunately a mishap happens when the idealist couple loses their child because of a road accident. They go to the city. The doctor gets corrupted by the ways of the city. His wife leaves him. The doctor realizes his folly and returns to the village. A parallel theme of 2 doctors, 1 has been addict to alcohol while at that time other is ideal , passionate to serve society and having dreams while later situation reversed.. first Dr. Played by Vijay Anand Dr. Jagan Kothari turns ideal, simple and other doctor gets I to noshia of money, greed and fame! While other doctor turns to simple, ideal person. The appeal of the music was enhanced by the way Vijay Anand filmed the songs as only he could. It made a socio-political statement. Music by SD, heart touching songs by Neeraj, and The appeal of the music was enhanced by the way Vijay Anand picturized the songs as only he could. Each frame is unique in this 1 minute scene...no other film in Bollywood has such an intense scene !...I have watched multiple times, studied facial expressions, dialogue delivery, screen play, and all aspects...should be included in syllabus.. It reflects who was Goldie and his versatile style! That’s the reason Tere Mere Sapne is one of the finest films of Bollywood Nice story, Strong dialogues, great songs & music, amazing acting, a bit humor and deep emotions with perfect direction! What audience could ask more! Great picturization of songs and scenes by Goldie remain memorable forever!
- 273. A parallel themeof 2 doctors, 1 has been addict to alcohol while at that time other is ideal , passionate to serve society and having dreams while later situation reversed, first Dr. Played by Vijay Anand Dr. Jagan Kothari turns ideal, simple and other doctor gets I to noshia of money, greed and fame! I have watched multiple times, studied facial expressions, dialogue delivery, screen play, and all aspects...should be included in syllabus. About Tere Mere Sapne From Rajesh kumar singhs timeline:- Sharing rare pic from my personal archival collection, Screen issue Sept 11 , 1970 . Dev and Mumtaaz on the set of Tere Mere Sapne . Tere Mere Sapne viewed during its first week of release at Gem Theater when was kid with aunts and relatives . Later viewed at Mayur during second re run in 1976 . Was too young during its first release and got to see movie again when viewed in 1976 ( from shorts to pants ) . Movie I RATE IN TOP TEN IN EVERY ASPECT . . Goldie did tremendous efforts and left no stone UN turned . Star cast fabulous . Music outstanding . Lyrics by Neeraj wee excellent . Script and editing to its best . Have shared many times in various groups Tere Mere Sapne remains one of my personal fav from early teens till date About Song Picturisation Article 1 Song picturisation was Goldies forte , special goldie touch Each of the following songs • Dil ka bhanvar • Pal Bhar ke liye • Tere mere bin is Kamare me • Ye dil na hota • Ye Maine Kasam li • Jivan ki bagiya mahekegi • Ye Meri topi palat kar aa • Hoto pe aisi bat • Khoya khoya chand, etc Article 2 By Shard Vyas As we all know, Goldie has been the best director of India in picturising songs... He gave Guide, Teesri Manzil, Jewel Thief, Johny and TMS in a row, having best picturised songs in them. Then came Black Mail... I saw it before about 45 years on first release. Thereafter I never saw it or its songs. But for last so many years, I firmly believed, his best picturised song is Mile mile do badan From Black Mail.
- 274. Yesterday I sawit first time after release. See it only as a part of the entire film, and not as a song on Youtube. You will find the situation in which it is picturised, there are so many limitations of camera to work. And though the song is unique...And that is Goldie know for... Please see the film again to see this song... About Guide • Destiny controls the happening, even if you are a guide for others...it hold your hand and forces to walk you where it wants to take you! तूने तो सबको, राह बतायी तू अपनी मंज़िल क्यों भूला सुलझा के राजा, औरों की उलझन क्यूूँ कच्चे धागों में झूला क्यों नाचे सपेरा What a line! Why snake charmer is dancing instead of making snake dance to his tune! You always guided others Then how can you not see your own destination You solved everyone elses problems But now are entangled in your own mess Why is a snake charmer dancing to his own tune? The lyricist makes a reference to snake charmers. Snakes cant really hear sound like we do. They just watch and move the way the charmer sways his flute. • Watched Guide..not sure how many times! First time I watched it as entertaining musical film at Neelayam, Pune during eighties. It needs to watch multiple times and 30 years of pass to start it understanding! Not yet sure, have I though! About Hum Dono By Sharadji Vyas Who directed Hum Dono? Amarjeet or Goldie ? Amarjeet, who was a publicist and Goldie’s friend, lived in Chetan saab’s shack with Goldie. Once, Goldie fell sick. Amarjeet nursed him with affection. He’d serve him soup, press his legs, check the temperature... Goldie promised him a directorial assignment. Goldie wrote a detailed script of Hum Dono (1961, had Dev Anand in a double role) with everything marked.... entry, exit, camera placement... so that Amarjeet wouldn’t face difficulty while directing. But yet Amarjeet couldn’t do it. Finally, Goldie directed the film but gave Amarjeet the credit that he’d promised him. Goldie left his wife Sushma and son Vaibhav behind him. I can only say while closing a book… कहानी बन के ज़जए हम तो इस िमाने मे, लगेगी आपको सदिया हम को भुलाने में.
- 275. Most Rated Moviesand TV Shows With Vijay Anand Ref : https://www.imdb.com/filmosearch/?role=nm0025629&sort=num_votes&explore=title_type # Name Year Min Type Rating Director Cast and Theme Votes 1 Guide 1965 120 Drama, Musical, Romance 8.5 Vijay Anand Dev Anand, Waheeda Rehman, Kishor Sahu When mistaken to be a sage by some villagers, an ex- tour guide reflects on his past and lost love to search for spiritual wisdom to guide the villagers. 6,820 2 Jewel Thief 1967 186 Crime, Drama, Musical 8.0 Vijay Anand Ashok Kumar, Dev Anand, Vyjayanthimala, Tanuja A Police Commissioner's son comes under suspicion for being a jewel thief. 1,581 3 Teesri Manzil 1966 172 Comedy, Musical, Mystery 7.7 Vijay Anand Shammi Kapoor, Asha Parekh, Raj Mehra, Prem Chopra A woman blames a nightclub drummer for the suspicious death of her sister, and seeks revenge. However, the pair work together to solve the mystery and become romantically involved, after he introduces himself under another name. 996 4 Johny Mera Naam 1970 159 Action, Drama, Musical 7.3 Dev Anand, Hema Malini, Pran, Jeevan, Prem nath Monu (Mohan) and Sonu (Sohan) are the two sons of a police inspector. The kids excel in boxing. Their father gets killed by a goon following orders from Ranjit (Premnath). Mohan kills the 660 5 Ram Balram 1980 169 Action, Comedy, Drama 6.3 Dharmendra, Amitabh Bachchan, Zeenat Aman, Rekha Ram and Balram are 2 young boys who live with their loving parents. Their scheming uncle, Jagatpal, however kills the boy's father and mother. Jagatpal lies to the boys that their parents 430 6 Haqeeqat 1964 184 Action, Musical, War 7.8 Chetan Anand Balraj Sahni, Dharmendra, Vijay Anand, Indrani Mukherjee, Priya Rajvansh 411
- 276. A platoon ofIndian soldiers encounters harsh realities while fighting in the Sino-Indian War of 1962. 7 Hum Dono 1961 164 Drama, Musical, Romance, War 7.5 Vijay Anand (Amarjeet) Dev Anand, Nanda, Sadhana, Lalita Pawar When an army officer is presumed dead in battle, his lookalike is tasked with breaking the news to his family. However, circumstances force him to impersonate the dead man. 359 8 Tere Ghar Ke Samne 1963 149 Romance, Musical, Comedy 7.5 Vijay Anand Dev Anand, Nutan, Rajendra Nath, Children of two life-long rivals fall in love and try to make their fathers see the error of their ways. 358 9 Taxi Driver 1954 133 Musical, Romance 7.1 Chetan Anand (Story – Vijay Anand) Dev Anand, Kalpana Kartik, Sheila Ramani, Johnny Walker Mangal drives a taxi by day, then drinks at night, listens to his singer girlfriend Sylvie and then goes into a drunken stupor - and wakes up with a hangover. One day, while assisting 238 10 Kora Kagaz 1974 125 Drama, Musical, Family 7.4 Anil Ganguly Vijay Anand, Jaya Bachchan, Achala Sachdev, A.K. Hangal By the time we learn to live, life is gone. 226 11 Kala Bazar 1960 163 Crime, Drama, Musical 7.4 Vijay Anand Dev Anand, Waheeda Rehman, Nanda, Vijay Anand A man sells movie tickets on the black market, but starts to have a change of heart after he falls in love. 221 12 Tere Mere Sapne 1971 175 Drama, Romance 7.3 Vijay Anand Dev Anand, Mumtaz, Mahesh Kaul, Vijay Anand Dr. Anand Kumar attains his degree in medicine and re- locates to a small village to assist the local doctors there. Upon arrival, he is met by the ailing Dr. Prasad and his wife, and hired 207 13 Prem Pujari 1970 192 Action, Drama, Musical 7.0 Dev Anand Dev Anand, Waheeda, Shatrughan Sinha, Zaheeda Ramdev Bakshi is the only son of widower and former Indian Army General Durgaprasad, who has been decorated several times with various medals for bravery shown in the line of duty. 185 14 Black Mail 1973 145 Drama, Musical, Romance 6.8 Vijay Anand Dharmendra, Rakhee, Shatrughan Sinha, Madan Puri 168
- 277. Kailash, the managerof a power plant, is in love with Asha, the daughter of a wealthy businessman, while Kailash's uncle, a scientist, develops a new solar- powered energy formula that 15 Rajput 1982 170 Action, Drama, Romance 6.3 Rajesh Khanna, Dharmendra, Hema Malini, Vinod Khanna Unable to handle the taking of his kingdom by an Indian Government decree, the Maharaja kills himself. His son, Jaipal, takes over as the Maharaja, turns rebel, and refuses to hand over his 130 16 Nau Do Gyarah 170 Comedy, Romance, Thriller 7.0 Vijay Anand Dev Anand, Kalpana Kartik, Shashikala, Jeevan Runaway wealthy heiress, Raksha, joins a traveller, Madan, in a small truck, heading toward the home of his uncle, Manoharlal. When they reach their destination, they are informed that 130 17 Hindustan Ki Kasam 1973 152 Action, Drama, War 6.2 Chetan Anand Raaj Kumar, Priya Rajvansh, Balraj Sahni, Padma Khanna War movie based on Operation Cactus Lilly in the Indo- Pakistani War of 1971. 112 18 Tehkikaat 1994 60 Crime, Mystery 8.5 Various Vijay Anand, Saurabh Shukla, Kitu Gidwani, Suresh Chatwal 107 19 Main Tulsi Tere Aangan Ki 1978 151 Drama, Family 6.7 Raj Khosla Nutan, Asha Parekh, Vijay Anand, Vinod Khanna Thakur Rajnath Singh Chouhan, an aristocrat loves dearly a former prostitute, Tulsi and wishes to marry her. His mother vehemently opposes the alliance. In a spirit of self denial, Tulsi ... 104 20 Chhupa Rustam 1973 147 Action, Thriller 7.2 Vijay Anand Dev Anand, Vijay Anand, Ajit, Prem Nath The Government of India had granted Rs.50,000/- to Prof. Harbanslal to conduct a study in the mountains bordering Tibet with India, called the Nangla Project. Harbanslal is sure that within 72 21 Bullet 1976 124 Action, Crime, Thriller 6.9 Vijay Anand Dev Anand, Parveen Babi, Rakesh Roshan, Kabir Bedi Plain-clothes Inspector Dharam Dev is hot on the tracks of notorious underworld don, Durgaprasad, 70
- 278. alias "D.P." ButDurgraprased is not only elusive, but shrewd and cunning as well, and ... 22 Funtoosh 1956 108 Comedy, Drama 7.2 Chetan Anand Dev Anand, Sheila Ramani, K.N. Singh, Hammad Ram goes crazy after death of his mother and sister, once released from mental hospital comes across Mr Kirorimal who insures him and wants him dead for the money. However Ram ends up marrying his daughter. 68 23 Jaana Na Dil Se Door 2001 - Drama, Family, Romance 7.1 Vijay Anand Rani Agrawal, Dev Anand, Vijay Anand, Vijay Arora 24 Ghungroo Ki Awaaz 1981 138 Mystery, Thriller 6.6 Shyam Ramsay, Tulsi Ramsay Vijay Anand, Rekha, Shreeram Lagoo, Leela Mishra Thakur Ranjit Singh buys Kajal's freedom from a panderer and installs her in his house with the status of a daughter-in-law - much to the disgust of his uncle, Jasbir. When the sleazy ... 27 25 Double Cross 1972 Action, Thriller 4.8 Gogi Anand Vijay Anand, Rekha, Madan Puri, Dev Kumar Ajay Arya passionately loves Sonia and will do anything to marry her. But Sonia breaks his heart and marries a older but much wealthier man by the name of Maganbhai. Unable to get Sonia out... 22 26 Chor Chor 1974 123 Crime, Drama 6.6 Prem Prakash Vijay Anand, Birbal, Leena Chandavarkar, Dulari 20 27 Main Tere Liye 1988 Drama, Romance 6.6 Vijay Anand Suneil Anand, Meenakshi Sheshadri, Rajendra Kumar, Om Shivpuri Rinku Sagar is the sole heiress of a estate, and wealth. She lives with her uncle and aunt, Makkad and Anjana Saxena respectively. Both of them, including their three sons, Dinesh, Ramesh, ... 12 28 Hum Rahe Na Hum 1984 Drama 6.3 Ketan Anand Vijay Anand, Shabana Azmi, Rehana Sultan, Kanwaljit Singh 12 29 Kahin Aur Chal 1968 Drama 6.1 Vijay Anand Dev Anand, Asha Parekh, Shubha Khote, Madan Puri 11
- 279. 30 Jaan HazirHai 1975 140 Drama Manohar Nath Rangroo Urmila Bhatt, Iftekhar, Jankidas, Trilok Kapoor 7 31 Ek Do Teen Chaar 1980 4.8 Vijay Anand Tina Ambani, Dev Anand, Parveen Babi, Dharmendra 6 32 Joru Ka Bhai 1955 Comedy, Family Chetan Anand Vijay Anand, Rashid Khan, Kumkum, Sheila Ramani 33 Agra Road 1957 128 Comedy, Romance, Thriller Ravindra Dave Vijay Anand, Master Bhagwan, Dhumal, Nanda List of url, title and publishing houses # Url Description Publishers 1 https://www.bollywoodhungama.com/news/features/vijay-anand- man-rejected-ddlj-plagiarism/ Vijay Anand: The man who rejected DDLJ for plagiarism Bollywoodhun gama 2 https://bolywoodfiles.blogspot.com/2017/01/vijay-anand-writer- director-ahead-of.html Bolywoodfiles 3 https://bolywoodfiles.blogspot.com/search/label/vijay%20anand 60 Years of Kala Bazar Bolywoodfiles 4 https://www.britannica.com/biography/Vijay-Anand Vijay Anand britannica 5 https://www.cinestaan.com/listicles/2016/mar/4/632/these- directors-caught-the-acting-bug Acting bug Cinestaan 6 https://www.cinestaan.com/articles/2017/feb/23/4455/collaborators- on-many-classics-dev-and-vijay-anand Collaborators on many classics: Dev and Vijay Anand Cinestaan 7 https://www.cinestaan.com/articles/2016/oct/10/2421/how-rk- narayan-gave-dev-anand-a-hit How RK Narayan gave Dev Anand a hit Cinestaan
- 280. 8 https://www.cinestaan.com/articles/2016/feb/6/562/why-did-the- guide-fail-in-english Why didThe Guide fail in English? Cinestaan 9 https://www.cinestaan.com/articles/2017/oct/27/8862/jewel-thief- golden-jubilee-masterful-whodunit-with-intricately-woven-web-of- deceit Jewel Thief golden jubilee: Masterful whodunit with intricately woven web of deceit Cinestaan 10 https://www.cinestaan.com/articles/2016/oct/23/2659/teesri-manzil- celebrates-50-years-with-star-asha-parekh Teesri Manzil celebrates 50 years with star Asha Parekh Cinestaan 11 https://www.cinestaan.com/articles/2017/dec/31/10126 60 years of Nau Do Gyarah: The emergence of Vijay Anand Cinestaan 12 https://www.filmcompanion.in/5-reasons-need-know-filmmaker- vijay-anand/ 5 Reasons Why You Need To Know Filmmaker Vijay Anand Filmcompanio n 13 https://www.filmcompanion.in/1-guide-top-100-bollywood-albums/ #1 Guide: Top 100 Bollywood Albums Filmcompanio n 14 https://www.filmcompanion.in/40-tere-ghar-ke-samne-top-100- bollywood-albums/ #40 Tere Ghar Ke Samne: Top 100 Bollywood Albums Filmcompanio n 15 https://www.filmcompanion.in/watch-vijay-anands-1967-thriller- jewel-thief/ Review : Jewel Thief Filmcompanio n 16 https://www.filmcompanion.in/9-jewel-thief-top-100-bollywood- albums/ #9 Jewel Thief: Top 100 Bollywood Albums Filmcompanio n 17 https://www.filmcompanion.in/movies-i-love-sudha-murthy-on-jewel- thief/ Movies I Love: Sudha Murthy On Jewel Thief Filmcompanio n 18 https://www.filmcompanion.in/watch-vijay-anands-1966-thriller- teesri-manzil/ Why You Should Watch Vijay Anand’s 1966 Thriller Teesri Manzil Filmcompanio n 19 https://www.filmcompanion.in/20-teesri-manzil-top-100-bollywood- albums/ #20 Teesri Manzil: Top 100 Bollywood Albums Filmcompanio n 20 https://www.filmcompanion.in/13-hum-dono-top-100-bollywood- albums/ Review - Hum Dono Filmcompanio n 21 https://www.filmcompanion.in/watch-vijay-anands-1960-classic-kala- bazar/ review - Kala bazar Filmcompanio n
- 281. 22 https://www.filmfare.com/features/late-director-vijay-anands-wife- remembers-the-true-blue-genius-28990-2.html Late directorVijay Anand's wife remembers the true blue genius Filmfare 23 https://www.theguardian.com/news/2004/mar/09/guardianobituarie s.film Vijay Anand Guardian 24 http://www.hindu.com/fr/2004/03/05/stories/2004030501260300.ht m Master of sophisticated cinema Hindu 25 https://www.thehindu.com/features/metroplus/inspired-by-love-and- war/article7024660.ece Inspired by love and war Hindu 26 https://www.imdb.com/filmosearch/?role=nm0025629&sort=num_vo tes&explore=title_type IMDB List imdb 27 http://indianquarterly.com/the-goldie-standard/ Goldie standard Indianquarterl y 28 https://www.indiatimes.com/entertainment/bollywood/a-director- with-a-midas-touch-vijay-anand-gave-bollywood-its-golden-era-here- s-how-251103.html Here's Why Vijay Anand Was The Original Rockstar Director Of Indian Cinema IndiaTimes 29 https://www.newkerala.com/news/read/99901/they-ruled-an-era- but-there-is-no-happy-ending-for-them.html They ruled an era but there is no happy ending for them NewKerala 30 https://www.outlookindia.com/newswire/story/vijay-known-for-his- direction-and-oratory-skills/203142 Vijay--known for his direction and oratory skills OutlookIndia 31 https://www.outlookindia.com/website/story/the-wizard-of- music/292449 The Wizard Of Music OutlookIndia 32 https://www.outlookindia.com/newswire/story/censor-board-for-a- and-x-rating-of-movies/413405 Censor Board for 'A' and 'X' rating of movies OutlookIndia 33 https://www.outlookindia.com/magazine/story/vijay-anand/202641 Vijay Anand : The director with the golden touch plans a comeback to films after a long hiatus OutlookIndia 34 https://www.outlookindia.com/newswire/story/bollywood-mourns- vijay-anands-death/203180 Bollywood mourns Vijay Anand's death OutlookIndia 35 https://www.outlookindia.com/magazine/story/the-most-popular- film/231650 The Most Popular Film Guide (1965) OutlookIndia
- 282. 36 https://www.outlookindia.com/magazine/story/johny-mera-naam- hindi/296224 Johny MeraNaam (Hindi) OutlookIndia 37 https://www.outlookindia.com/website/story/two-films-one- maker/293506 MakerOpinion : Two Films, One Maker OutlookIndia 38 https://www.outlookindia.com/magazine/story/the-anti- thesist/279264 The Anti-Thesist OutlookIndia 39 http://in.rediff.com/movies/2004/feb/23vijay.htm He gave directors the status of a star Rediff 40 http://specials.rediff.com/movies/2004/feb/24rah1.htm The man who revolutionized hindi Bollywood songs Rediff 41 https://www.rediff.com/movies/2000/sep/27anand.htm Beauty is Lata in that small recording room with her headphones on...' - Goldie Rediff 42 https://www.rediff.com/entertai/2002/jul/22vijay.htm The X factor - Ex censor board chief Vijay Anand on his resignation Rediff 43 https://www.rediff.com/entertai/2002/jul/20vijay.htm Vijay Anand resigns - Censor board chief miffed with Sushma Swaraj Rediff 44 http://in.rediff.com/movies/2004/feb/23anand.htm Filmmaker Vijay Anand dead Rediff 45 https://www.rediff.com/entertai/2002/apr/18dinesh.htm The cult movie : Guide Rediff 46 https://www.rediff.com/movies/2003/jan/17dinesh.htm Dev Anand: the Kohinoor of Jewel Thief Rediff 47 http://www.screenindia.com/cover.htm Vijay Anand - The ties that bind.. Screen 48 https://learningandcreativity.com/silhouette/vijay-anand-interview/ Gata Rahe Mera Dil was Patchwork’: In Conversation With Vijay Anand Silhouette Magazine 49 https://theprint.in/theprint-profile/vijay-anand-the-guide-to-dev- anand-who-was-more-than-just-a-noir-filmmaker/181488/ Vijay Anand, the ‘guide’ to Dev Anand who was more than just a noir filmmaker ThePrint 50 https://theprint.in/pageturner/excerpt/poet-neeraj-said-his-fattest- royalty-cheques-came-from-dev-anand-songs/85566/ Poet Neeraj said his ‘fattest royalty cheques’ came from Dev Anand songs ThePrint 51 https://theprint.in/featured/gopal-das-saxena-neeraj-dies-at-93- fifteen-songs-to-remember-the-legendary-lyricist-by/85944/ Gopal Das Saxena ‘Neeraj’ dies at 93: Sixteen songs to remember the legendary lyricist ThePrint 52 https://theprint.in/features/teesri-manzil-will-remain-shammi- kapoors-and-bollywoods-shining-glory/277731/ Teesri Manzil will remain Shammi Kapoor’s, and Bollywood’s, shining glory ThePrint
- 283. 53 https://theprint.in/features/reel-take/in-vijay-anands-tere-mere- sapne-the-idealism-is-old-hat-but-intimacy-is-modern/183817/ In VijayAnand’s Tere Mere Sapne, the idealism is old hat, but intimacy is modern ThePrint 54 https://theprint.in/features/reel-take/as-we-celebrate-kargil-victory- hindustan-ki-kasam-reminds-us-not-to-caricature-pakistan/89698/ As we celebrate Kargil victory, ‘Hindustan Ki Kasam’ reminds us not to caricature Pakistan ThePrint 55 https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/ news/with-navketan-anand-brothers-among-bollywoodamprsquos- first-families/articleshow/10988132.cms With Navketan, Anand brothers among Bollywood’s first families TimesofIndia 56 https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/ news/vijay-anands-son-makes-his-debut/articleshow/7063954.cms Vijay Anand's son makes his debut TimesofIndia 57 http://www.tribuneindia.com/2004/20040307/spectrum/main5.htm Goldie: Guide for new filmmakers TribuneIndia 58 https://upperstall.com/profile/vijay-anand/ Vijay Anand Upperstall 59 https://upperstall.com/film/guide/ Guide review Upperstall 60 https://upperstall.com/film/tere-ghar-ke-samne/ Review : Tere Ghar Ke samne Upperstall 61 https://upperstall.com/film/johny-mera-naam/ Review : Johney Mera Naam Upperstall 62 https://upperstall.com/features/of-buddhism-and-vijay-anand/ Nalanda and Vijay Anand Upperstall 63 https://upperstall.com/film/jewel-thief/ Review : Jewel Thief Upperstall 64 https://en.wikipedia.org/wiki/Vijay_Anand_(filmmaker) Vijay Anand (filmmaker) Wikipedia 65 https://bolywoodfiles.blogspot.com/2018/05/navketan-films-studio- that-always.html NAVKETAN FILMS-A Studio That Always Looked Forward Bolywoodfiles