Great-Golden-Goldie

Dedicated to
All authors and 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

My Notes and sincere 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

Contents
Great Golden Goldie.....................................................................................................................................8
Vijay Anand...........................................................................................................................................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

'Beauty is Lata in 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

Dev Anand: the Kohinoor 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

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

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).

He served a short 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

Movie postures have been collated as below

Goldie remained a family person, close and sensitive towards family affairs, caring for everyone.

Following are photos related to movie events, while shooting or party or other conversation

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

The Guide, the film 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

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
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

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

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.

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 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).

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.

GOLDIE NUGGETS
*** Chor Chor 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.

Wonderful interview by Goldie 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.

Vijay Anand: (chuckling lightly) 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.

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.

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.

His voice was pure 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,

this is a bit 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.

When I appreciated the 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.

The Goldie Standard
Nasreen Munni 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.

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?

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.

I am happy to 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.

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?

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.

My mother died when 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).

Here's Why Vijay Anand 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

3. "He was way 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

5. Nutan was his 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.

His passions included ballroom 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!

Collaborators on many classics: 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

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