Dev Anand: A musical interview (Part 1)

Updated (links): 18 June 2022

I was shocked when I read about Dev Anand’s death. He may have been the superstar of my parents’ generation, but he certainly looked like he would outlive me! If I’d ever thought about it, I’d have said that he’d go on making movies forever. Over the years, he’s spent so much time in my living room, bringing so much fun and entertainment with him, that it is impossible not to feel a bit sad that he is no more. I am only "a bit" sad because the Dev Anand I knew is forever young, handsome, and always there in his lovely films. (I refuse to even admit the existence of his post-1960s career!)

Of course, his sad demise reminded me that it was high time I paid him a visit in the 1960s. While I was there, I took the opportunity to quiz him about his great romances with women and wine.

Juari (1968): love, lies and gambles

In the late 80s, Thursday afternoons used to be red letter-days at home. Back then, DoorDarshan (Indian TV) had begun to telecast unknown old B/W films on Thursday afternoons, in addition to their regular Saturday and Sunday evening film telecasts. The Thursday ones were much better because we could always expect the unexpected – famous actors in unusually fun films with great songs. That’s when I first discovered that Ajit and Prem Nath had once been handsome leading men, that Dara Singh had played hero to Mumtaz and that even Mehmood wasn’t too jarring in his earlier lead roles! And best of all, there were a slew of Shashi Kapoor films. Back then, I remember loving this one to bits. I no longer love it so unconditionally, but I can forgive it’s flaws for the nostalgia it invokes!

Kaarnama (1979) Part IV – MAA and THE END

Before intermission, the vilaayti twin Shyam (Shashi Kapoor) was romancing Dhanno (Tanuja) and the desi twin Gopal (also Shashi Kapoor) had just left a drunk Kamini (Sharmila Tagore), to go to Kashmir to figure out why everybody was mysteriously interested in his maternal relative. I must warn you that this is a very looong post (with spoilers), since I’ve had compress the entire second half of the film in one post. For lack of space, I’ve had to concentrate on the main plot and neglect such delights as Helen trying to seduce Mr. Mehra (Shammi Kapoor), Dwarka (Pran, now Dilawar in Pakistani Intelligence) being smuggled into India, Shalu (Bindu) and her hubby Dheeraj (Ranjeet) sharing a cute romantic interlude in the police station where they’re both police officers, etc.

Kaarnama (1979) part III – the mystery edition

With the vilaayti twin on his way to his watan (country), you’d think that the found part of the lost-n-found formula is almost about to be accomplished. Well, you’d be wrong. Do not underestimate MDbhai’s genius… We leave Shyam on the plane, drinking heavily, with the mysterious lady X (Sharmila Tagore) keeping a sharp lookout a few rows behind.

We fly into India, ahead of the dimpled-duo, to meet the other twin Gopal. As I told you, MD caused him to grow up into a small-time theatre actor. Well, just as we go to find him, he’s landed his first starring role, and rehearsals are in full swing. We come upon him, in his shiny military uniform, playing Napolean Bonaparte, at Waterloo. And we realise why he isnt a big star yet, nor likely to be – he fluffs his lines something terrible.

Napolean (roaring): Wellington kameene, sherni ka doodh pasand karta hai to saamne aa (Wellington rascal, if you like tigress’s milk, come here!)

Wellington, not finding the right cue (which should have been agar maa ka doodh piya hai to… if you’ve drunk your mother’s milk), forgets his lines: Err… I prefer cow’s milk.

The glorious 70s: Awards night

Its been a week long marathon of 70s movie goodness, and a festival of fun and funkadelic delight. But whats a festival without an awards night? Considering how much hard work, time, and effort went into the making of a 70s film, it is only right that the people involved be recognised for their good work. So, we end the festival with the Masala Awesome Awards – or MAAs. The festival committee decided to call in an expert jury to judge the entries and pick the awardees. The jury consisted of a panel of distinguished film critics – Bollyviewer, Bollyviewer, Bollyviewer and Bollyviewer. With so much material to choose from, the judges had a hard time deciding between the candidates. You’ll realise just how much talent the 70s encompassed, when I tell you that the list of nominees for some awards ran into hundreds. After long deliberations, the judges finally made their choice. So lets see who gets to take a MAA home, tonight.

Fairy Godmother came calling (partII): My favorite brawny, brainy, beauties of Bollywood

Having decided on my most-coveted physical characteristics, its now time to decide what I’d like to be in terms of brains and brawn. So here’s the second part of my wish list.

The courage of Madhuri in Mrityudand and Smita in Mirch Masala.

For sheer guts, its a toss-up between Phoolva in Mrityudand and Sonbai in Mirch Masala. They were both willing to go up against patriarchal diktats and bullies to fight for their rights. I wish for their courage and their belief in the rightness of their cause.

The single-mindedness of Kiron Kher in Sardari Begum.

Sardari knows what she wants (to sing) and pursues her goals with single-minded zeal. I would be content with a fraction of her goal-oriented focus!

Do Chor (1972)

Another great thriller starring the super suave Dharmendra. This guy has the best thrillers from 60s and 70s! If a drool-worthy Dharmendra in a great thriller with super songs isn't enough to tempt you, consider this - the other lead is the lovely Tanuja and she looks great, absolutely great. Now that I have sold you on this movie, let me give you the lowdown on it...

Bombay is plagued with a mysterious thief who leaves the Swastika mark after burglarising the safes of various wealthy people in town. What is even more intriguing is that he only steals specific pieces of jewellery and leaves everything else in the burglarised safe untouched! The police and the press alike are baffled. The handsome, smooth, mustachioed, swastika thief also moonlights as the beautiful Sandhya (Tanuja). Actually it should be Sandhya who moonlights as the thief... Anyway, Sandhya, in addition to being beautiful and a thief, is also an art director in an ad company and an artist extraordinaire. Gosh, is there no end to her accomplishments? O well, it is Tanuja after all and who can deny that the lady is accomplished and charming!

Benazir (1964) - Another of Bimal Roy's forgotten gems

Having seen Bandini at a tender age, I was understandably wary of Bimal Roy. (Anyone who's seen the movie - ok not anyone, just me, perhaps - might be puzzled by the inexplicable choices made by the heroine.) Prem Patra, and Sujata however, changed all that and I was ready for more Bimal Roy. Browsing through imdb led me to Benazir, and I began my hunt for the DVD. I was overjoyed to come across it in the local Hindi DVD store and sat down to watch with eager anticipation. Here's my take on this forgotten classic.

The story starts with an earthquake in Bihar in 1934 and a young child being found in the ruins. She is found by a kind man who having lost his own daughter, decides to bring her up as his own. From such a beginning, and knowing the rules of hindi cinema, one could expect one of the following scenarios: a) a social drama with the benefactor's new wife becoming the evil stepmother, b) any variation on the standard lost-and-found formula, c) the "kind" benefactor is a criminal who gets reformed by the child but his past catches up with him on the eve of the girl's wedding, etc. As the movie proceeded and no such scenarios were forthcoming, I realised that Bimal Roy had broken new ground by departing from the sacred tenets of 1960's movie-making!