burman

Dev Anand abhors violence and initially refuses to join the armed forces, but has to bow to his father's wishes. After some time there, he comes back, but as destiny would have it, he finds himself in the thick of things, when he sees the enemy working against the country's interests. Leaving his beloved, Wahida Rehman, behind, he goes abroad to unveil the conspiracy and befriends Zahida, the enemy's moll. Wahida follows him but is dejected seeing him with Zahida. In time Dev also comes back and is engulfed in full scale war to defeat the enemy.

Dev's first official attempt at direction, though it is said that he had a lot to do with the direction of "Teen Devian" and "Gambler". He did a reassuring job. The lead players were all good. Technically the film was polished. Yet again, Sachin Deb Burman gave excellent music. His own rendering " Prem ke pujari, ham hain" was superb. Kishore Kumar's "Phoolon ke rang se, dil ki qalam se" was another excellent number, and so was Lata's "Rangeela re, tere rang se, yun ranga hai, mera man". Another typical Burman duet was "Shokhiyon mein ghola jaaye, phoolon ka shabab", sung by Kishore and Lata. Punjabi folk music came out beautifully in "Doongi tennu reshmi rumaal", sung by Lata and chorus. Other good numbers include Manna Dey and Mohd. Rafi's "Taqat watan ki hamse hai", the marching song, sung with chorus, and the happy-go-lucky number "Gham pe dhool daalo, kehkaha lagalo", sung by Kishore and Bhupendra. Lyrics by the renowned poet, Neeraj, were excellent.

Overall, a reasonably good film by Dev Anand.

The inexperienced and bungling advocate, Dev Anand, goes looking out for rented accommodation in the metropolis, but nobody was prepared to entertain a young bachelor. Dev disguises himself as an old bearded man, shoulders drooping with age, and manages to land himself as a paying guest in the apartment of a retired man, who has a young daughter, played by Nutan. And of course, the secret is out before long, and both fall in love. Dev starts working with a very renowned advocate, played by Jagirdar, whom Nutan's friend, played by Shobha Khote, had married as he was immensely wealthy. In no time, she starts feeling lonely as the old man was oblivious of the needs of the young woman. Shobha starts wooing Dev. Yaqub, Nutan's good for nothing and drunkard brother-in-law, starts blackmailing Dev and Shobha, and in the process, Jagirdar is killed. The long drawn out climax in the court room, ends with the culprit being identified, and the lovers united to "live happily ever after".

The more enjoyable moments in the film are when Dev looks for the accommodation, his impersonation as a Muslim old man, and later when he tries to woo Nutan. Their romantic scenes are very infectious. Both Dev and Nutan form a very lovable pair, as was seen whenever they acted together in other films also, like "Manzil", "Baarish" and "Tere Ghar Ke Samne". Both of them gave creditable performances. Yaqub also gave a good account of himself.

S. D. Burman came up with another stunning musical score. Kishore Kumar's "Mana janab ne pukara nahin, ya mera saath bhi gawara nahin" and "Hai hai yeh nigahen, are kar den sharabi jise chahen" are his evergreen numbers. Burman dada's unique style in duet composition is again visible in everlasting songs like "Ho, nigahen mastana, dekh saman hai suhana" and "Chhod do aanchal zamana kya kahega". Lata Mangeshkar was exeedingly good in the sad song "Chand phir nikla, magar tum na aaye". She also had another pleasant number in "Chupke chupke, rukte rukte, maine dekha".

In short, a very enjoyable fair.

Vijay Anand, who wrote and directed the film, had Dev Anand proceeding to Bombay by road, in a ramshackle truck converted into an all purpose van. On the way he finds that he has company in the form of Kalpana Kartik, who was running away from home, as she was being married to a man she did not like. A simple narrative made thoroughly enjoyable by excellent screenplay and dialogues, and, as was expected from the house of Navketan and their almost permanent music maestro, S. D. Burman, a feast of hauntingly melodious musical score. Dev Anand, the epitome of the urban youth, was his usual debonair self, and had the viewers spellbound by his charming portrayal. Kalpana Kartik was adequate. Shashikala was good. Technically, all the departments did excellent work.

Burman dada was always at his best when scoring for Dev Anand. Kishore Kumar's "Ham hain raahi pyar ke, hamse kuchh na boliye" to this day is one of his best numbers. Dada continued with his unique style of composing duets, and gave three excellent numbers in "Kali ke roop mein, chali ho dhoop mein, kahan?" by Mohd. Rafi and Asha Bhosle, "Ankhon mein kya ji, rupahla baadal" by Kishore Kumar and Asha Bhosle, and "Ho' o' aja panchhi akela hai", again by Kishore Kumar and Asha Bhosle. The cabaret song by Asha Bhosle and Geeta Dutt "Kya ho phir jo din rangila ho" was very catchy. Asha's "Dhalki jaaye chunariya hamari ho Raam" was a haunting number, whereas her "Jaane jigar hai hai, dekh to idhar hai hai" was a seductive number. Vijay Anand's picturisation of the climax, as Shashikala dances to Geeta Dutt's "See le zuban" was quite ably done, something which his elder brother, Chetan Anand, had done in "Taxi Driver", again in the climax, when Shiela Ramani was dancing to Lata's "Ai meri zindagi, aaj raat jhoom le". It is, however, to be noted that the story and screenplay of that film was also written by Vijay Anand only.

Overall, an excellent entertainer.