Teesri Manzil (1966) :
Brief Review -
Bollywood discovers a musical thriller on a mass level. Unlike Hitchcock movies or novel-based Hollywood mysteries, Bollywood always believed in commercial thrillers back in time. The idea was discovered in the 1950s, and Vijay Anand was one of those directors who looked at thrillers as commercial outings. A decade later, when Bollywood was done with whatever thrillers they could make on commercial levels, Anad teamed up with one of the finest writers of Bollywood, Nasir Hussain, to discover a high level musical trailer for Bollywood. The result was Teesri Manzil. As always, there is murder, and the murdered person is either the hero's or heroine's relative. The same 50s idea, but here the musical touch and suspense were kept till the last frame. Yes, you can predict the killer right after the first half gets over, but why that murder was committed is the real suspense here. I guessed the murderer in his second scene only, but I just wanted to know how he was related to the dead person. The mysterious behavior of the screenplay was worth it, and the murderer's involvement in the hero and heroine's lives also fit well. The film is about Vicky, a singer, who is accused of murdering a girl who was in love with him. Her sister falls in love with Vicky but breaks things up after realizing his true identity. To patch things up and clear his name, he must prove his innocence and also save himself and his friends from the real killer, who now wants him dead. Shammi Kapoor and Asha Parekh have done well yet again, but the most memorable aspect of Teesri Manzil is its music. This was the first ever chartbuster album by legendary music director R. D. Burman. O Mere Sona Re Sona, O Haseena Zulfon Wali Jane Jahan and Aaja Aaja Main Hoon Pyar Tera are all-time classics! Had it not been for the music, I don't think audiences would have shown much interest in this intense film. I must say, well done, Mr. Vijay Anand.
RATING - 7/10*
By - #samthebestest.
