नौ दो ग्याराह

In the second half of Dil Hai Ke Maanta Nahi (1991), Aamir Khan sets for an impromptu ball-dance jig with Pooja Bhatt when a song is playing on the radio in the background. That song was 'Hum Hai Rahi Pyaar Ke, Hum Se Kuch Na Boliye'. The song came from the 1957 Dev Anand film 'Nau Do Gyarah' and this was perhaps Mahesh Bhatt's way of paying a subtle tribute to the film from which it took faint references. Interestingly Dil Hai Ke Maanta Nahi was a remake of Raj Kapoor – Nargis' 1956 classic 'Chori Chori' which in turn was remake of Frank Capra's Oscar winning 'It Happened One Night'. Even 'Nau Do Gyarah' that released one year after Chori Chori borrowed faintly from Capra's film.

Madan (Dev Anand) gets a letter from his uncle claiming that he is the heir of his uncle's property. He sets on a road journey in a mini-truck to meet his uncle. En route he meets a girl Raksha (Kalpana Kartik) who has run away from her marriage to a man of disrepute, Surjit (Jeevan) and has landed in Madan's truck. Madan learns through his friend Radhe (Madan Puri) that his uncle is no more and the property has been taken over by his uncle's wife (Lalita Pawar) and son Kuldeep (Rashid Khan). To unveil the mystery behind his uncle's death and get hold of his second modified legal will, Madan reaches Mahabaleshwar to work as a manager at Kuldeep's estate while Raksha poses as his wife. But suddenly Surjit lands at the place and starts manipulating things.

Vijay Anand made an impressive debut as a director with Nau Do Gyarah. He came up with a creased-out screenplay and had well-etched character conflicts. Also the writing was multidimensional where he smartly interlinked Madan's property track with Raksha's runaway bride track by the pre-climax. The story had every element from romance, music, suspense, thriller to the trademark jaydaad-ki-ladaai (a standard formula of yesteryear Bollywood). The title had both symbolic and literal connotations. Nau Do Gyarah is a Hindi idiom that indicates 'run away', while the property that Madan is to inherit from his uncle is in form of real estate worth nine (nau) lakhs and bank assets worth two (do) lakhs which sums up to eleven (gyarah) lakhs.

Other than Dil Hai Ke Maanta Nahi¸ Nau Do Gyarah had some other offshoots as well. The runaway bride element was subsequently used in Caravan (1971) and Kati Patang (1970). In fact the entire Prem Chopra-Bindu-Asha Parekh track in Kati Patang is feebly reminiscent of Jeevan-Shashikala-Kalpana Kartik track in this film. Mahesh Bhatt's tribute to the Anands continued as he directed Aamir Khan in another film named Hum Hai Rahi Pyaar Ke (a song from Nau Do Gyarah).

The ever-dependable S D Burman's melodious musical score was one of the strong assets of Nau Do Gyarah. 'Hum Hai Rahi Pyaar Ke',' Aankhon Mein Kya Ji' and 'Aaja Panchi Akela Hain' are still fresh in minds of music lovers. Vijay Anand picturized the climax song 'See Le Zubaan' on Shashikala in the same way that the climax song 'Kahin Pe Nigahen, Kahin Pe Nishana' was shot on Waheeda Rehman in Navketan's earlier production CID. Shashikala symbolically narrates the circumstances in the song to Jeevan who is in hiding. Majrooh Sultaanpuri's lyrics had awakened the then moral police when he penned lines like 'Achal Mein Kya Ji – Ajab Si Hulchul' in the duet Aankhon Mein Kya Ji. Reportedly, Majrooh created a furor in the 1950s in the same manner and for the same reason for which Anand Bakshi created a controversy over 'Choli Ke Peeche Kya Hai' in 1993.

The film was decently shot by cinematographer V. Ratra in the serene hill station of Mahabaleshwar. The background score was competent and complemented the scenes.

Dev Anand was charming as always and Kalpana Kartik was beautiful, both, in her looks and act. The real-life couple had a comfortable and refreshing on screen chemistry. This was Kalpana Kartik's last film as an actress. All other character actors were competent.

Nau Do Gyarah is so gripping and entertaining that you won't run away from it for a moment. Worth a watch!

• Gaurav Malani

Nau Do Gyarah, which can be best defined as a shining musical, has Devanand and Kalpana Kartik in the lead roles.

Madan Mohan(Devanand) receives a letter which states that he inherited a sum of 11 lakh from his deceased uncle. The film then follows his story as he goes from Delhi to Bombay to get his share.

The director,Vijay Anand, extracts fine performance from Kalpana Kartik, Jeevan and Lalita Pawar. But what sets the film apart is Devanand. At the peak of his career,he superbly carries his role with aplomb(read:mannerisms). The songs are magnificent and soothing to listen to. Notable ones include "Hum Hai Rahin Pyar Ke" and "Ankhon Mein Kya Ji".

Madan (Dev Anand) discovers that he has inherited a fortune from his deceased uncle. Madan goes to his uncle's place, only to discover that the uncle's sister (Lalita Pawar) and her son Kuldeep (Krishan Dhawan) have taken over the property, claiming the inheritance. Madan has to unearth the actual will and claim his rightful share.

The movie had an interesting premise but, as is frequently the case with Hindi movies of that era, fell short on execution. Every time it looked like the narrative was gathering steam, the flow was interrupted by a song. The movie had its moments for sure- it could have been a classic but for the songs (admittedly, the makers of the DVD might have chopped off a few scenes).

Dev Anand is brilliant as ever, as is veteran Jeevan, whose portrayal of Surjit was outstanding. Vijay Anand, directing his first movie, showed signs of the genius he was to become in late years.

Worth a one time watch at best, which is a pity since it could have been so much more.

Nau Do Gyarah (1957) : Brief Review -

Vijay Anand's baby steps in his directorial debut came with many immature flaws and yet made a super hit film. Vijay Anand made his directorial debut with Nau Di Gyarah and also wrote the script and the screenplay. The film was produced by Dev Anand, who also played the lead role. So, it's a family thing more than a nepotism debate. Nau Do Gyarah has many flaws in the direction but still made a super hit film for contemporary moviegoers. Maybe they were looking for a simple film with a lot of entertainment. NDG has songs, romance, a mysterious story, and a lot of drama that easily appealed to the cinegoers, especially when you had Dev Anand to pull them off to cinemas. But yes, it's a very average film and could have been much better if the director wanted. One of the biggest shortcomings is the climax sequence, which was almost half an hour long. It wasn't a time-plated thing, yet Vijay made it look so, and it lost all the thrill value. Shashikala's role didn't really fit well in the script, and then she had to get a song in that intense climax? I mean, come on, who keeps a song during a thrilling finish portion? What a big misfit it was. The same goes for several other characters that don't seem logical. Throughout that long, stretched climax, the cameraman kept showing closeups of the frozen faces of Lalita Pawar and Krishan Dhawan. Can anybody tell me why? That looked so stupid, I tell you. I mean, you are trying to show us time-driven conflicts, and then you have to spoil the tempo with useless frozen frames, and that too without any changes for like 5 times. It was a very immature thing to do. Vijay Anand's baby steps were too childish, I must say, but whatever the fate came, I am happy that he got a super hit debut. Thanks to Dev Anand and that new combo of romantic comedy and thriller. In one line, a strictly average affair.

RATING - 5/10*

By - #samthebestest.

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.