Ek Sapera Ek Lutera (1965)

And besides that ‘one snake charmer, one bandit’ (and not a single snake, mind you)—there’s also one pretty lady, a nasty patricidal king, a ghost (who appears for all of one very short scene) and a trio of comic courtiers who go bananas trying to differentiate between their crown prince and an impostor. There’s also, to add to the fun, a variety of disguises. And a decent enough score by Usha Khanna, including the depressing hit song Hum tumse judaa hoke.

If Hum tumse judaa hoke had been the only thing I knew about Ek Sapera Ek Lutera, I’d probably never have watched the film—the song’s so dismal, no film it was part of could’ve been at all happy. I saw Ek Sapera Ek Lutera because I was under the impression that it starred the vivacious Mumtaz—and I will see almost anything that features Mumtaz.
I am sad to say that I was wrong about Mumtaz; she wasn’t in this. And, I am relieved and very happy to be able to say that despite Hum tumse judaa hoke, this is an entertaining, fast-paced, rather mad, rather fun film.

It starts off with what would be considered good news: a queen (Mumtaz Begum; that’s the Mumtaz in Ek Sapera Ek Lutera) tells her husband that she’s pregnant. Finally! After 250 years, in a dynasty that never has heirs! (The dynasty’s carried on by adopting heirs all this while) She’s delirious with joy, but the king looks as if someone hit him on the back of the head with a sandbag.

In a quick flashback, we (not the queen) are made privy to a secret. Years ago, this king had stabbed his own father to grab the throne. The dying king had cursed his son, saying that someday, his son would kill him.
Back in the present, the king’s guessing that with the queen now in the family way, his chickens will soon come home to roost. So, to get a head start, he sends for the midwife and has a chat with her.

The plot the king hatches is that the midwife will find a newborn boy whom she will use to replace the king’s own child, when it is born. That way, the queen will accept the baby as her own, while the king (who will have taken his own child—and disposed of it) won’t need to fear being at some stage killed by his own offspring.
The midwife is reluctant to be party to all this sinfulness, but is finally bullied and bribed. She arranges for a village woman’s infant to be smuggled into the palace.

But when the queen gives birth, she has twins!
The midwife does some quick thinking, and figures out that at least one royal child can be saved. The village woman’s son can be returned; but one of the little princes can be left beside the queen, who emerges from an exhausted faint to be greeted with the news that she’s borne a bonny baby.
The other prince is given by the midwife to the king with the news that the village woman’s child has been handed over to the queen, and this child is the real prince.
The king, evil father that he is, wraps his baby up in a basket and leaves it in the forest.

That night, there’s a fierce storm, and roaring waters wash the basket down to a river, where two women find it the next day. These are Indu (Indira Bansal), the wife of the village choudhary; and Bindu (Tuntun), the wife of a snake charmer. Both Indu and Bindu long to be mothers and are so desperate to have the baby for themselves that they grab it and indulge in some unladylike fisticuffs. Bindu emerges triumphant and takes the baby away to her home…

…where she and her husband name him Mohan and bring him up as their own.
Many years pass and Mohan (now Feroz Khan) has grown up and is in love with Radha (Kumkum), the daughter of Indu and the choudhary. Radha loves Mohan, but her mother Indu is dead set against Radha having anything to do with the man, whom she regards as a wastrel. Indu’s husband, the choudhary (Rashid Khan), tries to convince Radha that she should be a good and obedient girl and listen to her mother.

Mohan’s bosom buddy Badloo Ram (Sunder) has been given the task of finding a groom for Radha. Though he tries to fix up a match between Mohan and Radha, it fizzles out because Indu won’t have it. Finally, after some subterfuge, a bit of arm-twisting and emotional blackmail, Radha ends up engaged to the son of a creditor of the choudhary’s.

When Badloo gives Mohan the news that his beloved is going to marry someone else, Mohan does what any self-respecting Hindi film hero should do: he dons a disguise. Dressed as an old tattooist, he goes to Indu’s house, saying that he’s come to tattoo Radha for her wedding (I didn’t know this: the three dots tattooed on a woman’s chin are called godna or gudna, and are a symbol of marriage). Left alone with Radha, Mohan takes off his fake moochh and shows her who he is. Much elation ensues, and Radha confesses that she’d been planning to kill herself before the wedding.

Mohan instructs Radha to come and meet him outside the village later that day…
… and everybody in this film being so luckless, Radha reaches before he does. Whom should she run into but the dissolute prince Vijay Pratap Singh, whom of course she mistakes for darling Mohan? Vijay Pratap Singh, womaniser that he is, soon guesses that the ‘Mohan’ this girl addresses him as looks exactly like Vijay Pratap Singh. So, if the prince pretends to be Mohan, he’ll get the girl.
Without further ado, he pulls Radha onto his horse and they gallop away into the night.

A villager happens to have seen the episode, and goes rushing off to tell the choudhary that Mohan and Radha have eloped. The choudhary and the rest of the villagers—including Mohan’s foster father, who’s very upset at Mohan’s scandalous behaviour—chase after Mohan and beat him up. A puzzled Mohan denies that he ran off with Radha (he admits he’d told her to meet him, but says he didn’t mean to elope with her; no, he was going to come to the choudhary and ask for Radha’s hand).

The long and the short of it is that the villagers finally let Mohan go, and he sets off to search for Radha. His wanderings bring him to Sundergarh (Vijay Pratap’s principality), where some of the locals mistake him for their prince…

…who is trying to cajole Radha into marrying him. He has confessed to her that he isn’t her Mohan, but he’s richer, more powerful, and more of a dude than that stupid snake charmer, and she’d be much better off as his princess, so why not?—but Radha isn’t listening. Finally, Vijay Pratap gets so sick of the girl’s obstinacy, he orders his courtiers to go fetch a sage who can clear Radha’s mind and heart of this silly fascination for Mohan.

The courtiers are discussing this as they walk along, and don’t realise that a passerby—Mohan—is eavesdropping. He disguises himself as a sadhu of sorts and is taken to Vijay Pratap Singh and Radha. The prince, much impressed by the sadhu, requests him to work his magic on Radha, and the sadhu agrees. As soon as he’s alone with Radha, he reveals himself as Mohan, and they work out a plan to free Radha of Vijay Pratap Singh.

This plan consists of dosing Vijay Pratap Singh with much wine (while Radha shimmies and sings), but they haven’t taken one thing into consideration: Vijay Pratap Singh is very canny. He figures out what’s happening, and turns the tables. His soldiers arrest Mohan and take him deep into the desert, where they fling him down into a large (very large; it seems to stretch forever) hole. Here, Mohan becomes conscious, only to find himself in the company of a strange female ghost…

…while above ground, poor Radha, pursued by the lecherous and tenacious Vijay Pratap Singh, falls off a balcony, is concussed, and loses her memory.

So who gets the girl? Who’s the ghost? Will Mohan ever get to know he’s actually a prince? And what about that long-ago curse about the king being killed by his own son? Much happens in Ek Sapera Ek Lutera. Not all of it is strictly coherent, but it’s fun, and the pace doesn’t slacken. Plus you get to see two Feroz Khans for the price of one. Not bad.

What I liked about this film:

It’s entertaining in a likeable fantasy-land way, with pretty costumes and ornate palaces, much fighting (swords and single sticks), desertscapes—including a daring escape on a camel—and much racing hither and thither, disguises, coincidences and other stuff that doesn’t happen in lives as mundane as my own.

The music is hummable enough. Hum tumse judaa hoke is the best-known of the songs, but the others are good too. The title song, in particular, is nice, and Uthaao jaam chalo dono saath-saath piyein deserves to be better known among the drinking songs!

And Sunder, though he doesn’t make a very believable cross-dresser, is very funny masquerading as a gardening-maid called Gulabi:

What I didn’t like:

If I were going to be nitpicking, I’d say Ek Sapera Ek Lutera is frivolous, and there are holes in the plot. But I don’t mind frivolity, and I can live with the holes in the plot, simply because this is such a generally enjoyable film.

But yes, I haven’t yet been able to figure out the need for that ghost. She was superfluous. Completely.

Advertisements

20 thoughts on “Ek Sapera Ek Lutera (1965)

  1. Feroz Khan looks so believable in his disguises. As old man and sadhu. Since I’m on an acquisition trip these days, I’ll get this one. :) Do you buy online?

  2. Yes, I’d certainly recommend buying this one – it’s good paisa vasool!

    I do buy online; I’ve bought fairly often from induna. They’re so reliable and the range of films they’ve got is mouthwatering! Ek Sapera Ek Lutera was rented, though – I subscribe to seventymm.com.

  3. I like Feroz Kahn in B&W movies…I somehow prefer him in such movies than the utterly stylish ones he did later. Am not much of a Feroz fan, but this sounds interesting. If I am not mistaken Feroz and Mumtaz paired opposite in Feroz Khan’s Apradh, his directorial debut. In the early 60’s Mumtaz hardly got any role as the leading lady. It was Do Raaste in 1969, that saw Mumtaz ina leading role.
    For a moment I thought Sau baar janam lenge was from this movie and then realized it’s from Ustaadon Ke Ustaad.

  4. sunheriyaadein: Yes, you’re right – Mumtaz starred opposite Feroz Khan in Apradh. I’d started watching that film, but the DVD packed up after the first few scenes, so I’m yet to see it… incidentally, Mumtaz did get roles as a leading lady in a number of B grade films (you know, all those ones that she made opposite Dara Singh?), but her big lead roles – as you say – didn’t come till 1969. And 5 years later (I think), she quit cinema.
    I am with you on Feroz Khan in B/W films: I find him more likeable in these than in stuff like Aadmi aur Insaan or Upasana.

    Ava: Go for it!

    Mr Neelakantan: And what about Kashmir ki Kali, which was about a romance between changelings, rather than about horticulture in the Valley? ;-)

  5. I think Feroze Khan looks yummy. And I like films like this, where you just sit there for the entertainment and don’t have to think too much. I always found Kumkum so attractive. So I must see this, huh?
    P.S. “the three dots tattooed on a woman’s chin are called godna or gudna, and are a symbol of marriage”. Awesome piece of info. Thank you :)

  6. Oh yes, you must see this if you don’t mind something that’s just for entertainment and doesn’t necessarily need you to think. It’s important to relax now and then, right? :-)

    I hadn’t known about the godna: I always thought those dots were just beautification! One lives and learns.

  7. wow sounds like a hoot, it reminds me a weeny bit of Raja aur Runk, Kum kum had that spectacular mera naam chameli number in that one .i always thought this was a Ichaadari Nagin flick with someone turning into a snake, that’s what i always thought it would be about from the title

  8. Hehehe. :-)) I like that bit about you thinking this was an ‘Ichaadari Nagin’ flick! No, it isn’t – in fact, there isn’t a single snake to be seen anywhere in the film, which is a bit strange, considering the hero’s supposed to be a snakecharmer. They don’t even show him charming any snakes, though he does play a bit on his pipe.

    If you liked Raja aur Runk (which I thought was a lot of fun – especially Mera naam hai Chameli, a song I love!), you’ll like this. It’s got the same sort of ‘historic-somewhere-in-India’ feel to it, some drama, lots of action, good entertainment.

  9. This sounds like a lot of fun! Like Bollywooddeewana, I too thought that this film would have some variation on the nagin theme. If I’d known that it was more of a swashbuckler than an ichhadhaari naagin with Hum tumse juda hoke (not a favorite song), I’d have got it long ago! O well, better late than never. :D

  10. Now I’m beginning to wonder why I never imagined this film to be one of those icchaadhaari naagin ones! Perhaps because all of them have names that centre around the naagin rather than the sapera? (I came across a Sunehri Naagin the other day, starring Helen. Gave it a miss.)

    Whatever. This one needs to be better known and better loved.

  11. Oh yes…her B-grade movies with Dara Singh. She did 16 action films him and was labelled as a stunt film heroine. But she has done a wide variety of roles….Leading roles in A grade as well as B Grade films, action, comedy, Negative roles, Item Girl…
    Her earliest movie that I have seen is Vallah Kya Baat Hai she has a very small role of a kele wali in it. I had seen the movie with my cousin and nephew and I was waiting for them to recognize her. After the movie ended they said : that girl, the one selling bananas looked so much like Mumtaz?! And I had burst out laughing.

  12. Really? Even though I’ve seen Vallah kya baat hai, it was so long ago, I don’t remember noticing Mumtaz in it. Must rewatch it again some day! But yes, she did go on to do so many roles in so many films, hai na? I also rather like her in some of those lesser-known films that she did, like Roop tera mastana, Upasana, Shart and so on. Very entertaining, even though not major hit films.

  13. Lovely review, Madhu.
    And this sounds like a lot of fun!

    I like 60s Feroz Khan a lot. The only thing I knew about this movie till now was “hum tumse juda hoke” – depressing song even if Rafi saab has sung it beautifully. Otherwise, going purely by the movie’s name, I was also expecting it to have something to do with snakes.

    Need to watch this! Would have loved it to have Mumtaz (and I don’t mean Mumtaz Begum, I mean OUR Mumtaz :-)) but Kumkum is good too. And like you say, two Feroz Khans for the price of one. Not bad. :-)

  14. Back after a long absence!
    I also would have bet that ESEL had Mumtaz in it.
    But it sounds crazy enough without Mumtaz and like a movie for a rainy Sunday afternoon with lots of pakoras. *hungry*
    Am very curious, which prince kills father, most probably the evil one so that the good one can have the heroine. Does Feroze Khan look so glum as in your pics throughout the film?

  15. Welcome back! It’s good to have you back in cyberspace. :-)

    Am very curious, which prince kills father, most probably the evil one so that the good one can have the heroine.” There speaks long experience of Hindi cinema! And no, Feroz Khan doesn’t look this glum all through the film. As Vijay Pratap Singh, he’s usually grinning lecherously, though as Mohan, he’s generally pretty dismal since he spends most of the film chasing after his girlfriend and trying to get her back!

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s