In an interview, while reminiscing about his first few years in the Hindi cinema industry, Naushad mentioned how, after he had moved to Bombay and become a music director, his parents arranged his wedding. “We have told your future in-laws that you are a tailor,” his mother said. “If we’d said you were into music, you’d never have gotten married!” The irony of the whole thing was, recalled Naushad, that at the wedding, the band that came along was playing all the latest hits – all of which happened to be from Naushad’s first big score.
Which, as you’ve probably guessed by now, was from this film. Naushad came to Bombay from Lucknow in 1937, and though he did get some work over the next few years, it was not until Rattan that he got a chance to compose the sort of music that catapulted him to the top.
I’ve lost count of the number of Hindi films I’ve seen in which a bride is left at the mandap just because her family hasn’t been able to provide a massive dowry. I have no idea which was the first such film to be made, but V Shantaram’s Dahej is one of the early ones. And to be expected too, from a film-maker who was deeply sensitive to the many shortcomings in the society of his time.
Unlike Madhumati and Aar Paar, where he was just a supporting actor (though, in my opinion, his contribution to both films far surpassed the actual screen time of the characters he played), in Chhoomantar Johhny Walker is not just the funny man, but also the hero. He gets to sing and dance (the latter even in drag!). He gets to woo a pretty heroine, be brother to another lovely lady, and he gets to kick some serious ass.