There were various reasons for my wanting to see this film. One was that it’s a historical (okay, faux historical, considering it’s set in some undefined supposedly Middle Eastern land named Sherqand). The other was that its music was scored by Sardar Malik, one of—in my opinion—Hindi cinema’s very underrated music directors. The main reason, however, was Shammi Kapoor. Though still in his moustached pre-Tumsa Nahin Dekha days, he is one of my favourite actors. So just about anything starring Shammi Kapoor is, for me, worth watching at least once.
Muslim socials are among the genres I can never have too much of. Back in their heyday, they had some of the best music around (remember Chaudhvin ka Chaand? Barsaat ki Raat? Mere Mehboob? The inimitable Pakeezah?) There was the chance to savour the mellifluous sound of Urdu; to peek into a social structure and lifestyles that often went otherwise unexplored in cinema; and to see women in shararas and men in achkans [the latter, like military uniforms, equipped with some inexplicable means of making even Bharat Bhushan and Rajendra Kumar look good].
Mumtaz, as I mentioned in my last post, was one of the best things that happened to Mere Sanam. She may not have had much screen time in the film, but she certainly left her mark – more than she’d been doing in the B-grade films she’d mostly appeared in till then.
Rustom-e-Hind, made in the same year as Mere Sanam, is an example of that type of film. It’s basically a Dara Singh showcase – so there’s lots of showing off of wrestling – but Mumtaz gets to smile prettily and flutter her eyelashes, if nothing else.