Rajendra Kumar is one of those actors whom I’ve repeatedly mentioned as ‘not being one of my favourites’. Saira Banu, beyond her first few films (notably, Junglee and Shaadi), I find too shrill for my liking. Despite the fact that these two star in Jhuk Gaya Aasmaan, it remains one film I like a good deal—because it has such an unusual story.
A story to which there’s a brief nod in the first scene. Sanjay (Rajendra Kumar) and Priya (Saira Banu) meet in what looks like an obviously ‘indoor set’ representation of a cliff. There’s a little banter, she insisting that he’s irritating her with his wooing, he professing his love for her and asserting that he could do anything for her—even give up his life. Priya eggs him on: yes, please. Go ahead. Show us.
I have to admit that I watched this film against all advice. Anu had watched it a couple of years back (and had written up a review of it); but I—remembering a long-ago viewing of Hum Sab Chor Hain, which I’d enjoyed immensely—decided to give it a try anyway.
And, it seems the version I got to watch, while as incoherent in the second half as the one that Anu saw, at least had some more parts intact. The main problem, from what I could see, was that—possibly in transferring the film from celluloid to digital—the reels got mixed up, with one of the reels that should’ve come early in the film ending up later, thus making things very confusing. Despite that (and despite some shameful editing in the last half-hour by the video production company), this evoked one reaction in me: If only this could’ve been available in the original version. Because, if you try to fit the pieces together and imagine what might have been in the bits so summarily chopped off, you can see the outline of what must have been a pretty funny and entertaining film.
I can blame my not having watched Bahaaron ke Sapne all these years on my father: when I first expressed an interest in the film because it had been directed by Nasir Husain (back then, a teenaged me associated Nasir Husain only with frothy and entertaining films like Dil Deke Dekho, Tumsa Nahin Dekha, and Phir Wohi Dil Laaya Hoon), my father said, ‘It’s a serious film.’
And that was that. Because, back then, I didn’t care to ask how serious. Anything that smacked of reality rather than escapism was not to be touched with a barge pole.
One style of mystery story popular in the early 60s (though there was the odd film even earlier, like Mahal) was the one where the suspense includes a seemingly supernatural element. A woman in white, singing a ghostly song of eternal yearning as she wanders half-seen (or unseen) through the gloom. Woh Kaun Thi?, Yeh Raat Phir Na Aayegi, Bees Saal Baad, Gumnaam, Raaz: all of them used this trope to the hilt.
As did this relatively lesser-known film [and you’ll probably realize, by the end of this post, why it’s little-known]. Poonam ki Raat was made by actor/writer/director Kishore Sahu, who played an important role in this film, the star of which was Manoj Kumar, quite a veteran of these suspense thrillers.
Nasir Hussain, as someone (he himself?) once remarked, came to Bombay with one story in his briefcase, and made out of it one blockbuster after another. The story of a son, separated by circumstances from one parent and going through various ups and downs (including falling for the distant parent’s foster offspring, being impersonated by a crook, etc) before the happy ending, was one that was played out in Tumsa Nahin Dekha, Dil Deke Dekho, Phir Wohi Dil Laaya and Pyaar ka Mausam.
But, contrary to popular belief, Nasir Hussain was by no means a one-trick pony. He had other plot elements up his sleeve as well, and they appear now and then sporadically in various films. The ‘couple promised to each other as children’ trope is one [which always ends up with the couple—completely unaware of having been ‘betrothed’ in childhood, even sight unseen—falling in love with each other]. Another was the hero being [mistakenly, of course] believed to have killed a sister [or sister figure] of the heroine’s, after having played fast and loose with her—this, naturally, causing serious heartache and betrayal for the heroine until she realizes that her beloved couldn’t possibly do something so heinous.
Or, The Nasir Hussain Rule Book of Fool-proof Rehashing.
I’m beginning to think I’m an idiot for trying to think up new stories every time I write. Look at people like Betty Neels or Nasir Hussain; they managed to get by with basically the same story, over and over again, and very successfully too. [which makes me wonder: were Hussain and Neels long-lost brother and sister?]
Take the latter’s Pyaar ka Mausam, for example. I’d seen this film as a kid and remembered little of it except the very good music and the pretty lead pair. A rewatch last night revealed that it amounted to a cocktail of Nasir Hussain’s earlier films: Tumsa Nahin Dekha, Dil Deke Dekho, and Phir Wohi Dil Laaya Hoon. Same story, same plot elements, same rules from The Rule Book. [Note: These rules will make more sense if you’ve seen one or more of the films I’ve mentioned above. If you haven’t, think of it this way: you’ll get to know about four films just from one review].
I am not – most decidedly not – nuts about red hearts and roses and all that bullshit. Really, if you love someone, you love them. And not just on February 14.
But, anyway, here’s my nod to the bandwagon. I’m not jumping on to it, mind you; just reviewing one of my favourite romance films.
So here we go. A Bimal Roy film that’s a must if you like romances.
Dil Deke Dekho isn’t quite the perfect film I’d like to make it out to be.
(a) The story isn’t exactly original (Nasir Hussain had already used it in Tumsa Nahin Dekha. He also went on to use it in Jab Pyaar Kisi se Hota Hai and Phir Wohi Dil Laaya Hoon, but that can’t be laid at the doorstep of Dil Deke Dekho).
(b) The plot is too complicated, relies too heavily on convenient coincidences, and has some unbelievable – and often unclear – motives.
(c) The lead actress, Asha Parekh (just 16 years old), though pretty as a picture, isn’t a terribly good actress at this stage of her career.
Nasir Hussain may have made his Tumsa Nahin Dekha story into four separate – and equally successful – films, but did that induce others to be original? On the contrary. Narinder Bedi, at least, probably seemed to think that what worked for Nasir Hussain might well work for him. Therefore, Mere Sanam, which has a storyline similar in many ways to Tumsa Nahin Dekha. (Both films also have fantastic music by OP Nayyar, by the way).
Yesterday morning, when I woke up and logged on to the Internet, the first news headline I saw was that Shammi Kapoor had passed away. I have never been so affected by the passing away of one of the many stars of the past who have died in the recent past… but the news of Shammi Kapoor’s death brought tears to my eyes. I have a lump in my throat even as I type this.
I had not really intended to write this review now. I am in the midst of a blog project in which each post links to the previous and the next posts in some way or the other. But I could not ignore the passing of my favourite actor. I would never forgive myself for that. So, while this post does have a connection to the last (Humayun was a ‘raja-rani’ – ‘king-and-queen’ – film; so is Rajkumar), it is, first and foremost, a tribute to the brightest, most joyous and most entertaining star of the 60s. A sun that will never set.