This BLOG is about the Past of Hindi Films Specially Black and White Cinema We will refresh your memories by bringing out forgotten or unseen songs and clippings of film scenes We will try to give you as much information as we gather from our research.
This Blog was started as a one-man’s passion for film history but has now become an addiction for many music lovers who are equally passionate about Hindi films
13 years apart were born the two great stalwarts of Hindi Film Music, S D Burman(1st Oct 1906) and Majrooh Sultanpuri(1919). to create magic in Hindi Films. They partnered in 20 films from 1957 to 1976, leaving behind many unforgettable gems. The first song written by Majrooh and composed by Sd Burman was " Woh Sapne wali Raa"t sung by Geeta Roy in the film Pyar (1950). After a gap of 7 years, they worked together in Paying Guest (1957)., they created the song Chhod Do Aanchal Zamaana Kya Kahega after this the next song was"Mana Janaab Ne Pukara Nahin" There were 6 songs in the film, all the songs were hit. The same year Navketan's Nau Do Gyarah released, once again the magic of both was visible. Aankhon mein kya ji, rupehla baadal became an instant hit itspicturization mesmerized the audience. Other songs like Hum Hain Raahi Pyar ke, Humse Kuchh Na Boliye by Kishore, Aaja Panchhi Akela Hai/So Jaa Nindiya Ki Bela Hai,, by Asha-Rafi are still liked. Over the years, of course, a large chunk of their films featured Dev Anand, examples being ‘Paying Guest’, ‘Nau Do Gyarah’, ‘Kala Pani’, Manzil’, ‘Solva Saal’, ‘Bombai Ka Baboo’, ‘Baat Ek Raat Ki’, ‘Jewel Thief’ and ‘Teen Deviyan’. Besides the Dev Anand films, SD and Majrooh combined on such classics as ‘Chalti Ka Naam Gaadi’ (which had Kishore’s ‘Ek Ladki Bheegi Bhaagi’, the Kishore-Manna Dey song ‘Babu samjho ishaare’ and the Kishore-Asha superhit ‘Haal Kaisa Hai Janaab Ka’) and ‘Sujata’ (which had Talat Mahmood’s unforgettable ‘Jalte Hain Jiske Liye’, The two of them also worked in films like ‘Lajwanti’, ‘Sitaron Se Aage’, ‘Talaash’, ‘Phagun’ and ‘Sagina’ (remember ‘Saala mein to saahab ban gaya’?) But their biggest hit arguably was in Hrishikesh Mukherjee’s 1973 film ‘Abhimaan’, which had ‘Tere mere milan ki yeh raina’ (Lata-Kishore), ‘Teri bindiya’ (Lata-Rafi), ‘Lutey koi man’ (Lata-Manhar Udhas), Kishore’s ‘Meet Na Mila’ and three Lata solos ‘Nadiya Kinarey’, ‘Ab Toh Hai Tumse’ and ‘Piya bina’.
This song of Kala Bazar (1960) was picturised on Dev Anand and Waheeda Rehman sung by Mohammad Rafi and Geeta Dutt.The song was written by Shailendra and the music was given by S D Brman. The song became the most iconic rain song and is spontaneously remembered with the pitter-patter of rain. It catches the mood perfectly, the rhythm of falling rain drops and the romance. It is the first time ever any duet was picturised in background. Thanks to the genius of Barman Dada who insisted that this should be played in background. The Director of the film was Vijay Anand who was a master of picturising songs.He was picturising this song on the hero and heroine but Sachin Da told him that instead of singing this song should be played in the background. Vijay Anand in an interview said that SD Burman was very perceptive about the power and impact of the medium of films and took a keen interest in understanding the situation of a song and its context in the landscape of the entire movie. The situation was that Waheeda Rehman is standing at the bus stand. Most people here are holding an umbrella each because it is raining. Only Dev Anand is holding a newspaper over his head. He calls a cab. Both he and Waheeda Rehman approach the stopped cab. When they reach it, they see and recognize each other. Within that moment an old woman enters the cab and leaves with it. Waheeda Rehman wears a dark sari with a light colored blouse, while Dev Anand is wearing a dark kurta pyjama. She had closed the umbrella while approaching the cab. Now both are getting wet. So Dev Anand tells her to open the umbrella and she tells him to come under it too. They try to catch another taxi when it is taken by somebody else. Suddenly, the camera shoots the sea with the playful waves hitting the large rocks on the shore. The playful nature of the waves represents the mood of the song that is to follow. The song begins. They feel the song in their hearts. They remember all the things that had happened to them together in the past. During the entire song, they are walking on the street. The song abruptly ends, when they reach Dev Anand’s home.
Sachin Da used to experiment a lot, not only during composition of his songs but during background music as well, at times putting his reputation at stake. Sometimes, he faced opposition but stood firm, the skeptical falling in line when the experiment succeeded.The picturised version of the song is less than two minutes long. but it gave an excellent impact in the film.This picturisation happened, and what an eye candy this picturisation was Dev Anand and Waheeda Rehman,
The song Roop Tera Mastana burnt up Indian film screens on September 27, 1969, redefining the depiction of sensuality in a Hindi film song. The song was sung by Kishore Kumar and picturised on back ground on Sharmila Tagore and not an established hero Rajesh Khanna The song broke new ground by being shot in one take. The camera placed on a trolley circles the couple, as they go round the fireplace, The shot lends a breathless feel to the sequence, mirroring the emotions of the couple as they struggle to come to terms with their longing. The situation was that the hero and the heroinecaught in a rainstorm and have to take shelter in a cabin. Hero keeps his wet, but unbuttoned, shirt on, while heroine changes into a towel — a really long, bright orange towel — that is wrapped around her. The scene makes the couple’s sexual desire apparent, and it is after this song that heroine finds out she is pregnant — a revelation that sets the course for the tragic turn her life takes. There are countless Hindi songs where sex is implied through shots of birds, bees, flowers, fire, waves or lightning but this song was different. The eroticism in the song lies in the possibility of sex rather than the sexual act itself. The beauty of this song is its composition,musical rise and fall in each of the stanzas operates as a musical metaphor of sexual tension”. The way Kishore Kumar sings the song mirrors this as well. Soft, caressing notes, almost a whisper, lead to a full-throated climax.
This song was written by Majrooh Sultanpuri and composed by S D Burman, was picturised on Sunil Dutt and Nutan for the film Sujata 1959. It is a “phone” song, where Sunil Dutt rings up Nutan and sings this song on phone. Well, there were very few phones in 1959 ( exactly sixty years ago) and singing a song on phone was not good for one’s telephone bills those days unless one was doing it for very important reasons. Bimal Roy, the producer-director of the film wanted this song to be sung by Mohammad Rafi but Burman Da was not in favour, then the name of Manna Dey was suggested but Burman Da was looking for someone else. SD Burman was always very particular about the voice of his singer to be matched with his composition. For this song, he asked Rafi, Manna Dey to sing back the tune to him over the phone. He was not satisfied with the texture he wanted for this song. It is said that it was Jaidev who was his assistant in that film suggested the name of Talat Mahmood for this song. Burman Da agreed and asked Talat to sing the tune over the Telephone. On listening to the tune on the phone Burman da immediately decided that this song will be sung by Talat only. And indeed, the soft silken voice of Talat sounds so wonderful in this song that made the song immortal The beauty of this song is not only: its music, its words but also its picturization, Talat’s incomparable singing, Nutan’s acting—and, though often overlooked, also Sunil Dutt’s acting. Watch in the first verse, for instance, the earnestness in his face as he sings: as if he’s trying to be absolutely word-perfect, not one note out of place, focusing on his song and yet also addressing that girl he loves, who’s listening at the other end of the line. Then, as the song progresses, he begins to relax—not just physically stretching out, but also smiling more easily, letting himself feel more comfortable, more confident that she’s liking his song…
Majrooh Sultanpuri, a poet who didn't aspire to be a lyricist, became the most sought after versifier of Bollywood. You will be surprised to know that he was a practising Hakim in Sultanpur UP but also interest in writing poetry. He started attending mushairas, and at one such mushaira in 1941, Jigar Moradabadi, the greatest traditional Shayar of Ghazals of the 20th century introduced him to the urban audiences. In 1945, Majrooh accompanied Jigar Saab for a mushaira in Bombay, where producer-director A R Kardar approached him to write songs for his films. Majrooh was reluctant but Jigar Saab insisted he accepts the offer. Majrooh wrote a few songs for the film Shahjehan (1946). And those songs composed by Naushad were sung by the all-time classic actor-singer K L Saigal.
Majrooh worked with all the ace producer-directors, Mehboob Khan, Bimal Roy, Guru Dutt, Dev Anand, Vijay Anand, Nasir Hussain, and leading composers as well, Naushad, O P Nayyar, Khayyam, S D Burman, R D Burman, Roshan and Madan Mohan. His associations with SD Burman and RD Burman stand out, particularly his work with the latter in the frothy Nasir Hussain musicals like Teesri Manzil (1966), Yaadon Ki Baraat (1973) and Hum Kissi Se Kum Nahin (1977). With SD Burman, his work in films like Paying Guest (1957), Nau Do Gyarah(1957), Kala Pani (1958), Solva Saal (1958), Sujata (1959), Bambai ka Babu (1960), Jewel Thief (1967) and Abhiman is unforgettable! The list of hit songs he has written is huge as all these films had some extremely finely composed songs set to his writing. Few could match Majrooh Saab and SD Burman in frothy light chhed-chhad playful romantic songs like Chhod Do Anchal, Aankhon Mein Kya Ji, Achha Ji Main Hari Chalo Maan Jaao Na and Deewana Mastana Hua Dil. Majrooh Sultanpuri and Dada Burman were both born October 1, 13 years apart. Dada was born in 1906 and Majrooh in 1919. Destined to come together and create magic for music lovers in Hindi cinema, they partnered in 20 films from 1957 to 1976, leaving behind unforgettable gems that continue to shine brighter as the years pass by. Majrooh did 74 films with RD Burman and the duo gave great hits like Kitna pyara vada, Chadti jawani meri chaal mastani (Lata-Rafi) in Caarvan, Piya tu ab to aaja, Monica, O my darling (Asha-RD Burman); in Buddha Mil Gaya, Raat kali ek khawab mein aayi; in Yadon Ki Baraat (1974), Chura liya hai tumne (Asha-Rafi), and Lekar hum deewana dil, Aap ke kamre mein koi rehta hai (Asha-Kishore).
Sahir(born on March 8th, 1921) made his debut as a lyricist with the film "Azadi Ki Raah Par" in 1948. The film had four songs written by him. His first song was "badal rahii hai zindagii". However, it was the year 1951 that would bring him fame and recognition. Two films, released in 1951, had songs that sky-rocketed in popularity and are hummed even today. First was "Thandi Hawaayen Lehraa Ke Aayi" from Naujawan. The second was a landmark film, marking the directorial debut of Guru Dutt - Baazi. Both films, coincidentally, had music by S. D. Burman. This was followed by the chartbuster Yeh raat yeh chandni phir kahan for Jaal. Sahir took film lyrics to the heights of genuine poetry. The songs of Dharamputra rewrote history as the genius of B.R. Chopra and the enthusiasm of Sahir coalesced to yield timeless numbers like Main jab bhee akeli hoti hoon, Bhool sakta hai bhala kaun yeh pyari aankhein, Mere dilbar mujhse khaffa na ho. The popularity of songs of Naujawan, Baazi, Jaal and Dharamputra fine-tuned Sahir’s working relationship with Dev Anand, S.D. Burman, Guru Dutt and B.R. Chopra to form formidable combinations that dominated the film scene for several decades. Sahir’s mastery over the Urdu language, immaculate diction, intensity of feelings and emotions and enchanting style of expression made him a lyricist of a different kind — a class apart. In Guru Dutt’s Pyasa, his songs Yeh duniya agar mil bhee jaye to kya hai, Jinhen naaz hai Hind par woh kahan hain, Jane woh kaise log thhey jinke pyar ko pyar mila won him acclaim.
But so long as Sahir and Burman were together, theirs was a matchless combination. For both of them we call out in their joint contribution from film ‘Saza’ : ‘Tum najaanekisjahanmeinkhogae’.While 1957 saw the end of Sahir’s partnership with SD, it saw the beginning of his partnership with OP Nayyar in Naya Daur and Tumsa Nahi Dekha.
Sahir did work with other composers including Ravi, Roshan, Khayyam and Datta Naik. Datta Naik also credited as N. Datta, a Goan, admired Sahir's poetry and their collaboration produced the score for Milaap (1955), Chandrakanta (1956), Saadhna (1958), Dhool Ka Phool (1959). In 1958, Sahir wrote the lyrics for Ramesh Saigal's film Phir Subah Hogi, its music was given by Khayyam. The song Woh Subah Kabhi Toh Aayegiwith its minimal background music remains popular. Khayyam collaborated with Sahir in many films including Kabhie Kabhie and Trishul. From about 1950 until his death( 25 October 1980), Sahir collaborated with Baldev Raj Chopra (1914 - 2008), a film producer and director. Sahir's last work for Chopra was for Insaaf Ka Tarazu. Yash Chopra, an independent director and producer, also engaged Sahir for his film Daag.
In Yash Chopra’s Daag, he came down heavily on the feudalistic and chauvinistic attitudes of society in the song Jab bhee jee chahe nayee duniya basa lete hain log/ Ek chehre pe kayee chehrey laga lete hain log. In Zara Hind ke rehbron ko bulao yeh koochey ye galiyaan yeh manzar dikhao, he highlighted the condition of the downtrodden. In Rehne ko ghar nahin hai sara jahan hamara, he expressioned his disillusionment with Nehru’s socialism. To those who fanned the fires of hatred and communalism during Partition, he counselled sanity, saying Malik ne to insaan ko insaan banaya/ Hum ne use Hindu ya musalmaan banaya. Even his light-hearted numbers like Insaan ka nahin kahin naam-o-nishan.. Yeh hai Bombay meri jaan, were satirical.
Be it a patriotic number like Yeh desh hai veer jawano ka... or a bhajan like Alla tero naam Eshwar tero naamor a captivating qawwali like Na to karvaan ki talash hai na to hamsafar ki talash hai or a lullaby like Tere bachpan ko jawani ki dua deti hoon aur dua de ke parishaan si ho jati hoon — his songs were always suffused with a rare passion.
For Kabhi Kabhie, Sahir wrote Kal aur aayengey naghmon ki khilti kaliyaan chunnewale/ Mujh se behtar kehnewale tum se behtar sunnewale.. Main pal do pal ka shayar hoon.. he did not foresee that his lyrics would win for him a place in the immortals of Indian cinema.
Sahir won a Filmfare Award for Best Lyricist for Taj Mahal (1963). He won a second Filmfare Award for Best Lyricist for his work on Kabhie Kabhie (1976). He was awarded the Padma Shri in 1971. On 8 March 2013, the ninety-second anniversary of Sahir's birth, a commemorative stamp was issued in his honour.
After the Berlin Film Festival in 1962, Dev Anand and his wife travelled to London and later, at the invitation of the Nobel laureate, Pearl S Buck and the Polish-American TV film director, Tad Danielewski of Stratton Productions, to New York. It was while eating a dish called ‘Scorpion’ at a restaurant in ‘The Village’ (as Greenwich Village is commonly referred to), that Dev Anand presented Pearl S Buck with a copy of R K Narayan’s The Guide. He told them that he intends to make a film on this book. Pearl and Tad were impressed by the possibilities of a cinematic adaptation of the novel, they had doubts about whether Narayan would be willing to part with the film rights of his novel. R K Narayan was an Indian writer known for his works set in the fictional South Indian town of Malgudi. He was a leading author of early Indian literature in English along with Mulk Raj Anand and Raja Rao. Narayan’s The Financial Expert was hailed as one of the most original works of 1951 and Sahitya Akademi Award winner The Guide was adapted for film. His first book "Swami and Friends" was published in 1935. Narayan's next novel The Bachelor of Arts (1937), was inspired in part by his experiences at college, and dealt with the theme of a rebellious adolescent transitioning to a rather well-adjusted adult; He wrote nearly three dozen novels and several short-story collections, The Guide was his thirteenth book and eighth novel. It was published in 1958. Dev Anand in his Biography says “I read it at one go…I thought it had a good story, and the character of Raju, the guide, was extraordinary,”He first wrote a letter to R K Narayan, As per Narayan he got a letter from Anand, modestly describing himself as “a producer and actor from Bombay” and wondering, “I don’t know if my name is familiar to you.” In this letter, he wrote about his interest in making a great film on The Guide.
After his approval, Dev immediately sought an appointment with R. K. Narayan and signed a contract with him. There was also a broad consensus that the film is made in both English and Hindi. While Tad was de facto director of the English version, for the Hindi, it was a toss-up between Chetan Anand and Raj Khosla. Neither worked out. Finally, Vijay ‘Goldie’ Anand was chosen to direct the Hindi version.
Guide(Eng)-Pic-1.
Guide(Eng)-Pic-2
Dev Anand wanted to start English version and Hindi version simultaneously. The idea was to film the scenes common to both versions simultaneously, a Hindi shot to be immediately followed by the same shot in English, to save time and money but it could not be materialised because Vijay Anand was not happy with the script, he wanted to change the script and write a new script. The other reason for the delay of the Hindi version was the music composer S.D. Burman had suffered a heart attack and was not available for the music. Burman Dada advised Dev to sign on a new composer for Guide, but Dev put his foot down and insisted that Burman should first get well and then take over. As we all know that in the novel the city taken by the author was an imaginary town Malgudi but in the film, Udaipur of Rajasthan was prefered by the director Tad.But it wasn’t only the locations, the scale and the general tenor that shifted from page to screen. It was the characters themselves. This annoyed R K Narayan but he was later convinced that Tad could not create the town similar to Malgudi. The next change was the name of the hero as Raju Guide whereas in the novel it was Railway Raju. Raju’s childhood and youth don’t appear in the film. Part of the reason lay in popular cinema’s need to be larger than life. All the small town specificity of Malgudi was erased.The film also has many sequences specifically inserted to impress the foreign audience as some kind of Bharat-Darshan.
Similarly, the Rosie who made it to the Hindi film screen was nowhere near as radical as the original Rosie – the Rosie created by RK Narayan, in his novel The Guide. Narayan’s character had chutzpah, but he had his awkward moments. But the film was a star vehicle for Dev Anand, and its hero had to be more Dev Anand than Raju. So Anand’s Raju Guide has no self-doubt. He is never worried about the hairiness of his chest. He never wonders if he could be bold enough to woo Rosie. It is in relation to Rosie that he is most transformed – because Rosie herself has changed. Narayan’s Rosie is no sophisticated, but her ambition is never in doubt. Nor is the carnality of Raju’s interest in her, or her reciprocation of it. The novel has none of the high-mindedness that Hindi cinema forced upon its heroes and heroines so Raju can tell us the truth: he is attracted to Rosie; his support of her dance begins because it is the clue to her affections.
The novel’s Rosie is full of plans; Raju need only support them. But Vijay Anand’s film, keenly aware of his conservative audience, turns his Rosie into a bundle of nerves who tries three times to commit suicide, only to be saved each time by Raju, and berated: “Tumhari haalat aaj yeh isliye hai ki tumne apni haalat se baghaavat karna nahi seekha.” The other sociological element that makes both book and film fascinating is that Rosie is a devadasi by birth, and her reclaiming of dance in a new secular public form formed a fictional counterpart to the actual national reclaiming of Bharatnatyam. Here, too, the film has Marco insult dance, while Raju delivers a lecture on how artists are no longer bhaands. By June 1963, the shooting of the English version of The Guide was completed and Pearl S. Buck who viewed the rushes found it up to the mark. When Narayan saw the English version in January 1964, he wrote to Dev, labelling the film profound, artistic, and exquisite. In 1964, Dev began promoting The Guide in the US and the premiere elicited encouraging responses from a cross-section of viewers. The English version premiered at the Lincoln Art theatre in New York in February 1965. The mainstream press in America including The New York Times and the Time magazine didn’t take a liking to The Guide. The English Guide was a flop but Dev Anand was not bothered, he took the failure in his stride. “The film did not fare well, but it gave me a semblance of recognition in a new arena… The new experience was rewarding enough,” he writes in Romancing with Life. Dev Anand had plans to release the Hindi version of The Guide by end 1965. But suddenly, he was faced with a barrage of protests from some quarters who strongly recommended that the film would be banned on grounds that it promoted infidelity, that too of a woman. Finally, Guide released on 8 April 1966. It had a shaky start, for here was a film which didn’t present Dev Anand as the quintessential lover boy. Initially, the response was lukewarm but the film picked up after a few days when all the critics gave good reviews and also the music of the film became hit.
Narayan didn’t care for either of the movies, especially the depiction of Rosie as an all-around dancer rather than a Bharatanatyam exponent. Probably referring to the Hindi version, Narayan writes, it “converted my heroine’s performances into an extravaganza with delicious fruity colours and costumes”.
Dev Anand in an interview said "Burman Da was not only a composer to me but also a fatherly figure to Navketan. I depended on him for all aspects of the film, not just the music. I would consult him on the script and ask him whether it is okay to make a film on this theme. When Dev was starting Hare Rama Hare Krishna, Dada was not convinced with the theme on Hippies. It was S D Burman who proposed R D Burman's name for the music of the film. Dev Anand' liking for Dada started with the film Shikari, he liked its music. This was Dada's first Hindi film, he was the joint composer along with Anil Chand Sengupta. It was his film Vidya in which he gave the music for the first time, after that he decided it will be Dada who would give music for his Banner.
The first film of the banner was Afsar and Dada gave the music for that film. The music of that film was not very popular but Dev Anand retained him for his next film Baazi. The songs of the film became popular, The song"Tadbeer Se Bigdi Hui Taqdeer Bana Le" sung by Geeta Dutt is an immortal song. Dev Anand had the liking for Bengali Music. In Dada's music, he found a blend of the Rabindra Sangeet and very modern rhythm. His music was very innovative and modern. It was full of hope. With the success of their second film Baazi (1951), he made it to the top and a long association with Navketan and Dev Anand was on its way. The next film he gave music was Jaal in 1951, a ghazal that was occidentalise into a seductive song. The "Jaal" song "Yeh raat yeh chandni" by Hemant Kumar is an all-time great classic. After Taxi driver in 1954 he gave music in all the Navketan films except Hum Dono, it was given by Jaidev who was his assistant and was recommended by himself. This banner is known for great music and modern films. Taxi Driver released in 1954, it gave Dada the first Filmfare Award. Talat Mehmood version of the song- "Jayen To Jayen Kahan" became the most popular song of the year. The Dev Anand-S D Burman partnership, under Navketan banner, continued to churn out musical hits like Funtoosh(1956), Kala Pani(1958),Kala Bazar(1960),Bombai Ka Baboo (1960), Tere Ghar Ke Samne (1963), Teen Devian (1965), Guide (1965) and Jewel Thief (1967). Tere Mere Sapne and Prem Pujari (1970)
Teen Deviyan was released in 1965. That was the era when ideal Hindi film heroes were largely variants of epic heroes Ram and Yudhishtir but here Dev Anand romancing with three heroines. The movie panders to the male ego as the three attractive women throwing themselves at Dev while he gently keeps stepping aside. The women want him but they were also willing to move on if it doesn't work. Teen Devian starts off to a commentary by Ameen Sayani, as the camera moves through Calcutta's streets, the pretty Nanda (Nanda) finds herself, as she sees it, being followed. She even sees this man following her to the house where she visits.At this point, Nanda loses her temper and yells at Dev, threatening to call the police. The house owner clears the misunderstanding. After some time they fell in love.
Dev Anand plays Dev Dutt who is a salesman in a music store in Calcutta. He also writes poems. One day he comes across a celebrated actress Kalpana (Kalpana) to whom he proves in their first confrontation that he is not overwhelmed by glamorous women and does not allow them to dominate him. In the course of a series of meetings, Kalpana also starts liking Dev.
The third Devi(heroine) comes to his life in the form of Radha Rani (Simmi), a socialite who is intelligent and an ardent music lover. Torn between his three beloveds, Dev has a tormented life which is a mixture of uncertainties, pathos and restlessness. He ultimately opts for the simple middle-class Nanda in whom he finds his real love and life partner. Dev Anand as Dev Dutt is confident, smart and looks divine in his urban costumes many of which became trendsetters of that period.
The highlight of the film is its music. The lyrics by Majrooh Sultanpuri tuned to immortality by S.D. Burman. All the six songs, “Aise To Na Dekho”, “Likha Hai Teri”, “Are Yaar Meri”, “Khwab Ho Ya”, “Kaye Be Khayal Hoke” and “Kitni Sardi” rendered by Mohammad Rafi, Kishore Kumar, Lata Mangeshkar and Asha Bhonsle are super hits, well conceived and picturised. All the songs are listened and watched even now and create the same euphoria as at the time of its release.
Teen Deviyan despite of great music and Dev Anand is at his peak was an average earner in Box Office. The reason being, it was given A certificate and was in Black & White, that time colour films were attraction The film was released on 1st Jan 1965
