Showing posts with label vijay anand. Show all posts
Showing posts with label vijay anand. Show all posts

Tuesday, 7 January 2020

60 Years of Kala Bazar

Today in the period of Multiplexes and Online ticket booking of films, this generation would not believe that there was a time when there used to be black on cinema tickets. On this subject, a film could be made?
For many of you, the idea of a Kala Bazaar might be alien. but this happened 60 years ago by Dev Anand and Navketan Films.
In Kala Bazar, Dev Anand plays Raghuvir, a common man who becomes a successful black marketer by selling cinema tickets to earn money for his family. Raghuvir's dark trade flourishes and he is able to move into a more comfortable home with his brother, sister (Nanda) and mother (Leela Chitnis).
 Raghuvir meets his match in Alka (Waheeda Rehman), the beautiful girl who stuns him with her idealismThough aware that Alka is in love with someone else, he prodigiously pursues her. The script has plenty of twists, Just when we think that Alka's rejection of Raghuvir will spell the end of their romance, Vijay Anand's character resurfaces and fixes everything. It's awesome how the film shows that a girl is very much capable of falling in love twice. Alka falls in love with Raghuvir.
“Kala Bazar” is indeed a timeless classic. With a director like Vijay Anand to make use of their genius, every actor played his part in a composed manner. Some close to reality sequences in this movie only underlined the importance of his direction. No wonder, Dev Anand regarded his brother “a great asset. The rare part of the film was the presence of the three brothers( Dev, Chetan, and Vijay Anand) playing important characters.

But the most entertaining part is the first scene where there is a real-life premiere show of Mother India, Mehboob Khan's 1957 blockbuster. The camera captures the excitement breeding heavy amongst the audience who are waiting for a rare glimpse of their favorite movie stars. We, sitting on the other side of the screen, also get to catch the likes of Dilip Kumar, Nargis, Naseem Banu, Kishore Kumar, Nadira, Kumkum, Mohd Rafi, Guru Dutt, Geeta Dutt, Raj Kumar, Rajendra Kumar, Lata Mangeshkar, Sohrab Modi, and Nimmi. It was the genius of Vijay Anand who thought of creating a unique scene that was followed by many filmmakers.

Vijay Anand's direction and attention to small details contribute to make the movie memorable. There is so much to admire in Kala Bazar, starting with the incredible music by S.D Burman with lyrics by Shailendra. Each innovatively picturized song is a stand-alone classic – Khoya Khoya Chand, Rim Jhim Ke Tarane Leke Aayi Barsaat, Apni Toh Har Aah Ek Toofan Hai and of course Na Mai Dhan Chahoon. 
Song of Kala Bazar 1960

Song of Kala Bazar 1960

Song of Kala Bazar 1960

Song of Kala Bazar 1960

Song of Kala Bazar 1960

Song of Kala Bazar 1960

Song of Kala Bazar 1960

Thursday, 4 April 2019

Story Behind the song Hotho Mein Aisi Baat

"Hotho Mein Aisi Baat, Mein Dabaa Ke Chali Ayee" is one of the best dance sequences in Indian Cinema. This is from Dev Anand's classic Jewel Thief(1967). That was the time when actresses were actually trained (long term!) in dance. Vyjantimala, of course, was the best of the best. But others like Waheeda Rehman, Hema Malini and others have also given some great dance sequences.
Vijay Anand was the director of this film, we all know that he was the master of picturising a song. This movie started a trend where directors began putting a song before the climax. Before that, he tried a song before the climax in Nau Do Gyaraha(1957) but this song remains one of the best Dance Songs of Bollywood.

Vijay Anand worked with Vyjantimala for the first time. She was a Super Star at that time. There were some date problems and many distractions but Vyjayantimala being the professional that she was, still came up with a polished performance. Goldie's only grievance was that she could have done better with Hoton Pe Aisi Baat. He wanted her to rehearse the number before we went for a final take. But she told me airily that she didn't need any rehearsals. he insisted she did, but she still didn't report for rehearsals and came straight to the set. he called for "pack-up" and told her firmly that she had to stay back in the studio and practise with the assistants. She did practise, for 15 minutes. Then she got into her car and drove off saying that Saroj Khan would be coming to her place later and they'd go over the steps together. The rehearsal never happened but Vyjayantimala being a good actress and an excellent dancer didn't find it too difficult to pick up the steps and the shots were okayed quickly. So if you see a single camera capture of Vyjantimala’s magic, it was ACTUALLY done in a single shot

The song is from those days where technology was so much poorer compared to today, the editing of that song was marvellous. Which means that they didn’t have sharp edits that could get stitched together, and look like one single camera sequence, Think of the choreography with the support dance troupe, and other stars like Dev Anand, floating in between the long sequence otherwise focused on Vyjantimala.
Honthon Mein Aisi Baat” (brilliantly choreographed by Master Sohanlal), as the camera follows Vyjayanthimala, he uses the circular tracks, dynamic angles and cuts to build up the tension to a crescendo. Here is an example of how Western technique could merge with Indian art. Even as you enjoy the aesthetics of dance.
As we all know that the music was given by S D Burman and he was assisted by his son R D Burman who by that time had become an independent Music Director and was giving the music of Teesri Manzil side by side. The song was sung by Lata Mangeshkar but you will be surprised to know that Bhupinder also participated in that song. Bhupinder sings the opening
refrain Hooooo for Dev and in the middle of the song he says " O Shalu". That was his total contribution to the song.
Song of Jewel Thief 1967


Monday, 25 March 2019

Johny Mera Naam, the film that influenced future Hindi films for decades.

The 1950s and 1960s were the eras of Family dramas but with the release of this film Action and Thriller genre began. This Golden Jubilee thriller was the first Indian film to cross a commercial milestone—it did Rs. 50 lakh business per territory when tickets were priced at a maximum Rs 2.50?
Johny Mera Naam remains the career-biggest hit of brothers Dev Anand and writer-director-editor Vijay Anand, together and separately? It also is Vijay Anand’s last hit as a filmmaker.

The year 1970 was the beginning of a decade that was to give Indian cinema an amazing thrust. The films came in a wide range to suit the interests of all sections. Romance remained paramount but crime thrillers and offbeat subjects dominated the world of Hindi cinema. It was hardly surprising that Dev Anand chose to take the lead with “Johny Mera Naam”, a huge hit with catchy scores from Kalyanji-Anandji and one of the raunchiest numbers ever with bold lyrics and a bolder dance by Padma Khanna.
The movie, a thriller all the way, had the stamp of quality from director Vijay ‘Goldie’ Anand. He and Dev Anand had begun their association with “Nau Do Gyarah” in 1957 and went a long way to give Indian cinema classics like “Guide”, “Kala Bazaar” and “Tere Ghar Ke Samne”.

The film was full of entertainment with lots of twist and turns. The music of the film was very popular. Kalyanji-Anandji provided the music. The cabaret, Husn ke lakhon rang, Nafrat karne walon ke and O mere raja are the other popular tunes from the film.Song picturisation was Goldie’s forte and Pal bhar ke liye koi hame pyar kar le, where Dev serenades the dream girl through windows of all shapes and sizes, remains a masterpiece even today. 

When the film released Dev Anand was nearing 50, formed a dazzling pair with fresh as a dewdrop Hema Malini. This was the first of the nine movies including where Dev Anand and Hema Malini worked together followed by Tere Mere Sapne, Shareef Badmash, Joshila, Chhupa Rustam till Censor in 2001. 

Sunday, 17 February 2019

Navketan's Guide- From Pages to Celluloid

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.

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”.
Song of Guide 1965

Song of Guide 1965

Song of Guide 1965

Song of Guide 1965

Song of Guide 1965

Song of Guide 1965

Song of Guide 1965

Song of Guide 1965

Scene from Guide 1965

Tuesday, 22 January 2019

Vijay Anand - Master of Picturising Songs

Like Dev Anand, Vijay Anand also believed that songs are the soul of Indian films.  He knew songs are the glue that binds audiences to Hindi films. Close your eyes and you can see Shammi Kapoor with a scarf around his neck, singing “Deewana Mujhsa Nahin” on a colourful hilltop, or instantly recall the smiling faces of Dev Anand and Nutan as they sing “Dil Ka Bhanwar Kare Pukaar” on the inner stairway of the Qutab Minar.
 Few could rival his abilities when it came to writing natural and easy-flowing dialogue or picturising songs. Most directors depended on choreographers to picturise the songs and dances. He believed that if the song is picturised well it will bring back the audience back to the theatre. In this blog, we will look into some of his fantastically picturised songs.
 “Hum hain raahi pyaar ke hum se kuchh na boliye.”  from Nau Do Gyarha was the first song he picturised. He didn't take any choreographer in that film. At that time he used to think a choreographer ruins songs. They interfere with the characterisation. He felt they impose their own personalities through their dance steps and don’t allow the artists to express themselves in the way they should.
He used to say that if the director understands his subject, story and characters well, he will not compromise in any aspect. If he is working on a film like Devdas then he has to have songs for Devdas, not for Shammi Kapoor.
As a director, he was very particular about its music. When he was working on Jewel Thief, he discussed with the composer. he told SD Burman: “Dada, this song is for Vyjayanthimala. I am going to use her talents as a dancer.”
In Teesri Manzil P L Raj was the choreographer. He used to sit with the choreographer when they were composing the songs. That time all their assistants, including Saroj Khan, who was Sohanlal’s assistant. She would always ask him: “Goldie Saab, what do you want?”
Sometimes he would tell them they were going off track. This is not the character. I did not want any artificiality. My characters should not become artificial when they sing. The characters are not supposed to be dancers in the film. They are merely expressing emotion through a song. 
He told in an interview that during the picturisation of Teesri Manzil's songs he told Shammi to Go wild!” He would because he had such a tremendous sense of rhythm. He just got into the music and every fibre of his body would dance. The only thing you had to make sure was that he did not overdo it. OK, the character is fooling about—this much is allowed, but not beyond that. All the expressions are in the song words: “Dekhiye… naazneen…” It’s all there, so you don’t have to do much more.
In the Kala Bazar song “Khoya Khoya Chand”, Dev sings as he runs down the hill. He is madly in love and believes his dream is coming true. So let him move his hands— white hands against dark clothes—[as] he makes his way down the hill. It suited the scene, so once in a while, you let him go.
In the same movie, there was a scene in a train compartment. Dev Anand is sitting on the lower berth and Waheeda Rehman is lying on the upper berth. The girl’s parents are also in the compartment. Dev saab sings the song: “Apni to har aah ek toofaan hai/ Kya karen woh jaan kar anjaan hai/ Uparwala jaan kar anjaan hai.” Waheeda Rehman is listening to him but she cannot move much because she’s lying on the upper berth. There is a double meaning behind the whole situation, which is beyond choreography.
Song of Kala Bazar 1960

Song of Kala Bazar 1960

Song of Tere Ghar Ke Samne 1963

Song of Guide 1965

Song of Johny Mera Naam 1970

Song of Black Mail 1973

Thursday, 1 November 2018

The Song "Gata Rahe Mera Dil" was the Last Addition in Guide

You would be surprised to know that this super hit song was originally not in the film. Vijay Anand in an interview said that the song Gata Rahe Mera Dil was inserted later, like a patchwork. We shot that song after the film was completed and then it was added. He said he along with Dev Anand thought that there was no song of Kishore Kumar, in fact, Kishore had not sung for Dev since Paying Guest in 1957.
It happened just like that. Firstly, Kishore Kumar was preoccupied with Madhubala’s health. He was not being able to devote time to rehearsals and recordings. And then with Rafi Sahab, their association was working perfectly. But Dev Bhai was missing Kishore for a long time and so he went to meet him. And then caught hold of him and sort of dragged him to Burman Dada’s home.
 The moment he saw Kishore he said in Bengali, ‘why didn’t you come all these days’ and hugged him. They loved each other a lot. Burman Dada then said let us start the rehearsal, we are going to record a song.
That time S D Burman was composing a song for Teen Deviyan and the song was Khwab Ho Tum Ya Koi Haqeeqat. This song was the first song Kishore recorded for Dev Bhai after a long hiatus under Burman Dada’s music direction. Kishore sang it so wonderfully, he won everyone’s heart. This is exactly what all of us, including Dev Bhai, was missing. Burman Dada kissed his (Kishore’s) head. He was delighted.
Guide was completed and about to release earlier than Teen Deviyan because there was some work still left with the latter. Besides, Teen Deviyan was being made in black and white and on a much smaller canvas. Guide had been mounted on a large scale and it was in colour and thus it was a much-awaited film. So why not include a song by Kishore in Guide.
So immediately Shailendra was called to write a romantic song thus this song was recorded in a record time. The song was a very big hit. It was the only song of Kishore Kumar in the film.
Song of Guide 1965

Thursday, 4 October 2018

The Most Intimate Love Making Scene of Dev Anand

Could you believe that how an Intimate Lovemaking Scene has a touch of spirituality in it? It was made possible by the great Vijay Anand in  1972 film Tere Mere Sapne. The scene was picturised on Dev Anand and Mumtaz who played Husband & Wife in the film.
Vijay Anand told in an interview, " It was one of the most difficult scenes I have ever shot. It was a love scene between my elder brother, Dev Anand, and Mumtaz. I was nervous about explaining the scene to him because I was so much younger. I just couldn't bring myself to tell him my requirements. So I rang up Mumtaz and explained it to her instead. How the wife's health is in danger, how the couple has fought and how the fight culminates in intimate love-making that almost has a touch of spirituality to it.The highlight of this sequence is the song Mere antar ik mandir hai tera hai tera piya,  sung by Lata Mangeshkar played in the background. Though the song is romantic but it appears as a devotional song.
Those who've seen this incredible example of Vijay's creativity will agree that the scene remains a highlight due to Lata's unbelievably sensitive rendition!
The film was based on the “The Citadel” a novel by A.J. Cronin, first published in 1937. Staying clear of a didactic approach, Anand had managed to spin together an engrossing tale of a doctor – Dev as Dr Anand! – and his experience in rural India where he finds medical amenities elementary at best. Here he meets a school teacher played by Mumtaz.who helps Anand in his work.
The two get married too but not all stays fine for ever. On false charges, the doctor is shunted out, and the two have to relocate to Bombay which gives the director an opportunity to throw in a love triangle along the way – utterly forgettable Hema Malini as a big star here.
 Dev Anand and Mumtaz seem to share a rare chemistry where they say a lot with their silence, and only a little less with their words.
Song of Tere Mere Sapne 1971


Tuesday, 7 August 2018

"Tere Mere Sapne Ab Ek Rang Hain" An Immortal Art in Celluloid.

Vijay Anand was an Ace Director. His directorial excellence was as much about his deft camera work as it was about his nuanced characters. He was a master of picturising songs. His songs outlived his times. This great song from Guide is an immortal art in celluloid. Both he and his elder brother Dev had a  belief that the songs have repetitive value. Besides the composition of the song, they were very particular about the picturization of the song. Vijay Anand used to say “My camera listens to the song and moves with it,” Long shots, lush backdrops and sharp intercutting brought out the poetry in the prose.
Guide (1965) was Navketan’s first film in colour. Based on RK Narayan’s novel. It became a classic because it excelled in acting (Dev Anand-Waheeda Rehman), music (SD Burman), photography (Fali Mistry), editing (Vijay Anand and Babu Shiekh)... 
There was a situation in the film where the heroine was dejected and to bring hope the hero sings a song. For this situation, three legends, Dada Burman created a tune for which  Shailendra wrote the beautiful lines and Mohammad Rafi gave the voice.  Incidentally, the saxophone that plays in this song was played by Manohari Singh, a music assistant to S D Burman (and later R D Burman).

The song Tere Mere Sapne was shot in the early light(Sun Rise) in Udaipur. This sequence lasts more than four minutes, but it is made up of only three shots, which increase progressively in length – in other words, there are only two cuts in the whole scene. And this isn’t an arbitrary stylistic decision, it is central to what is happening in the film at this point. 
The two cuts in this scene (the first around the 39-second mark, the second around 1.44 minutes) both occur after a movement of the song has been completed, and both have Rosie drawing away from Raju after initially reaching for him. In the first scene, she strokes his shoulder; in the second she hugs him briefly, but then bunches up her fist and moves away. She is still conflicted at the end of both these movements, and in each case the cut serves as punctuation, indicating that the process of reassuring her must begin anew. And this is done at a dual level, by the lyrics of the song as well as by the sympathetic, probing movement of the camera.

 In his book Cinema Modern, Sidharth Bhatia quotes the cinematographer Fali Mistry’s son as saying of this sequence, “It was shot over two evenings and a morning, at dusk and dawn, which means they must have had a very small window of about 10 minutes each time, so they had to ensure nothing went wrong in the acting, camera placement, lighting etc … It required great coordination.” 
Song of Guide 1965

Thursday, 31 May 2018

The Shelved Films Of Dev Anand

A film has a long, arduous journey before it finally hits the screens.Not all films complete their journey.Many films are announced in the hope that once a current project will be successful, the next will take off with the same team only to come to a crashing halt.because of unsuccessful of their previous project.
Dev Anand was one of the most salable star of his time even then many of his films were shelved or unreleased.There was a movie named "Kaafir"starring Dev Anand and Geeta Bali in the 50s but it was not completed after shooting 6 reels.The film was being directed by Chetan Anand .There was another film Saajan Ki Galiyan(1966) starring Dev Anand and Sadhana which was also not completed,

Very few know that Dev Anand wanted to make a sequel of Hare Rama Hare Krishna.He planned to return to Nepal to film a sequel and was scouting for a younger Zeenat Aman to carry forward Jasbir’s story of a girl swept by the Hippie culture. But the film never took off — on December 3 that year, Dev Anand died in a London hotel.

There was a multi starrer film Ek Do Teen Chaar launched on October 3, 1980 amidst a lot of fanfare at Mehboob studios.Salim-Javed wrote the script for this film

Though the film starring Dev AnandDharmendraShashi Kapoor, Rakhee, Hema Malini, Rishi Kapoor, Tina Munim, Parveen Babi and Amjad Khan, never saw the light of day,The film was being produced and directed by Vijay Anand.

There was a film anounced by Dev Anand in 1991 called Purana Paapi in which Amitabh Bachchan was working for the first time with Dev Anand.Amitabh couldn't work because doctors advised him for rest and the film was shelved.
There was another film Jana Na Dil Se Door It  was an unreleased movie of his brother, Vijay Anand on which he was working before he, Vijay Anand passed away after a massive heart attack.
There was a film Shrimanji (1968)  Dev anand was playing a guest appearance for the first time but this film also couldn't see the daylight. Kahin Aur Chal (1968)  a film directed by Vijay Anand was released but not in all territories 
Mahesh Bhatt started a film "Ab Meri Bari"starring Dev Anand,Rekha Tina Munim and Rishi Kapoor.

Vijay Anand wanted to make a film with Dev,Dilip and Raj Kapoor but it couldn't materialized.The movie got shelved due to ego and dates hassles
Humne jinke khwab sajaaye film Saajan ki Galiyan 1966

Kahin Aur Chal (1968)

                      Zindagi Sehra Bhi Hai Lata Mangeshkar Film Kahin Aur Chal 1968 

Saturday, 26 May 2018

NAVKETAN FILMS-A Studio That Always Looked Forward

Dev Anand's Fans and Hindi-movie buffs have many reasons to be grateful for the production house Navketan, founded in 1949 by the Anand brothers Chetan and Dev Anand.In the 1950s most of the studios were making historical or  involved the village in some form or the other,Navketan was making Urban based movies.True to its name Navketan,which is a Sanskrit word that means Newness,the banner made films with new subjects and introduced new talent and technology.
The Kapoors are often referred to as the first family of Bollywood, but not many realize that the Anand brothers — Chetan, Dev and Vijay — formed a creative combination with an equally rich legacy.The Anands have, however, proved to be far more prolific, produc ing 35 motion pictures under Navketan as compared to the 20 films made by the Kapoor clan.
 It was under the Navketan roof that directors Guru Dutt, Raj Khosla and Vijay Anand, music directors S D Burman and R D Burman, cinematographer Fali Mistry and V Ratra did some of their best work. 
Unlike R K Film Studio or Mehboob Studio, Navketan does not possess a shooting floor. So all of his (Dev Anand’s) films were shot in Mehboob Studio.
 Dev Anand had bought the 19,000 sq ft Pali Hillproperty in the early ‘50s and established Anand Recording Studio in 1986 to mix and dub all the films produced by Navketan Films. When it was running, the studio specialised in voice overs, dubbing and surround mixes in all formats.It is perhaps the most technically advanced studio in the country, with great expertise in all fields.Over 10,000 films such as (2007) and Ghajini (2008) have been mixed here.Shah Rukh, Aamirand SalmanKhan come regularly to dub their films
 In 2009, it was decided that the studio will make way for a 12-storeyed swanky tower. At the time, Dev Anand wished for a penthouse to be built for him and his family in the plot 

The first film of Navketan Banner was AFSAR released in 1950,a romantic comedy film directed by Chetan Anand. It was produced by and starred Dev Anand. It co-starred Suraiya, who also recorded the playback singing for the film. The film was based on Nikolai Gogol's play The Government Inspector. The film was an average in Box office.
Song from Afsar 1950

The second film of Navketan was Baazi released in 1951.The movie stars Dev Anand with Geeta Bali and Kalpana Kartik. It is a crime thriller and had very popular music composed by S.D. Burman.This film was the game changer for Dev Anand and Navketan.It was very successful at the box office.Had it not been hit we would have not seen the great films of Guru Dutt and Navketan Films.

Song from Baazi 1951

It is a 1952 Hindi drama, written and directed by Chetan Anand. It starred Dev AnandNimmi and Kalpana Kartik in lead roles.The music of the film was from a classical musician Ali Akbar Khan.The background score of the film was also done by Ali Akbar Khan along with other Hindustani classical musicians Pandit Ravi Shankar and Pannalal Ghosh.

Song from Aandhiyan 1952

Taxi Driver is a 1954 Hindi movie produced by Navketan Films. The film was directed by Chetan Anand and stars his brother Dev Anand, Dev's wife-to-be Kalpana Kartik and Johnny Walker. The film was written by Chetan himself, along with his wife Uma Anandand his other brother Vijay Anand. The film's music director was S. D. Burman and the lyrics were written by Sahir Ludhianvi.The film was a super hit and it was the film that started outdoor shooting of Bollywood films.
Dev Anand's taxi in the movie was the British made Hillman Minx, a black car with the number 1111. Such became the popularity following the film, that the British made Hillman Minx became a vehicle of choice as a taxi in Bombay until the 1970s

Song from Taxi Driver 1954

House No. 44 is a 1955 Hindi film directed by M. K. Burman and produced by Dev Anand for his banner Navketan Films. The movie stars Dev Anand and Kalpana Kartik in a lead role.[1] The film is also noted for its popular songs with music by Sachin Dev Burman, with lyrics by Sahir Ludhianvi, including "Teri Duniya Mein Jeene Se" and "Chup Hai Dharti Chup Hain Chand Sitaare", sung by Hemant Kumar

Song from House No. 44  1955

Funtoosh is a 1956 Bollywood film directed by Chetan Anand. The film stars Dev Anand, Sheila Ramani and K.N. Singh. It was the ninth highest grossing film of 1956, and was declared a "Hit". The music of the movie was an instant hit and songs such as "Dukhi Mann Mere" were topping Binaca Geet Mala. Other hits were "Woh Dekhen To Unki Inayat", "Humne Kisi Pe Dore Dalne Hai", "Ae Meri Topi Palat Ke Aa" and "Denewala Jab bhi deta Poora Chappad Phad Ke Deta". The Songs cemented the bond of SD Burman, Dev Anand and Kishore Kumar.

Song from Funtoosh 1956

Nau Do Gyarah
It was a 1957 Hindi film produced by Dev Anand. This was his brother, Vijay Anand's directorial debut.[ The film stars Dev AnandKalpana KartikMadan PuriShashikala and Jeevan. The film's music is by S. D. Burman and the lyrics are by Majrooh Sultanpuri

Song from Nau Do Gyarah 1957

Kala Pani was a 1958 Hindi movie, produced by Dev Anand for Navketan Films and directed by Raj Khosla.The film stars Dev Anand, Madhubala, Nalini Jaywant, Bir Sakuja and Agha. The film's music is by Sachin Dev Burman, and the lyrics are by Majrooh Sultanpuri.
Song from Kala Paani 1958

Another Super hit film from Navketan in 1960.Written and directed by Dev's younger brother Vijay Anand, the film starred Dev Anand, Waheeda Rehman, Vijay Anand, Chetan AnandNanda, S.D. Burman composed the music, while the lyrics were penned by Shailendra.
It was noted for having several of Bollywood's stars in a cameo at the film premiere of Mother India (1957), and it was also the only film to star the three Anand brothers together. It became a Superhit at the box office.
Song from Kala Bazar 1960

Hum Dono was a 1961 Hindi film produced by Dev Anand and Navketan films.The film stars Dev Anand in a double role, and also has NandaSadhana The film is also known for its music by Jaidev and became a box office hit

Song from  Hum Dono 1961

It is a 1963 super hit film.The film, produced by Dev Anand and written and directed by his brother Vijay Anand.The film's music is by S. D. Burman, while the lyrics have been penned by Hasrat Jaipuri

Song from   Tere Ghar Ke Samne  1963

It is a 1965 romantic drama film starring Dev Anand and Waheeda Rehman. It was directed by Vijay Anand, who contributed to the screenplay. The film is based on the novel The Guide, by R. K. Narayan.The movie proved memorable for its award-winning performances by the lead actors and memorable music by S. D. BurmanThe film was a box office hit upon release and considered as the Top five Classic of Bollywood.

Song from Guide  1965

Jewel Thief
It is a 1967 Hindi spy thriller  film directed by Vijay Anand. The film stars Dev AnandVyjayantimala and Ashok Kumar in the lead roles.The film became a box office hit.The music for all the songs were composed by S. D. Burman and The lyrics for this film were by Majrooh Sultanpuri

Song from Jewel Thief  1967

This was the first film directed by Dev Anand.It was released in 1970 with a great hype but it did not fare well in Box Office.The movie stars Dev Anand, Waheeda RehmanShatrughan SinhaPrem ChopraMadan Puri and a then-unknown Amrish Puri. It has several popular songs composed  by S. D. Burman.

Song from Prem Pujari 1970

It was a 1971 film produced by Dev Anand, and written and directed by his brother Vijay Anand for Navketan Films. The movie stars Dev, Vijay, Mumtaz and Hema Malini. The film's music is by S. D. Burman 

Song from Tere Mere Sapne 1971

Hare Rama Hare Krishna
It was1971 Indian film once again  directed by Dev Anand starring himself, Mumtaz and Zeenat Aman. The film was a hit[1] and a star-making vehicle for Zeenat Aman, who played a westernized hippie, and won the Filmfare Best Supporting Actress Award. It aimed to have an anti-drug message,hippie Culture and also depicts some problems associated with Westernization such as divorce.

Song from Hare Rama Hare Krishna 1971

It was a 1973 Bollywood action thriller film directed by Raj Khosla. The film stars Dev AnandHema MaliniShatrughan Sinha and Ajit in pivotal roles.The film was an average at the Box Office.

Song from  Shareef Budmaash 1973

It was a 1973 Hindi film. Written, produced and directed by Dev Anand for Navketan films, the film stars Dev Anand, Zeenat AmanRaakheeRehman, Jeevan, A.K. HangalPaintal and Dheeraj Kumar. The film's music was composed by R. D. Burman. 
Song from Heera Panna 1973

It was  a 1978 Hindi film, produced and directed by Dev Anand. This family drama stars Dev Anandand Tina Munim (in her debut film), with Ajit KhanPranAmjad KhanShreeram LagooTom AlterBinduPrem ChopraA. K. HangalSujit KumarMehmoodand Paintal in the supporting cast. For the first time, Dev Anand chose comparatively new music director Rajesh Roshan for this film, who did full justice to his selection as most of the songs became quite popular. 

Song from Des Pardes 1978