50 Years of Navketan's 'Tere Mere Sapne'

 

Recall the song “Hey, Maine Kasam Li” where the hero Dev Anand on a Bicycle and the heroine Mumtaz sitting on the crossbar riding across green fields singing the song with very little action and lots of cuddling. What a picturization.

Tere Mere Sapne is one of my favorite movies. It has substance. Commercially, it did not do very well at the box office but I believe it is one of the most sensitive Bollywood movies by Goldie Vijay Anand. He also acted in this film, he plays a doctor and gave a memorable performance.

 The film is based on the novel “The Citadel” by A.J.Cronin, published in 1937 in UK.  based on his own experiences as a doctor. Dedicated to the medical community, the film starts off with a young, idealistic MBBS doctor Anand Kumar (Dev Anand) moving to a village near a coal mine. He attains his degree in medicine and re-locates to a small village to assist the local doctors there. Upon arrival, he is met by the ailing Dr. Prasad and his wife, and hired on a salary of Rs.250/- per month. He meets with the other doctors namely Dr. Kothari (Vijay Anand), an alcoholic, and Dr. Bhutani, a dentist. Anand finds that he is saddled with all of Kothari's work as well his own due to the reason that Kothari is drunk every night. He nevertheless carries on, aided by the local school-teacher, Nisha Patel(Mumtaz), who he eventually marries. Then one day a proud father, Phoolchand, gives a baksheesh to Anand for the safe delivery of his first-born. This does not auger well with Mrs. Prasad and she fires Anand. Anand and Nisha re-locate to Bombay, and after sometime Anand establishes himself as a leading doctor, is honored for his thesis, and gets to be the personal doctor of a leading Bollywood actress Maltimala. When Dr. Kothari and Dr. Bhutani go to visit them, they find while Nisha is still the same good-natured woman, who is expecting a child, Dr. Anand is a changed individual, who has no time for friends, personal life, or even his wife, and is not even aware that she is pregnant. The two return home disappointed, followed by Nisha, who has decided to separate from Anand.

 There are many beautiful songs and several great dances featuring Hema Malini.  Vijay Anand’s direction keeps things moving along at a good pace. There are so many wonderful characters in this film too. Mumtaz gave a stunning performance. Music by S D Burman and lyrics by Neeraj is superb.

Song	Singers	Picturised on
"Phurr Ud Chala"	Asha Bhosle	Hema Malini
"Mera Saajan Phool Kanwal Ka"	Asha Bhosle	Jayshree T.
"Jaisa Radha Ne Mala Japi"	Lata Mangeshkar	Mumtaz, Dev Anand
"Ae Maine Kasam Li"	Lata Mangeshkar, Kishore Kumar	Mumtaz, Dev Anand
"Jeevan Ki Bagiya Mehkengi"	Lata Mangeshkar, Kishore Kumar	Mumtaz, Dev Anand
"Tha Thai Thatha Thai"	Asha Bhosle, Chorus	Hema Malini
"Mera Antar Ek Mandir Hai Tera"	Lata Mangeshkar	Mumtaz
"Zamaane Dhat Tere Ki"	Manna Dey	Agha

 

Song of Tere Mere Sapne 1971

Vijay 'Goldie' Anand- A Filmmaker with Unique Cinematic Vision

 

Vijay Anand was a complete Filmmaker. He was a director, producer, editor, screenplay writer, story writer, dialogue writer, actor, and also knew choreography. In an interview, he told that he even wrote Mukhda of his songs. He was nineteen when he wrote the story of Taxi Driver(1954) along with his sister in law (Chetan Anand's wife). He was in college when he had a full screenplay of Nau Do Gyarah was ready.

His cinematic vision was indeed unique and made him stand apart from other filmmakers. It was his vision to make a movie on a Road Trip. Probably the first Hindi film shot on a road trip from Delhi to Mumbai. He was the first filmmaker who shot a live Film Premiere as a part of his film in Kala Bazar.

Music in his films remained a key feature, he was superb in picturizing of songs. 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.

 “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.

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.

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?”

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.” The dance sequences of Vyajayantimala were shot in a single shot.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.

The picturization of the song 'Pal bhar ke liye koi hame pyar kar le' from the 1970 blockbuster'Johny Mera Naam', where Dev serenades the dream girl through windows of all shapes and sizes, remains a masterpiece even today.

Songs picturized on Vijay Anand

Song of Agra Road 1957

Song of Haqeeqat 1964

Song of Double Cross 1972

Song of Chhupa Rustam (1973)

Song of Kora Kagaz 1974

Song of Ghungroo ki Awaaz 1981

50 Years of Johny Mera Naam

 

Released on 11th Nov 1970, Johny Mera Naam was the Biggest Hit of Dev Anand's career. 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”. 

With Johny Mera Naam began a Decade of Action cinema. Though Dev Anand was known for Romance his versatility lay in his desire to experiment. It was the first film of Hema Malini with Dev Anand It was also the first Superhit film of her career. Hema Malini is at her best when romancing with the hero especially in ‘Pal Bhar Ke Liye Koi Hame Pyaar Karle’, a song where the Dev Anand keeps popping up from countless windows in a rest house.

 Dev Anand and Pran play the roles of brothers separated in childhood. Years later, Sohan (Dev Anand) goes on to become a CID officer called Sohan Kumar who solves his cases taking up different guises. He takes the identity of Johny, a petty thief and gets himself in jail, befriends Heera (Jeevan), solves a case wooing Rekha (Hema Malini) and finds the criminal.

Despite being fifty years old, the film does not look outdated, thanks to Vijay Anand. This is also testimony to his skills that despite a run time of around 2 hours 45 minutes, unusually long for a thriller but a norm for Indian movies, you never feel the length

Johny Mera Naam marked some of the best music composed by the duo Kalyanji Anandji.

#	Song	Singer(s)	Picturized On	Duration
1	Title Music (Johny Mera Naam)	Instrumental	Credit Title Sequence	01:59
2	"Vaada Toh Nibhaaya"	Kishore Kumar, Asha Bhosle	Dev Anand and Hema Malini	05:05
3	"Pal Bhar Ke Liye"	Kishore Kumar, Usha Khanna	Dev Anand and Hema Malini	05:05
4	"Mose Mora Shyam Rootha"	Lata Mangeshkar	Hema Malini	05:38
5	"Babul Pyare"	Lata Mangeshkar	Hema Malini	06:19
6	"Nafrat Karne Walon Ke"	Kishore Kumar	Dev Anand and Hema Malini	03:55
7	"Husn Ke Lakhon Rang"	Asha Bhosle	Premnath and Padma Khanna	05:19
8	Music Instrumental	Instrumental		02:00

Song of Johny Mera Naam 1970

Song of Johny Mera Naam 1970

Song of Johny Mera Naam 1970

Piya Tose Naina Lage Re- An Iconic Dance

"Piya Tose" the song from Guide was composed by Dada Burman using Roopak Taal (7 Beats) which was Dada's most favorite Taal. Waheeda Rehman looked extremely charming with her Gentle Dance Steps while singing "Piya Tose".If you notice carefully this song starts without any prelude which was Dada's typical style. Alaaps within this song were very carefully composed.
This is one of the best dances of Waheeda Rehman in films. Waheeda Rehman in an interview once said that Since this was a very long dance sequence, there was a possibility in final editing, part of this song would have been cut. Realizing this, Waheeda Rehman took a promise from Dev Anand that in the final editing he will cut something else from the movie but will not touch this dance song. And guess what, Dev Kept up that promise and this dance sequence was kept intact and no cuts were made.

This dance song was very long nearly 8 minutes. There are 4 stanzas and each stanza of 5 or 6 lines. It took 21 days to picturize this song. The specialty of this song, it presented a new dance aesthetics that blended Kathak, Bharatnatyam, and different folk dances from across India as also a celebration of different festivals. This dance was choreographed by Master Sohan Lal and his younger brother Hira Lal B, under the guidance of Vijay Anand. The choreography of the song and the picturization by the Cameraman Fali Mistry is simply superb. Vijay Anand is known for the excellence of picturizing a song.

The striking stage sets that accompany the song and dance sequence mapped the different stages of Rosie's success as a professional dancer. Beginning from a simple theatrical setting in a rural environment to a further grand scale. The costumes in this song according to the stanzas. Each stanza unfolded a different setting, dance style, music, and background. The innovative cinematography showed the backup dancers in novel ways. First, the camera only caught their moving feet but then their bodies filled the stage in various visual designs. The camera angles also enhanced the dance sequence. The sheer grace and beauty of Waheeda Rehman's dancing, her restrictive movements, and energy made the scene memorable.

Watch carefully the last stanza "Raat Ko Jab Chaand Chamake Jal Uthe Tan Mera" is a turning point of this song, where our soul is lost in the beautiful scene of moonlight of Raag Khamaj and the same in the second stanza about morning sunrise "Bhor Kii Bela" just observe the sound of a flute, what a composition by Dada Burman.
The interludes in "Piya Tose" are very rich and composed very intrinsically. Dada used a wide variety of musical instruments in this song such as Sarangi, Harmonium, Tabla, Ghungroos, and North Eastern Drums. There is also a piece of very interesting information to the readers that the world's best Santoor Player Pt. Shivkumar Sharma played Tabla for this song and flute by Hariprasad Chaurasia.
There is a story that this song was sung and recorded by S.D.Burman himself before he recorded Lata's song. It was a usual practice of Dada to sing the song himself first then tell his singers to sing like him.
There is one more story about this song that this song was already composed 10 years ago for the movie Devdas of Dilip Kumar. It was picturized on Dilip Kumar and Suchitra Sen as a background song. The wordings of the song were a little different. Even music was a little different. Whereas a tabla piece replaced original sitar piece. 

Song of Guide 1965

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

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

 

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. 

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.

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”.

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