Jewel Thief : Best and most stylish thriller of Hindi cinema
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THANK YOU Navketan, Dev Saab and Vijay Anand to give us Jewel Thief. Your film, Jewel Thief, denies to loose its charm even after 41 years. 41 years is a time period long enough to forget even the places where one enjoys the formative years in the childhood. Lovers of Jewel Thief exist in all the age groups. It does not matter at which age they saw it, film remains in the list of their top favourite films after that one watching. Years don’t matter here. Some saw it 41 years ago when it was released in 1967. Some saw it in later years but one fact remains true for all the generations of the different audiences and that is the adhesive power of the film.
Ideally, Jewel Thief can not be discussed as it fulfils the dictum, “Sweet of the Mute”. A mute person can eat the sweet and can enjoy its taste but he can not share it with the others in the spoken words to tell them how good the sweet is? Likewise an audience can enjoy the journey of watching Jewel Thief but after the end of the movie he may praise it in words that it was a wonderful experience but he may decide not to discuss it to give a proper tribute to the brilliant director Vijay Anand and his film. Those who have not seen the film, they have to see it to know it.
A thriller becomes most desirable if director has got a good story, which is full of twists and where Director conceptualises scenes in such a way that his visual planning always moves faster than the thinking ability of the audience and audience has to remain mesmerised by the sudden but genuine twists in the plot. Visual impact of the story should run faster than the watching ability of the audience. There is no room for stupid pauses here, if they are there then they are because of lack of director’s vision in making a thriller and that too a mystery thriller. The situations, which characters are facing, should look genuine to the audience. If there is a mystery and it has to be revealed at some point of time in the film then audience should have no capacity to know it earlier in their first ever watching of the film. When mystery is revealed to the concerned characters then only audience should know it.
And Jewel Thief remains a pure jewel in this territory. Jewel Thief defies the rule that thrillers can not have music. If you are Vijay Anand then anything will look justified and beautiful. Music of Jewel Thief is superb and songs picturisation add much value to the film.
Vijay Anand has constructed the Labyrinth. End results are fixed and scenes are created to approach there to get the desired results and this is done while maintaining the mystery and only after certain time and scenes only when a mystery is solved then audiences know that a scene shown previously was simply a ploy to bring in more confusion to the plot. Devki Nandan Khatri, the creator of Chandrakanta Santati, could have easily approved the plot and presentation of the Jewel Thief as a supreme, suspense related, film.
Scenes are there, since the beginning of the film, which suggest that something deeper is there than what is going on the screen but this is director’s brilliant weaving of the scenes that audience falls in to the mysterious plot.
And call it genius of Vijay Anand or his pranks with the audience that he continuously leaves the clues in the film since the very beginning as if he is challenging the audience that if you have got guts and wisdom then break the mystery of the puzzle, I have created for you guys.
After the film, one may combine those clues to see how the things have happened and one remains in awe of Vijay Anand’s interesting way of presenting the film.
There is no other film in Hindi cinema in the suspense thriller genre which can match with the magic of Jewel Thief.
Double identity, mistaken identity, well woven intrigues, revelations of suspense at appropriate places, wonderful music, nice acting, attractive camera movements, good characterizations, attractive women, apt costumes and an adequate pace etc make Jewel Thief almost a complete film in suspense thriller genre. And Vijay Anand’s protagonist does flirts also with different women to fulfil his immediate demand of investigations. It was somewhat new change for the usual heros of the hindi cinema. And Dev Anand had to be the first hero to lay the foundation for such changes and Vijay Anand was always a director who brought major changes in the characterization of his leading many and woman. He had done this in his much acclaimed film Guide before and here in Jewel Thief he goes further with the characterisation of his leading man.
There have been more hit films than Jewel Thief but its not necessary that they still attract new audiences as Jewel Thief can.
After a beautiful story, second demand to make a wonderful thriller is the choice of the actors and Vijay Anand beats every other director when he shows his faith on Ashok Kumar, Dev Anand, Vaijayanti Mala, Tanuja, Nazir Hussain, Helen, Anju Mahendru and Murad. Dev Anand was a obvious choice for such a urbane role but the master stroke from the brilliant director Vijay Anand was the selection of Ashok Kumar in a role he had not done before. Audience were not prepared to see Dada Moni in such a complex role. Dada Moni was a class of his own and had capability to live any character given to him and its difficult to recall any role where he had not done the justice and as an actor he was able to play the role in the Jewel Thief also. Beauty was the characterisation of his role and Vijay Anand could beat every audience with the creation of that character and Ashok Kumar not only accepted the challenge to play this complex character but delivered the fine nuances in an appropriate manner at proper places.
Sudden behavioural changes were required by his character and he played this character with so much '©lan that like many of his roles, this role also has become a text book material where actors can be given tutorials so that they can learn how to act in a thriller.
First encounter with Jewel Thief was through the outstanding music of SD Burman. Songs like Ye Dil Na hota Bechara, Raat Akeli hai, Rula ke gaya Sapna mera, Asman ke neeche, Dil Pukare Aa re aa re aa re and Hothon mein aisi baat mein choopa ke chali ayee, try to compete with each other and steal different times depending on the mood. These songs had no competition with any other film but with them only. Each song brings a different impact. If Kishor Kumar’s youthful voice fills the energetic feelings in the song Ye Dil na Hota bechara then Rafi and Lata’s soulful song Dil Pukare and Dada Burman’s haunting tune of the song paints the entire atmosphere in to a romantic one. KK’s and Lata’s Asmaan ke neeche, adds a double dose of romantic flavour. If sad tone of Lata in the song Rula ke gaya Sapna touches some chord with the heart of the audience through the listening then Lata’s Hothon pe aise baat takes audience on a thrilling tour.
And this is all about the audio only as video of the same songs bring much more impact to the viewers.
So Music of the Jewel Thief was the first driving force behind having a huge curiosity to watch this film. Songs of the Jewel Thief were already seen through the Chitrahaar programme of the DD. Old films were a passion and DD used to fulfil this desire. And DD declared sometime in the winters of 1986 that it was going to telecast Jewel thief. It was difficult to wait for the Sunday and it became a special Sunday. Audio Cassette of Jewel Thief was played many times in those 5-6 days of waiting and then the wall clock showed the time 5.30 PM of that Sunday and film was started.
Jewel Thief was a waiting which was very personal in nature as curiosity was generated within self. I had not read about it. Had no clue what the story was. But I had heard that it was a very good thriller.
Every moment of that watching was magical. I saw it again in 2005, 19 years after its first viewing and enjoyed it completely. Impact of viewing remains pure and intense.
A Moral Warning : If one has not seen the film then reading further may be injurious to the health and one must go ahead at his own risk. One should first see the film.
Jewel Thief is not merely a slick thriller but it has got many flavours on which best films of hindi cinema have been relying since many years. And there is no harm in sharing those romantic, social and personal scenes.
A criminal famously known as Jewel Thief has stolen the sleep from the eyes of the policemen and Police Commissioner takes an oath that come what may he will arrest this jewel thief before the coming 26th January and if is failed in his attempt then he would resign from his post.
Police commissioner (Nazir Hussain) has family too and he thinks that his son Vinay (Dev Anand) is a good for nothing young man, as he never took his studies seriously and wasted his time in collecting different kind of stones and differences between policeman father and loiterer son are increased to such an extent that son has left the home and visits the home only in the absence of his father to meet the mother.
Vinay wants to allure the richest and biggest jeweller (Murad) of the city with his wit and knowledge as he wants a job at his shop but Murad does not show any interest in his abilities and shows him the exit.
Vinay sees the young and beautiful daughter Anjali (Tanuja) of the Murad and takes another route to take the job. Now he has to do flirt with this young lady.
A car, occupied by Anjali and her girl friends, is going on a long road and someone is walking on the road and he does not leave the space for the car to go ahead. Scene has got a standard in every manner.
That some one is identified as Vinay who sings
Ye Dil na hota bechara
Anjali is irked by this gentleman’s guts when he jumps and sits on the bonnet of the car. She suddenly stops the car and Vinay falls down on the earth. Girls think that they have injured him and that’s why he has lost his conscious. He is carried by them in the car but they are amused after sometime when Vinay opens his eyes and asks them to drive that little more as his home is little far from that place.
Tanuja is angry on his acting but Vinay deviates her mind by pointing out that she has lost one of her ear rings. She blames that because of him she has lost such a costly ear ring. Vinay ridicules her that her ear rings are not costly rather very cheap.
Angry Tanuja, claims that her dad had bought them for 10,000 Rs but Vinay laughs and says that one will not pay more than Rs 1000 for them.
Murad gives the ear rings to his employees to check if they are made of gold or not and they say in one voice that they are good and worth 10000 Rs but Murad scolds them that what they could not see through microscope, someone saw the defect through bare eyes.
He visits Vinay to hire him but now Vinay demands double salary as other day he was the needy and today its need of Murad to hire him.
Vinay starts working for Murad and soon becomes his favourite worker. After one month of working he does not take salary but purchases a necklace for his mother. He visits his home and enters through the window to meet his mother. She is happy to see him. There are good dialogues between mother and son where mother is worried for the future of her son and son makes her understand that he has got a talent in the field of gems and he is happy that he did not waste his life as his father did in the service of police and he has now got a good job. He presents the necklace to his mother. He has to rush out as he hears that his father is coming there.
He goes out of window and hides behind the wall. Nazir Hussain enters the room and says that he felt as if Vinay was there, talking to her. She replies that he is funny because first he asks his son to leave the home and later his ears ring and listen the voice of his son.
There is a sweet conversation between husband and wife about their only son. Whole scene is very good and shows command of Vijay Anand on such family related matters. Mother is unable to stop her happiness on her son’s getting a job and she shows the necklace to her husband and taunts him that he could not given her any jewellery while their son bought such an expensive necklace after the very first month of his job.
Nazir Hussain says that it seems Vinay has either stolen this expensive necklace or this necklace should be very cheap and artificial.
Nazir Hussain visits the shop of Murad and shows him the necklace and asks him to check it if its original or artificial.
Murad is puzzled and says that how Commissioner got this necklace as his new employee Vinay had taken this necklace just other day in lieu of his salary of whole month and real cost of the necklace is really Rs 10000.
Murad praises Vinay a lot and says that Vinay has got a great talent in gems and jewellery. He asks peon to send Vinay in but Nazir Hussain stands up to leave the office and says that his job is done and he got to know what he wanted.
Beautiful scene comes when at the door he meets with Vinay. Father and son both are standing at the door and Vinay looks at the face of his father and father’s face is shining with a proud and is decorated with a balanced smile. He nods and leaves without saying anything.
Nothing is said between father and son but a whole story has been expressed by small gestures. Great are the directors who can visualise such scenes and great are the actors who can lift such scenes with appropriate subtle performances.
Nazir Hussain, a great character actor, has never failed any director in such scenes.
Anyway, Murad asks Vinay that how Commissioner saab got the necklace and Vinay discloses that in reality he is the son of Police Commissioner.
Murad seems stunned but happy too on knowing this fact.
Anjali is infatuated with Vinay and likes him very much. Whenever its possible she spends time with Vinay. They visit restaurants etc and in one such visit a person comes to their table and address Vinay as Amar. Another man comes and tries to give some money to Vinay and says,” Amar please take your money back”.
Vinay is astonished and says that he is not Amar but Vinay. Men apologise but go away with a confusion on their faces.
One evening she comes back to home to find an unknown lady sitting in her home. She asks her what she is doing and the lady introduces her as Shalu aka Shalini (Vajaynthi Mala). Murad introduces Anjali to Shalu’s elder brother Arjun Singh (Ashok Kumar). Arjun Singh says to Anjali that he and her father has been friends since childhood and he is meeting her after a long time.
A party is organised to celebrate birthday of Anjali and when Anjali is going to cut the cake and Vinay is standing besides her, he feels a hand on his shoulder and he turns and finds Shalini saying, “Amar tum yahan”.
Vinay is astonished and asks Shalini,” Hum ek dusre ko jante hain?”.
Shalini,” Bano mat Amar”. She hugs Vinay and says ,”Ohh Amar tum kahan chale gaye the”.
Vinay,” Devi ji lagta hai apko koi galatfehmi ho gayee hai. mera naam Amar nahin hai. Mein Vinay hoon”
Anjali too says that Shalini is mistaking him for Amar.
Shalini says,” Ye kya majak hai Amar. Kyon mujhe pareshan kar rahe ho”.
Vinay says in anger,” Majak mein kar raha hun ya aap. Maan na maan, mein tera mehman”.
Shalini starts crying,“ Amar tum kyon itnae logon ke saamne mera apman karne par tule huye ho“?
Vinay shouts in anger,“ Jab mein apko janta hee nahin…..“?
Hearing the noise, Murad and Arjun Singh come there and Arjun Singh also addresses Vinay as Amar.
“Amar tum yahan kaise, Gnagtok se kahan gayab ho gaye the”.
Vinay and all other people are puzzled. Vinay says to Arjun Singh also that he is Vinay and not their known person Amar and he has been raised in this city only.
Their discussion is changed in to verbal spat between Vinay and Arjun Singh and they are aredy to attack each other physically. Arjun Singh is too angry and he picks up a knife from the table and Vinay lifts a chair but people hold both of them and try to make them calm.
Murad asks Vinay what is this matter. By this time Arjun Singh is also calm and he says that he can prove that this man who calls himself as Vinay is Amar, the fianc'©e of Shalini. He says that if this person is Vinay as he claims than I should not know anything about him more than what I am able to know now because I am meeting Vinay first time.
But I know a personal thing about Amar which can be known by the people who have been close to the person.
He says that it can be proved easily as Amar has got sixth finger in his right foot and he should remove shoes and socks from his foot to show to all the people.
Vinay smiles and ridicules his offer and says,” Mein juta utar sakta tha par mujhe dar ha ki kahin mere socks fate huyee na ho”.
Arjun Singh is angry. Murad and Anjali also put pressure on Vinay to show his right foot so that truth can come out.
* * *
One morning a visibly disturbed Arjun Singh comes to Vinay’s house and asks him if Shalu has come there. Vinay asks him back why Shalu should come here?
Arjun Singh is worried and says that Shalu is not in the room and has disappeared somewhere and he fears that she may do something wrong.
Vinay offers to search Shalu and arjun Singh goes to change his night clothes.
Vinay hears singing of a woman.
He finds Shalu sitting in a boat in the river and singing the song.
Rula ke gaya sapna mera
He is touched by her grief and tries to console her.
Time passes and Vinay starts liking Shalu. Anjali has invited him for eating next day and has given him her car also so that he can reach on time but he goes out with Shalu.
Shalu praises Amar and says that Amar is different in every field and he is master in every field. She tells Vinay that Amar could sing also very well. Vinay asks which song Amar used to sing and she tells him the song.
Asman ke neeche hum aaj apne peeche
Murad also has asked Vinay to meet at his shop in the evening so that he can start working on the cutting of diamonds also in the night.
Vinay reaches at Anjali’s home and naturally finds her very angry after the whole days waiting. Anyhow he calms her down and her bubbly nature comes back and she sings
Raat akeli hai
Raat Akeli hai’s subsequent low and slow and sudden high notes in the naughty voice of Asha Bhonsle and vivacious act of spontaneous Tanuja, suddenly make an audience adult and breathing become erratic. Such is the effect of the song.
Not to compare but simply to emphasize that Tanuja had material 40 years ago and with all the media hypes about these days stars, leave alone any other actress, Tanuja’s own daughter Kajole has not been able to match the enigma and carefree and natural act of Tanuja.
Vinay tries to escape from the adventurous Anjali’s seductive trap and Anjali follows him and both are encountered at the door by Murad who is stunned to see Vinay at his home. He asks him,” Tum yahan kaise”.
Vinay,” Seth ji, mein thora late ho gaya tha, jab mein shop par pahuncha to wahan tala laga hua tha, maine socha ki aap mera intzaar karke ghar aa gaye honge to mein yahan aa gaya”.
Murad,” Kya bakwas kar rahe ho, 9 baje ke baad mein khud tumhe neeche tehkhane mein lekar gaya tha aur mere saamne tumne here kee katai shuru kar dee thee”.
Vinay,” Par Seth ji mein to aapse mila hee nahin”.
Anjali also says that Vinay has been with her after 9 PM.
Murad gets shock and says that his jewels are robbed by Jewel Thief.
Vinay’s look alike Jewel Thief has robbed the Murad’s jewellery.
Police Commissioner gets a complaint by a man that the ring which Shalini wears in her ring belongs to him and it was stolen few months ago.
They find that Amar had given this ring to Shalini on their engagement.
Now Vinay is in danger as the biggest jewel thief is his look alike and is doing crimes on his name.
He starts his personal investigations also to catch that criminal known as Jewel Thief.
Vinay catches a hired man and through him gets to know that Amar is quite close to a cabaret dancer Helen. Vinay plays the same game what Amar is playing with him and goes there under the disguise of Amar.
Vinay plays James Bond here and seduces Helen to know the truth and gets to know that Amar was supposed to come here in the night and he decides to stay there. In night when Helen is sleeping he hears that someone is coming in to the room. He hides and sees a man wearing white shoes but man finds Vinay’s shirt lying on the bed and runs out. Vinay runs after him but does not find him.
He gets to know that Amar is supposed to go to Gangtok and circumstances carry him and his father to Gangtok.
There he meets a young lady (Anju Mahendru) besides a pool, who talks about Amar with him.
Vijay Anand moulds Vinay’s character in the league of James bond and he is shown to be involved in flirts with many ladies to serve his purpose.
Vinay finds Shalini walking on the roads of Gangtok but she tries to ignore him and runs away from him. He catches her and expresses his love for her.
They sing most romantic song of the film.
Dil Pukare aa re aa re aa re
Sequences of the three elements, instruments, vocal singing and pauses, make this song a very special song. Its magical impact enters through the ears and goes directly in to the heart and does something mysterious there and leaves a long lasting impact on the audience.
Cotton balls on the saree of Vajayanti Mala attract the extra attention of eyes. Song is picturised in Gangtok and this song is composed in such a way that even in its audio format it makes alive the over all atmosphere and one feels as if he is wandering in the hills.
Vinay finds that Arjun Singh is not pleased to see him together with his sister Shalini.
In Gangtok begins the chase where Vinay is running here and there to find Amar.
He reaches to the palatial den of Amar and subsequent events dazzles not only his senses but audiences also come across the biggest twist shown in hindi cinema.
Brilliance of Vijay Anand’s script and direction lies in the fact that he reveals the secret much before the climax but still maintains the illusionary touches in the plot and audience get confusion about the reality. Only in the climax they are revealed to another secret.
But before the climax, Amar has to steal the crown of the prince of Sikkim and Shalini is forced to perform in the palace.
Shalini is also not aware of the whole truth and she wants to save life of Vinay.
Shalini sings
Hothon mein aise baat
Beats, taans and long stanzas make whole atmosphere agitated, anxious and adrenaline rushes to affect the brains of audiences. Vajayanti Mala’s dance is a treat to watch. Its said that she gave non stop dancing performance to each of the long stanzas of this song. Song, its picturisation, performances, everything is amazing.
In the first viewing also, it had looked as a weakness but it was a weakness which create laugh and not objection. This point was- why a Police Commissioner himself is running after a criminal. PC reaches every where as if he is a Police Inspector or at the most a DSP or SP?
When Dev Saab says in the raised voice,” Ek Tha Jewel Thief” then film is finished but only on the screen as its effect never leaves the audience.
Ek Banee thee Jewel Thief. There is no parallel to this film in Hindi cinema. This is the most shining and biggest and precious diamond in all the jewels in the genre of suspense thrillers.
Film is an experience.
Tags: Anju Mahendru, Chandrakanta Santati, Dev Anand, Devki Nandan Khatri, Guide, Helen, Murad, Nazir Hussain, SD Burman, Tanuja, Vajayanthi Mala, vijay anand
Anurag Kashyap
Abhay Deol
Dibakar Banerjee
Hansal Mehta
Khalid Mohamed
Kundan Shah
Anish Kuruvilla
Jaideep Verma
Manish Gupta
Navdeep Singh
Bhavani Iyer
D. Santosh
Onir
Ashvin Kumar
Ramu Ramanathan
Sudhir Mishra
Pankaj Advani
Revathy
Saurabh Shukla
Shilpa Shukla
Sujoy Ghosh
Suparn Verma
Santosh Sivan
Shashank Ghosh
Shivajee
Pavan Kaul
Partho Sen-Gupta
Prroshant Naryannan
Sam Langoria
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Nice Post……vivid and colorful description of the movie.
One of my fav movies of Dev Anand…..ranks right along Guide and Tere Ghar ke Saamne for me.
As far as thrillers are concerned should also mention the 1965 Gumnaam……….kya execution tha script ka….
Coincidentally both my fav songs “Ye Dil Na Hota Bechara” along with “Main Zindagi ka Saath Nibhata Chala gaya” are Dev Anand songs.
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Always love your articles RK.
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As far as Hindi film thrillers are concerned Vijay Anand gave us two masterpieces Jewel Thief and Teesri Manzil.The best part about both the films were that apart from great execution of the subject, the music AND the picturisation of the songs were perhaps THE BEST in hindi cinema.
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And don’t forget Johnny Mera Naam, it was even better edited than Jewel Thief. The things that stayed with me after a second viewing were the apparently trivial details scattered through the movie, which highlighted the intelligence of Vijay Anand’s direction (the kidnapping of the kid at the beginning, the bad guy showing up randomly spying on Vinay, the latter throwing a piece of paper to the inspector). And of course, Dev Anand’s particular way of performing, keeping the audience constantly guessing whether he was the real thief or not.
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RK: yaadein taaza kar di. I remember when they showed this on DD and I was possibly in the same state as you. We had a Jewel Thief / Guide cassette combination. Those Sunday evening movie routine on DD!! You had Spiderman at 5.30 (praayojak Rasna/Pioma Industries) and at 5.45 “Feature FIlm in Hindi”. I haven’t seen Jewel Thief for a long time now so I don’t know how I will find it now. I think it is best to leave it that way
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Funny I watched this movie last week only. Vijay Anand rocks man..the way he could make thrillers was amazing. His treatment of drama was iconic, and I am glad Sriram Raghavan paid homage to one of the rather under-rated directors of Hindi cinema.
Time to grab Johnny Mera Naam, and Guide now. And shameless admission – haven’t watched Teesri Manzeel yet!
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RK
I saw this film as a kid & remember feeling that I was watching something perfect. Something above & beyond the usual stuff. I wasn’t a movie fan then. I watched it on DD & remember being blown by it. One of the 1st films that had a mesmerising effect on me. I told my cousin after the film was over that this was the most thrilling hindi film I have ever seen. I am yet to see a better film.
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Rk,
What a treat!
have seen this film umpteen times (and yes, even I did watched it that day on DD) and reading on it was as good as watching it again one more time..
somehow you missed to mention my favourite song of the soundtrack, the fantastic Asha (one for Two) number “Baithe hain kya uske paas, meri taraf dekhiye” picturised on Helen (and Fariyal)… Jewel thief is surely one of the finest soundtracks with blends of different genres.. It is one soundtrack where one can also find a perfact blend of SD’s and RD’s music..
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RK
THis was a fab post on one of my favorite movies. I think after Raj Kapoor, Vijay Anand, was one of the best when it came into song picturization.
2 of my favorite romantic numbers, are in Vijay Anand movies. One is Dev Anand, serenading Nutan on steps of Qutab Minar in Tere Ghar Ke Saamne with “Dil ka Bhanwar Kare Pukar”. The other one is Dev Anand and Mumtaz on a cycle, singing “Hey Maine Kasam Li” in Tere Mere Sapne.
You have given a total analysis of the movie, and i dont think cud add much to it. Could you also do something for Guide? I believe that movie is one of the best when it comes to song picturization and placement.
Vijay Anand i feel was one of the best directors of his time. Look at the range of topics in his movies.
Rom Com- Tere Ghar Ke Saamne, Nau Do Gyarah
Medical Profession- Tere Mere Sapne
Thrilers- Teesri Manzil, Johnny Mera Naam, Jewel Thief
Literary Adaptation- Guide
Black marketing- Kala Bazaar
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@Vineet,
Gumnaam was good, and it was a fun ride also since begining with that song Jaan Pehchan ho and later Helen’s kehatee thee keli etc. Raja Nawathe was Raj Kapoor’s assistent in Aag, Barsaat and Awaara and he had already made musical Basant Bahar and love story Sohni Mahiwal so from that point of view a suspense thriller Gumnaam was a surprise item. Man has got quite a good filmography having films like Aah, pattahr ke sanam and Manchali and few others to his credit.
Without any doubt Guide, Tere Ghar ke Saamne, Jewel Thief, Teesri Kasam and Tere Mere Sapne are supereme films of Goldie Anand.
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@Nirad,
Thanks for your kind comment
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@Anindya,
and along with his shining contribution in story and Script writing, editing, direction and song picturisation, he acted well also in films like Haqeeqat, Hindustan ki kasam, Kora Kagaz, Tere Mere Sapne, Mein tulsi tere anagan ki and TV serial Tehqeeqat (as detective Sam De Silva).
A great contribution to the Hindi Cinema.
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@DPL,
if we see minutely, Johnny Mera Naam’s Villaineous angle is taken from the suspense element of Jewel Thief.
Who is real- is hidden and popular name is not the real one.
It was another interesting thriller and where he explored the beauty factor of Hema Malini to a great extent and used her skills of dancing to make better her performance better.
Re_ Jewel Thief,
those were the clues so that later audience dont say that it was not shown earlier. It was a suspense thriller right from the first scene and no cheating with the audience was there unlike few modern thrillers which go hear and there and thus audience feel duped later and feel where was the suspense element?
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@Subrat,
wo yadeion kya jo tajee na rahein whenever something related is touched:).
anyway now you have reminded me the Sunday Primetime from 5PM onwards.
I am not very much in to the data protection and collection tendancy but some corner of the memory in my mind is suggesting me that Spiderman used to start at 5PM and feature film was 5.30PM thing.
I can recall a Radio Nazibabad Programme- Fauzi Bhaiyon ke liye. It also used to start at 5 PM and from 5.20 till 5.30 they used to broadcast atleast 2 songs of hindi films and normally these two songs used to be very good. So from 5.20 to 5.30 TV used to bear Mute mode and Radio used to get preference.
Problem is yadein are so much in volume that they easily mix and enter in to each other’s territories.
and you remember the prayojak also. Thats amazing. Ads were the enemies at that time.
Re: Jewel Thief,
I dont see any reason why you will not like it in second viewing. First SD Burman and all his team members will not leave you, second Film, has got many merits which can not be ignored and you have parkhi eyes so nothing to worry.
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@Tejas,
Vijay Anand was not underrated director. He worked mainly with Navketan and made only few films independently. His films were hit films, so there is no question of his being underrated before 1980s. Afterwards he did not remain active in filmmaking specially after Ram Balram and Rajput, both films took too long time in making and both did not get much success on BO. Since 1970 he was more interested in the spiritual journey and therefore never a party type man. Filmworld, especially hindi filmworld either salutes box office kings or those who burn their energy in making relationships and enjoys campbazi. all the three Anand brothers have been different. Dev Saab also stopped this party business after Anand aur Anand.
This is true that Chetan Anand and Vijay Anand should have got Dada Saheb Phalke award when they were alive because people with much lesser talent and contribution have got it. so that way we can say Chetan and Vijay Anand are underrated but otherwise they have been quite popular. They always got their own audience.
and Vijay Anand had different habit. He thought differently and it can not suit people in power. his tussle with Ministry ,when he was chief of censor board is known to all.
What is this thing about Homage of Sriram Raghwan to Vijay Anand?
I have seen only two films of Sri Ram Raghwan and Ek Haseena thee could be homage to Hollywood kind of thrillers and Johny Gaddar can be homage to Jyoti Swaroop’s Parwana. Where Vijay Anand comes in it?
There is mention of Parwana in Johnny Gaddar.
Story, screen play, treatment, presentation, music, acting, direction every department of Johnny Gaddar has nothing in common with Vijay Anand’s style and his films.
Or May be I missed something.
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@Mainak,
Glad you have liked some film from hindi cinema:)
but more films are there
BTW, good hindi cinema has not been Hollywood’s alter ego. It has been following its own path.
Even if you start with journey of Navketan films only you may see the progress.
Good hindi films have been made for different kind of audiences who may or may not watch Hollywood or other kind of world cinema.
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@Pavan,
Most of the time I leave Mujra and Cabaret kind of songs while discussing melodious songs. As I had not mentioned Madhumati’s mujra song.
Some songs are good but they sound so different than the all the other songs while listening the audio tape that they break the rhythm and that is the reason behind this exclusion.
Mean to say I can watch and listen Arti Devi Ayee hain in Anadhi and admire it for film’s purpose but in audio tape it has always given pain as it breaks the homogenous nature created by listening Tum Aa gaye ho, Tere Bina etc.
Hope you get my point.
So its but natural for me to forget such numbers when writing in a flow because I have been forwarding or escaping such songs for years, unless I specifically want to listen such songs.
I have to get a hold on DVD of Jewel Thief to see it many times like you.
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@Ratnakar,
Mehboob, K Asif. Kidar Sharma, V Shantaram, Bimal Roy, BR Chopra, Raj Kapoor, Guru Dutt, Chetan Anand, Vijay Anand, Dev Anand, Hriskesh Mukharjee, Raj Khosla, RK Nayyar, Lekh Tandan, Yash Chopra, Subodh Mukharjee, Shakti Samant, J Om Prakash, Gulzar, Prakash Mehra, Manmohan Desai, Rahul Raweil, Subhash Ghai, Randhir Kapoor and few others have been quite good in song picturisation and its true that among them also few are better than the rest of the people and Vijay Anand, Guru Dutt and Raj Kapoor certainly come in the top league. and these are the names which I can recall at present and there are some more and these famous directors have something different from each other while selecting and filming the songs.
I wanted to make a post on Tere Mere Sapne last week. but left it. But soon you will be able to share your understanding of the film. I too love the songs of TMS.
Certainly range of Vijay Anand as a director has been impressive and his yearning to improve the craft with each film is praise worthy. He tries to bring something new in stories, camerawork, and overall treatment of the films. His scenes say much deeper than the obvious message as there may be a small thing lying in corner where camera goes for 20 seconds and he wishes to say something through that object.
and all these experiements he did while maintaining the commercial face intact of his films and all kind of audiences could enjoy the films as per their own understanding about cinema.
This is an outstanding achievement.
Right After this
http://passionforcinema.com/anand-aur-anand-raju-guide-to-preach-at-cannes/
I wished to cover Guide. But somehow found no one interested with whom it could be shared. It was a chorus material.
If have to follow a solo then it requires few essential things.
When I get up in morning it should come to my mind and I should get atleast 4 hours in a continous sitting. This is a serious film and dont wish to touch it lightly.
Its very important film.
Or its discussed in pieces. But it will come. surely.
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@RK – with ‘underrated’, I meant that his style of working has not been followed by the directors after him. I can contribute the beginning of success of ‘masala’ formula to Vijay Anand to an extent, but that particular style of film-making was either not followed to adequate extent or not adopted properly.
‘Johnny Gaddar’ name is a homage to ‘Johnny Mera Naam’. Even songs are remixed version of Johnny Mera Naam. If I remember correctly, Sriram Raghavan said in interviews that this movie was going to be his homage to the noir-caper films of Vijay Anand. Can’t recall if there was a title-card dedicated to Vijay Anand though.
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Beautifully put, RK. Most modern thrillers play the audience. In Jewel Thief, Vijay Anand plays WITH the audience.
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@RK
Thanks for the post, somehow i keep finding like minded souls here from time to time….i mean y has none of my friends or anybdy ever mentioned about this movie that i have absolutely loved….and here..i see such a beautiful post about the original thriller of hindi cinema !
I think Teesri Manzil would have been even better…had he produced it himself too….and hence the creative freedom (nothing to take away from Nasir Hussain though…but Goldy was a class apart)
I always have believed that Vijay Anand has been much less celebrated than he should be…he had amazing comfort in different genres…like none other
Another of his lesser known gems, in my opinion, is Tere Mere Sapne…completely different genre but amazing control..any takers here???
Wish somebody would write a post about it too !!!
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@RK
Just read u’r comments….plssssssss plsssssssss do that post on TMS…I would have done it if I could do it like u!!
@Tejas
There was a formal homage with Vijay Anand’s picture in the beginning of Johnny Gaddar!!
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Nasir Hussain had his own class of making flashy-expensive-entertaining movies..hopefully RK will touch upon them sometime!
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RK
WHAT MAKES YOU THINK I DONT LIKE HINDI CINEMA?
A good film is a good film in any language. There is no point being angry at the world for liking world cinema. Our allegiance is to cinema, no matter where it is from.
Just because some of us don’t write essays about our fav hindi cinema from 70s & 80s everyday doesnt mean we like them any less. Vijay Anand is one of my fav filmmakers. I have met him one year before his death in Bandra. And that is one of my fav incidences of my life in Hindi Film Industry. He is a personal hero to me.
And yeah the reason people like Mitch, me & Dabba happen to discuss more about Hollywood Films is because of the cities we live in. We are surrounded by it. We work in it. Like you like to share your love for all those artists & films from the past we also like to share the gems we find in world cinema.
so more power to Cinema, esp Hindi Cinema:)
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RK writes so big posts that you have to read it at leisure :-)
Anyways….a superb post RK as usual ! Fantastic movie.
One major thing which you guys missed in the film – THE TITLES !! Titles say “Dev Anand presents Ashok Kumar in Jewel Thief….Starring Devanand & Vaijayantimala” !! what bigger clue you want ??
The background music is 100% RD. And as Pavan says all the songs are a perfect blend of SD/RD ( but songs like Baithe Hai Kya – are complete RD man !! ) The title music is one of the best and most underrated.
At the end of the titles there is a screenshot which says “Music – S D Burman, Asst – RDBurman, Conductor – Manohari & Basu” I did not see one screenshot which has all these names before in any other titles. Perhaps Jewel Thief is the only movie whose vinyl LP disc has the photo of the “assistant” R D Burman !!
Also I always wonder which is the male voice which laughs in between the titles. The effect is awesome !
Also the titles give prominence to Kishore Kumar. Kishore was singing, “full-fledgedly” for Dev Anand after Paying Guest, a gap of 9 years !! ( yes I know that he sang for Guide but as per S D Burman’s interview, Kishore was available only for one song for Guide. Also during the making of Teen Deviyaan songs, Kishore fell on the feet of Dada Burman and expressed his decision to take up playback singing seriously, and try giving up his “keeda” for all-roundness…thus getting a few songs in Teen Deviyaan )
What a way to introduce Kishore right in the beginning of the film – Ye Dil !!! Man this song pumps my enthu to watch the movie !!
Last but not the least…this is probably the only “colour” film in which I liked the beauty of Vaijayantimala.
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@Tejas(19),
To Follow Vijay Anand in an obvious manner one needs a certain class and one cant say it openly as he may fall short upon the resultant generated expectations. Manmohan Desai and Prakash Mehra are easy target to follow as a trend of highly successful films is attached with them so all these talks of films with 70s feelings and styles are easily digested and not objected.
But Vijay Anand is attached with high standard romantic comedies like Tere Ghar ke Samne, high standard thrillers, good literary adaptation in Guide and one of the most outstanding hindi film on extramarital affairs Tere Mere Sapne and along with this his writing, editing skills and good understanding of music and good creative ways to picturise the songs and in a way that they dont look like patch work but add value to the content of the film and increase the overall seeing value of the film.
This is not easy thing. and above all his personal image of an intellectual.
But people do follow his techniques. Most recent example I can quote is the Pre-climax sequence in the Salam-e-Ishq.
Ayesha Takia is marrying that NRI boy and is sitting in the Mandap. Watch the camera work for 4-5 minutes. If whole trend is not inspired by Vijay Anand’s way of controlled wandering of the camera. Watch back to back song picturisation of Hey Maine kasam li and this 4-5 miunutes sequence.
and such inspiration is good. Or may be director and cameraman did it on their own without any intention of following Vijay Anand’s technique. But similarities are there.
Many will be trying to follow.
Re: Johnny Gaddar, I know in the begining there is Picture of Vijay Anand.
What I meant to say that Sri Ram Raghwan may pay homage to Vijay Anand on personal basis. But film is nowhere a homage to Vijay Anand’s any of the film. Not in any department. Johnny Gaddar is not a suspense thriller because suspense is there for characters and not for audience as they are knowing everything.
Film looks homage more to Parwana and Gehri Chal (Amitabh Bachchan, Jeetendra and Hema Malini starrer)and its quality also falls in the category of those films only. It does not match anywhere with the standard of Jewel Thief, Teesri Manjil, Johny Mera Naam and Blackmail and Blackmail is weakest Thriller of Vijay Anand but still better than other director’s thrillers.
IMDB will find many films like Johnny English and Johnny Handsome etc and we can assume this also that title is coming from there and not from Johnny Meha Naam.
Can’t recall any song of Johnny Gaddar.
Where Dharmendra like good actor is not properly used there film starts losing attraction. Few single liners can not lift a thriller.
Ek Haseena Thee was more gripping than JG. Normally in good thrillers objection to the story does not arise as its director’s prerogative to select a story but in JA in first ever watching alternative things starte raising their heads. Thats alarming thing for a film coming from a genre of thrillers.
But director is interested in making thrillers and has shown his skills so next time we should a get better film.
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@DPL(20),
Suspense thrillers and Jokes have to have that mysterious step ahead about which watcher/listener can not guess before because that sudden twist brings the excitement (in Suspense thriller) and laughter (in Jokes).
If we are able to guess before hand wht is going to happen then fun is gone.
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Vijay Anand’s portfolio counts among one of the best. Guide, Teesri Manzil, Johnny Mera Naam, Jewel Thief were all a class apart. “Ek Tha Jewel Thief…” is one of the best endings in Hindi Movies in my opinion.
He was ahead of his time.
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@Love-being-here,
If you dig the archive here you may find many like minded souls here among so many odd authors displaying different kind of likings about different kind of cinema.
Will do something on TMS.
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@Tejas(23)
Nasir Hussain- surely some day. He is also a musical director.
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I absolutely adore the dialogue when Dev Anand escapes death… “Aeitbaar to mujhe bhi nahi hota, par ye sach hai”
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@Mainak,
Whatever suits you, pick that up. This is not necessary that whole things are directed toward you or they are personally against you.
After first line, it was a general statement.
Few things are just issues, general issues and may come out in any comment.
Perhaps I should have demarcated clearly sentences. Sorry if you felt something was against you on personal basis. This was not the intention.
Nothing makes me think you like or dislike Hindi Cinema.
I responded to few words you chose in your first comment. You say you have yet to see better films than Jewel Thief and its not even best of Vijay Anand. Its best in suspense thriller genre.
Very true, a good film is a good film in any language. Language is not a problem but when Indian cinema is seen as a representative of certain prototype model.
We are living in an era where machines are everywhere. Calculators, computers have reduced the capacity of masses to do calculations of digits verbally or in mind. Some adverse effects have come in every kind of sensitivity and it has been reduced in every field.
Now there is no space for any kind of excuse in any field to like something but not to mention it.
Its said in english that,
“This is true,
that love can be lost anytime,
that is not accepted by us in open and true form”.
Telepathy is not working here that I am liking something but keeping silence then other is not going to know it. That kind of sensitivity has been lost from the lives of majority of people.
Its good to know that few people have “Gangs of Newyork” (or whatever city you live in) to discuss hollywood more.:)
People without living and working in your kind of environment have been discussing all kind of cinema belonging to so many places of world.
A person sitting in india may discuss any kind of cinema. If one wants then nothing stops him.
I dont know who is angry if people like world cinema?
Indian cinema is also part of world cinema. as regional language cinema is part of Indian cinema.
Cinema is not restricted to one genre and country only.
but this understanding is valid for all.
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@Kcp(25),
Thank you for writing such an informative comment. For those kind of details I need DVD to watch it again.
BTW, Re- Vajayanthi Mala, have you not seen Amrapali, her coloured film?
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@Inca,
No doubt a remarkable filmography is registered in the credit of Vijay Anand. Few films but quality films.
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@Parth,
and expressions on the face of Ashok Kumar hearing what Dev Anand says!!
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@RK
(1) the extra marital angle was a very small sub-plot of TMS…so i m puzzled when u call it one of the best extra marital movies???
obviously the central idea of the movie lied elsewhere in my opinion…and now i am even more eager to see u’r post on TMS to see u’r interpretation
(2) The name Johnny Gaddar is not picked frm anywhr else but Jony mera naam…there is a scene in JG where the hero is thinking of a fake name to make a hotel room booking when thr is this TV on hotel reception playing the eponymous dialogue scene from Jony mera naam…so he picks the name Johnny from there…and then Gaddar is added later towards the climax by another character.
Other points perfectly taken about the film actually being a homage.
3) If you pick Nasir Hussain, even Raj Khosla can’t be far behind. Though much more contrived and “filmi” in his storytelling approach…he has given us sm beautiful songs and picturisations and above all, in my opinion, our original daku movie….Mera Gaon Mera Desh (1971)….
those who have watched this one (any like minded souls???) will agree that it “inspired” Sholay in a big big way….to name a few…there is a coin flipping dharmendra and another scene whr he teaches shooting to asha parekh….
obviously the copy was better than the original :-)
I even liked Main Tulsi Tere Aangan ki (also for the songs)….adaptation of a marathi novel….the common man’s Vijay Anand, should i say?
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Peace RK
Can you give a list of your favorite Vijay Anand films in the order of your liking?
I felt sarcasm directed at me in your previous comment to me & hence my comment.
cheers
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“@Pavan,
Most of the time I leave Mujra and Cabaret kind of songs while discussing melodious songs. As I had not mentioned Madhumati’s mujra song.”
Sorry RK,
I dont agree.. I believe you have reviewed the film “Jewel Thief” not the music album as such.. and though it might not be as melodious as other songs, it was an important part (as much as helen’s character).. atleast Vijay Anand knew that so the song finds its place in the film along with other melodious songs… It is ofc upto your discretion why to include and what to left, still since it was quite a comprehensive review and ofc you did included all other songs and left this one (included Raat akeli hai too).. and speaking of Vijay anand cinema, the cabrets, have been essential element in almost all of his thrillers including Teesri Manzil, Jewel Thief, Blackmail or Johnny Mera Naam…
Actually why I mentioned this earlier and even now that this specific song is always ignored and not many people even know that this hails from the soundtrack of Jewel Thief.. Musically too it is a significant song as a twin track song from the baton of SD (or blame it on asst RD)
“Mean to say I can watch and listen Arti Devi Ayee hain in Anadhi and admire it for film’s purpose but in audio tape it has always given pain as it breaks the homogenous nature created by listening Tum Aa gaye ho, Tere Bina etc.”
I can agree though I enjoy the humor and lyrical element (and ofc the qawwali style).. still I do feel it was a more significant song than “tum aa gaye ho” in the context of the film.
“I have to get a hold on DVD of Jewel Thief to see it many times like you.”
Postal Address please!
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RK – tum na bade wo ho ;) Amrapali, she was surely beautiful but normally I talk about facial beauty and the expressions on the face….shhhhhhh rest all discussion should be strictly offline :P
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@Love-being-here,
(1) Tere Mere Sapne- More in the post whenever its made. But it has many subplots which inspired some films in later years. At present I can say that what is required for a film based on extra marital affair was there in TMS. It was shown developed slowly unlike some so called famous hindi films made on Extra Marital affairs, where its just there and we dont know for what sake it has happened.
(2) Johnny Gaddar – I remember that scene of JMN played on TV.
(3)suspense thrillers in hindi cinema generates two names in mind Raj Khosla and Vijay Anand. Right from CID, Raj Khosla’s films always had great music and song picturisation was also very good part of his filmmaking.
even his last film (which I saw) Sunny had such a beautiful Lata Mangeshkar song- jane kya baat hai.
Anita should be his weakest film in suspense thriller genre otherwise a very significant and impressive filmography he enjoyed.
Mera Gaon Mera Desh surely is father or mother of Sholay as stories and scenes match and MGMD follows a linear pattern unlike Sholay which has too much use of flashbacks.
Vinod Khanna truely is the most heavy part of the film.
But Hindi cinema had many dacoit films made before MGMD was made. Mother India, Ganga Jamuna, Jis Desh mein Ganga behti hai, Mujhe Jeena do etc.
Music of Mein Tusli—– is one of the best coming from LP with that amazing composition of traditional song Chhap tilak sab cheenee and mein tulsi tere anagan ki.
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@Mainak,
Please refer to comment section of the post made on Blackmail. There you will find a discussion about Vijay Anand’s filmography.
Guide remains his most matured film. Its unbelievable that a 30-31 years old man directed that film. Its a mile stone for all the other directors.
This kind of achievement is paralleled only by Raj Kapoor (who made awara at the young age of 27) and Guru Dutt (was 32 when he made Pyassa and 34 when he made Kaghaz ke Phhool) and K Asif could join this club of achievers also because he started Mughal-i-azam when he was around 30 and finished in few years.
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@Pavan,
I meant to express that because I have been forwarding this song so it slipped out of mind.
This is possible that while writing on Kati Patang I may miss the song Mera Naam Shabnam, pyar se sab mujhe sabbo kehte hein. This depends on the memory at the time of writing but at same time I will never forget to include Husn ke lakhon rang while writing on Johnny Mera Naam.
Thanks for your generous offer.
I am trying to finish this lacking forever.:)
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@Kcp,
It will be interesting to discuss on the post on Amrapali.
You have rather radical views on VM:)
I will wait for offline secret revelations.
There should be something interesting stuff with you.
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@Pavan and Kcp,
Are you guys able to clearly distinguish between songs of SD and RD in this particular album?
Apart from Asha’s song for Helen, any other song having RD flavour? Perhaps Raat akeli hai can have blending of both father and son. Perhaps Ye dil na hota also has inputs from both.
but Dil Pukare, Rula ke gaya Sapna and hothon mein aisi baat are so much SDB styled compositions.
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Baithe Hai Kya & Background music is 100% RD. Absolutely no traces of SD there
Rest all the songs have a RD flavour. They are no doubt composed by SD but he left the final touches and orchestration to RD.
Even Rula Ke Gaya – the melody-progression is typical of RD.
Ye Dil Na Hota – RD himself said that he sat with SD and listened to western tunes to make this Gem.
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