Making of a superstar (Tumsa Nahin Dekha)

Shammi Kapoor and struggle. Sounds jarring, right? Not when you witness his flamboyance on screen. The way he smoothtalks his way into the heroine's heart, grooves with attitude and beats the villain into a pulp. And, uses his elastic face and impeccable comic timing to ensure the splits. Shammi Kapoor, it seems to me, had always been a winner.

But, I stood corrected six years ago when my father told me about Nasir Husain's Tumsa Nahin Dekha. Struggling to get a toehold in the film industry (he had to his credit some lacklustre films such as Mirza Sahiba, Ujaala and so on), Kapoor tasted sweet success with this 1957 frothy musical. Husain's directorial debut catapulted him into instant stardom and established as an actor who could carry off those youthfully romantic personas with elan. The film gave him a fresh image--entertaining, charming and spontaneous. His carefree personality as Shankar floored the audience and his quick one-liners drew plenty of wolf whistles. Girls went bonkers over his attractive face, his wavy hair, his stylish swagger and his athletic frame. They started weaving mushy dreams surrounding this flamboyant Kapoor. And, after watching the film I gauged why...
Kapoor in Tumsa Nahin Dekha is drop-dead gorgeous.
His chiselled features, his light eyes, his charismatic demeanour, his easy manoeverings, his lean body, his intense passion, his backbrushed hair willowing in the wind, his magical smile, his cocky nods, his persistant pursuing of Meena...where do I stop? It's easy to lose your heart to Shankar. His angry expression enhanced his sex appeal. And, his husky baritone...sigh...

Tumsa Nahin Dekha belongs to Kapoor all the way. Even though the film was primarily made to promote Ameeta as a sensational find, the script slants towards Shankar and his actions. After a few supporting roles in her earlier films, this film, the makers thought, would make her an overnite star. Sadly, nothing of that sort happened. Ameeta, faded from public memory (though she played the leading lady in Goonj Uthi Shehnai, a 1959 musical) while Kapoor, the then struggling actor, went on to rule hearts.

The story revolves Shankar who is brought up by his mother Kamla. He hates his father, a murderer and a gambler, who deserted his wife and son, to save his skin. This man, Sardar Rajpal, after absconding from the police, settles down in Assam. He toils hard to win back his lost money and honour. He dotes on his adopted daughter, Meena (a very pretty Ameeta). After many years, he decides to search for his wife and son and puts an advertisement in the newspaper. Two young men, both named Shankar, lands up at his estate. Now, it's up to Sardar Rajpal, and Meena, to fish out the truth about these two. Amidst all the suspense, action and drama, love blooms between one of the Shankars (Kapoor, obviously) and Meena. Pran, as usual is up to his devious tricks to bring in the twists.

Apart from the few glitches in the plot, for instance, what takes Sardar Rajpal so long to look for his estranged family, the numerous meanderings regarding the letters and the tedious subplot of the tribals, Tumsa Nahin Dekha is immensely enjoyable. (And, Sardar Rajpal could definitely have done without that hideous beard!) Especially, the portions where Shankar flirts with and teases Meena.

Husain always showed the hero relentlessly wooing the damsel with a sack of clever tricks, rather than depicting the sweethearts already in love. This, he said, hieghtened the excitement. He goes on to do the same in his other blockbusters, Dil Deke Dekho, Jab Pyar Kisise Hota Hain, Phir Wohi Dil Laya Hoon, Teesri Manzil and so on. He also followed the lost and found formula. Members of the same family get separated due to unforseen circumstances or the nasty ploys of a scheming rogue, only to get back together in the end. So, his films always had a happy ending!

OP Nayyar composes a memorable score for this film. The introducing song, Jawaniyaan yeh mast mast reminds me of Lakhon hain nigaahon mein from Phir Wohi Dil Laya Hoon. A similar mood here. Shankar is shown appreciating the bevy of beauties around him, in the expectation that some day he will also enjoy blissful love from a fair maiden. Doesn't Joy Mukherjee do the same, too?

Kapoor's immaculate expressions are best exploited in the title track, picturised on the hero, Ameeta and a fat tonga driver with a bushy moustache. The song's feet-tapping, teasing and fabulous. The prologue to the song is hilarious. Shankar teases Meena throughout the train journey. And then, as she hurries to catch the tonga to escape more harrassment, Shankar mischievously throws his luggage on the vehicle so that Meena is forced to travel with him again. Ohhhh!! Without an alternative, she reluctantly gets onto the tonga. Already seething with anger, Shankar exasperates her further with this jolly-good number to appreciate her beauty and takes a dig at her vanity. This 'lover of beauty' as Shankar calls himself, is so smitten that he sings, "Piye bin aaj mujhey chara hain nasha..." Wonderful!

We enjoy some more gags at the colonel's house where the two are forced to put up due to increment weather. Shankar greets Meena with a jovial "Hello Miss Shut Up" while Meena's eyes brighten with rage. Ha ha. (Perhaps, Kapoor was yet to hit upon his signature 'Memsaab' to address the beautiful ladies).

Kapoor is up to his naughty tricks in Aayen hain door se. This song is a playful number.

Aware that Meena is gradually falling in love with him, Shankar frustrates her even more by feigning love with Seema, a tribal girl. He sings a lilting Chhupne wale saamne aa while Meena, all jealous, watches from behind a bush. This man knows to make the ladies drool!

Differences sorted, Meena professes her love with Dekho kasam se, a catchy ditty that reminds me of O mere sona re from Teesri Manzil due to its context. Ameeta looks ravishing here. Her bright eyes, her rosebud lips, her plump frame, everything is adorable. Though she looks a tad uncomfortable in westerns, she is eye-catching in easterns. Her short curly tresses accentuate her photogenic face. God knows why success evaded her?

The last song is Sar par topi lal hath, a folk number superbly rendered by Mohd Rafi and Asha Bhonsle. Picturised on the lovely Meena and handsome Shankar, this song is a chart topper. And when, Kapoor tilts that topi with a swift move, his lips laced with a striking smirk, all that escapes my lips are, "Tumsa nahin dekha!"