Asian fiesta (Love in Tokyo)

When you have Asha Parekh in a film, no matter how far-fetched the plot is and how irksome the melodrama, just sit tight. For, this spunky actress guarantees fun. Disguised as a young Sardar, she entertains to the hilt and when the charade is over, she enthralls as Ashok's pretty sweetheart. Dancing like a deer and a crackshot with emotions she makes Pramod Chakraborty's Love in Tokyo a delight. Not to mention her sparkling chemistry with the dashing Joy Mukherjee...

1966's Love in Tokyo is a wonderful romance, replete with action and comedy. While the love-shmuv is taken care of by Joy Mukherjee and Asha Parekh, the comedy is handled by the superb trio of Mehmood, Shubha Khote and Dhumal (they did the same in Ziddi). Shankar Jaikishan gives us a veritable lot of scintillating songs and yes, Pran works up his usual spicy magic as the scheming villain. 

Gayatridevi (Lalita Pawar) sends her younger son Ashok (Mukherjee) to Tokyo to fetch her grandson Chickoo, an orphan. Ashok is engaged to marry Sarita (Lata Bose) but he is not really interested in her. In Tokyo, when he meets Chickoo, he is surprised to find that the young boy is quite an enfant terrible and is least bothered to go to India with him. But Ashok is hell bent on doing his duty. While roaming about in a shopping mall with his nephew, Ashok's attention is diverted towards a TV show airing a dance programme. He is mesmerised by Asha, the dancer (and who can blame him!). In Koi matwala aya mere dwaarey, Parekh is almost like an apsara, fluid in her classical moves and beautiful in her resplendant garb. Ashok sets his eyes on this ravishing damsel. But, while he is weaving halcyon dreams of Asha, Chickoo escapes from Ashok's grip into the lit-up streets of Tokyo.

Back in Asha's home, her uncle (Madan Puri) wants her to marry Pran (Pran), as he would benefit from the allaince. But, Asha detests the sight of him and feeling grossly cornered, runs away from home. Asha and Chickoo bombard against each other. The two become fast friends and promise that both will save each other from becoming captives. Asha disguises herself as a Sikh young man from a garments shop owned by Dhumal and dresses her young friend as a little girl. And, the adventure starts...

Very soon Parekh, as the Sikh, would be meeting the hassled Ashok and fooling him with frenzy. Then she would dress up as Chickoo's Japanese aunt and wreak havoc on Ashok's heart. The fun would continue till Ashok calls her bluff and the two forgive each other to embark on their lovely romantic trip. Full of song, dance and mush (and lovely costumes worn by Asha Parekh), their pair is awesome. Mukherjee is tall and robust, Parekh is delicate and pretty. She is quick and smart as the sardar, attractive and clever as Chickoo's aunt and charming as Asha. I love her fitting black outfit when she comes to meet Ashok near the harbour. Very chic. Prattling off in her Japanese-accented Hindi (that's kind of tame, though!) she is a pleasure to watch. Can't imagine anyone else in Sayonara sayonara. What a wonderful composition sung by Lata Mangeshkar. Peppy and cute, this is a golden classic. And Parekh truly looks like a Japanese doll...

Ashok and Asha's love story is full of twists and turns, mostly instrumented by the devious Pran. He abducts her when she is enjoying herself with Ashok in the title track (Mohd Rafi's energy level in this song knows no bounds) only to be rescued by Mahesh (Mehmood) and Sheela ( Shobha Khote). Comical to the core, when you see the scene you'll know why Mehmood is so important to the film. When everything seems rosy Asha again has to bear the brunt of Gayatridevi's (sad that Lalita Pawar has such a short role) wrath. Ashok's mother will not brook Asha in Ashok's life as he is already engaged to Sarita. But, a very dramatic accident and the resultant blindness of Ashok saves the situation... Didn't I say melodrama? But, I can still gulp it down... Just for Parekh, Mukherjee and the songs.

There is a sizzling rain song in Love in Tokyo. It's called Aaja re aa zara. With Parekh in a wet green saree, Mukherjee can barely keep his hands off her. Smitten by her beauty and charm, Ashok almost consumes Asha with his passion. The sensuous number is pleasurably teasing. Courtesy Rafi's top rendition... Sheer magic, I tell you...

Then there's the melodious Ae mere shahen khubaan. It's beautiful and breathtaking. Bringing together two lovers, it's a marvel. That's all I can say...

My favourite song in the film is Mujhey tum mil gaye humdum, not just for its mellifluous quality, but also for the dramatic picturisation. Asha, shining in her crimson party saree, has to make a tough choice. She has been blackmailed by Pran to be party to his odious plots. Though she is smiling, her eyes belie the pain and fear she feels in her heart. She dances with Pran in front of Ashok so that he is stabbed by jealousy. Ashok is hurt and angry but he keeps playing the piano. Amidst all this turmoil, Asha continues singing this awesome number... Great execution!

Now we come to the ribtickling subplot. Mahesh is in love with Sheela but her father opposes the match. But, Mahesh is a tough nut and he has loads of funny tricks up his sleeves to outwit Dhumal. Watch him in the scenes where he dresses up like a geisha, where he fools Dhumal as Chatterjee and where he is the Sadhu! Uproarious!! I love his pairing with Shobha Khote. Their crackling chemistry is evident in Manna Dey's Main tere pyar mein bimaar hoon... Just marvellous!

The only glitch is the length. Wish we could delete the inane flying scene of Mehmood (ridiculous) and tighten the melodrama bit. They kind of eat into this memorable romance that is otherwise so very adorable...