Monday, 17 January 2011
For, Karan has to be really intense and persevering to get to the real killer. He cannot waste too much time romancing the ravishing Asha. He cannot do too much singing and whistling barring when it is absolutely needed. He has to play a game of love to gull a courtesan. And yes, he has to look vulnerable and strong at the same time.
At the very outset we learn that Karan has just come to know that his father has been wrongly imprisoned for the last 15 years for committing a murder. Acting on an impulse, he rushes to Hyderabad from Bombay to meet his father. When he sees his old man for the first time after so many years, his heart is pained to see the frail prisoner. He is even more shattered when Shankarlal (please identify this man for me! But I must say that he failed to garner my sympathy. So blank were his expressions and he seriously looked like a lunatic paedophile in my eyes!!! Nothing compared to the divine performance of Chhabi Biswas in Sabar Uparey) tells his son that he was wrongly convicted. He did not kill Mala, the courtesan. This changes Karan's world. Now he will only rest after getting his father absolved of the accusation. Thus starts the search to get to the bottom of the deep dark secret.
Karan's battle for the truth is a riveting spectacle. On his way he meets the determined press reporter Asha (Madhubala) who helps him out in every step. He is assisted by Badru (Agha), Madhosh (Mukri) and Daulatram (Jankiram). He is egged on my the retired inspector Mehra (Nazir Hussain), who was partially responsible for the imprisonment of Shankarlal. He notifies Karan about Kishori, a reputed courtesan who had testified against Shankarlal 15 years earlier. This knowledge takes this youngster to Kishori's court where he plays a jolly good game of love to get his hands on the proof that will reopen his father's case in the court and thus, exonerate him.
What a beautiful role for the breathtakingly beautiful Nalini Jaywant. The other day my husband told me that this gorgeous actor passed away alone. No one even bothered to pay their last respects to her. She was cremated by an old faithful servant. Surely, this is not the kind of behaviour and commemoration our veteran artists deserve. I was deeply pained by the news...
We come to the evil Rai Bahadur Jaswant Rai, the public prosecutor who twisted the law so that the innocent is victimised. Surely, Kishore Sahu does look every bit as menacing as his character is supposed to be. He is wicked, cunning and forever scheming.
If you have Karan playacting to fool Kishori on one hand, you have the bliss of true romance between Karan and Asha on the other. It is difficult not to be affected by such a ravishing face. Madhubala is earthshatteringly attractive (and she wears a host of sexy blouses, too). A hardworking and resourceful press reporter, Asha is the perfect unction to Karan, ravaged by the atrocities meted out to him by the power brokers of society. I love the first scene where Karan is stunned by her beauty and almost fumbles for words. Then there are those lovely intimate scenes where the two grow close to each other. After the misunderstanding is taken care of we have the chirpy Achaji main hari, a song that will forever be a golden classic. Not just for Madhubala's captivating allure, Asha's breezy rendition, Rafi's sweetness and Dev Anand's poker-faced humour, but also for the fact that reinstates everyone's belief that a tiny fight only strengthens love.
Then we have the climactic Dilwaley ab teri gali tak, picturised on the glamorous (albeit a blackened) Madhubala and a charming Dev Anand, with Sapru lending those lecherous glances towards the damsel. It is a gripping and nail-biting situation yet a lovely buoyant number. Trust Raj Khosla to come up with these fabulous tricks.