Due credit (C.I.D)

Dharam Dev Pishorimal Anand writes his heart out in Romancing with Life, his autobiography. He traces his roots to Gurdaspur and recalls his struggles as a strapping but thin 25-year-old jobhunting in busy Bombay. He dots the narrative with multihued incidents from his film career and personal life that made him DEV ANAND, the star. While doing so, he credits Vijay Anand's Baazi for making him a household name.
He says that during Baazi's premiere he even wore his berret in the same lopsided fashion as he did in the film. He writes, "The girls surrounded me and shrieked out my name in frenzy. I took off the berret and threw it high up in the air. It landed up in the hands of a pretty girl, she kissed it and ran off with her catch... This was what Baazi did to me."
A similar thrill grips me everytime I watch...not Baazi, but C.I.D. Yes, strangely the actor has not allotted much space (a few words maybe) to this gripping Raj Khosla thriller in his memoir. Surprising indeed. More so, as this film is replete with style, substance, story and fabulous performances. And also because, in terms of content and quality it beats Baazi (I found the film boring, tedious and the waif-like Kalpana Karthik unconvincing as a doctor!). I'm not even getting started on C.I.D's music...class compositions by melody wizard O.P. Nayyar. I hum them all the time...be it the rustic Booj Mera Kya Naam (picturised on comedian Mehmood's sister), the romantic Aankhon Hi Aankhon and Leke Pehla pehla Pyaar and finally, the menacing Kahin pe Nigahen. Geeta Dutt, Shamshad Begum and Mohd Rafi congregate to render gems.
The film's plot is pretty ordinary but the execution is top notch. You have a dashingly attractive CID inspector (suave smart Anand) investigating a murder case to nail a ganglord. The villain plays dirty and sends his sidekick to embroil Anand in a murder-in-custody controversy. In the meantime the inspector has the time to pursue his senior's daughter (expressive Shakila, if not mirror-cracking material!) with beautiful songs and crisp one-liners (Hindi cinema this is and I'm not complaining!!!). He succeeds with panache. While he is under suspicion from all quarters Shakila is the only person who trusts him. The rest of the film entails how the hero clears his name and everyone (including the audience) goes home happy. No...I haven't given it all out yet...
There is a spark in C.I.D the embers of which die hard. The nailbiting finish is unforgettable. I often discuss with fellow moviebuffs the repercussions if THIS had not happened and THAT not taken place in the narrative. I am at the edge of my seat during Kahin pe Nigahen because I know, "One wrong move and you are done for." So tight is Khosla's direction. The protege learnt his art well from his teacher Guru Dutt.
The graceful Waheeda Rehman makes her oh-so-good debut as the villain's pretty moll. Considering that this is a Guru Dutt production, something special had to be slotted for her!!! She leaves an imprint. Rehman makes Shakila look lame with her pointed expressions, her saucy dialogues and her lascivious innuendos. She is young, vivavious and her character is like an onion, you keep on peeling and still she is an enigma. Great job for a first I'd say...
When I saw this film the first time I loved it. Yesterday, I think, if my math is good enough, I saw it for the 23rd time. And, I loved it just as much. I know every dialogue, every sequence and every song by heart. But it doesn't tire me. I know how the film ends but I'm game to watch it again and again. I call that the Khosla, Anand and O.P. Nayyar syndrome. Considering that there is a paucity of good thrillers today I might as well revisit this 1956 classic to get my fill. So, Dev Saab, next time you are penning something, how about a few words more on this 1956 masterpiece...