Evergreen charmer (Paying Guest)

Dev Anand was not just about romance and good looks. He was much much more. He was about freewheeling fun, about harmless naughtiness, about rollicking laughter, about teasing flirtations and about a gorgeous, gorgeous smile. Paying Guest is a film where you see all these facets of this evergreen charmer. Even though you have the lovely Nutan to feast your eyes on, it's Dev Anand who grips you with his uninhibited panache in this 1956 romance. Right from the very beginning.

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Surprisingly thrilling (Mahal)

I would call this Shankar Mukherjee film a serious washout if not for the gripping last hour. Mahal, like its earlier cousin, turns out to quite a thrilling venture thanks to the taut storyline and the unconventional execution. What appears to be a run-of-the-mill trying-to-be-clever noir mystery, actually unravels as a innovative entertainer. I admit that Dev Anand is past his prime and tries his mannerisms a bit too much, Asha Parekh hardly gets a meaty role, and the character actors are too scattered in their job, but overall I found the film picking up pace towards the end. And trust me, if it would not have been worth it, I wouldn't have been writing this post. For, I wouldn't have spent time completing the film.

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Drooling over this cabbie (Taxi Driver)

There is something about the Dev Anand of the 50s. He is raw and roguish, yet so very sweet and tempting. He has this distinct sex appeal that is unpolished, hence wild and terribly attractive. He was yet to get that quintessential swagger of the 60s, the sweep of his mane and his jaunty persona. But in his earlier films, he somehow appeared more passionate and involved in those innovative roles. He bravely took on the parts of pickpockets, thieves and smugglers and he pulled them off with a kind of unconscious flamboyance that made it so heartwarming. His body language was more natural and he did not feel gawky at wearing his heart on his sleeves. Films such as Baarish and Taxi Driver project him is a unique grey light. He was not scared to don the mantle of the shirker and the cynical and his clean approach towards these roles made him such a joy to watch. He displayed no inhibitions and mingled freely with the narrative to make his characters charming as well as flawless.

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Raw appeal (Baarish)

There is a good thing and a bad thing about watching a very, very old Dev Anand film. That would be films in the 50s, when he was yet to become the charismatic debonair who made all of us weak in the knees. He was yet to get the swagger, that style, that mischievous glint in his eyes that crushed the knee caps to jelly whenever he appeared on the screen. And yes, he was yet to get that sweeping hairstyle!

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Six sweet hours (Solva Saal)

I'm extremely fond of Dev Anand in this avatar. In Raj Khosla's Solva Saal he is a naughty, smart, charming and gorgeous man who devastates with his smile, which thankfully comes across quite often. The best part is that he is witty, fast and makes light of almost every situation. So, you get to see his fascinating smile all the more. He flirts with elan, is in command of every situation and romances so cutely. In 1958 he was yet to become heavily dependant on his signature mannerisms. So, what we get is a free, casual and rollicking character in Prannath Kashyap. Yes, even the name has an element of fun in it.

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Soulful sonatas (Maya)

This is one film that will stay on with you because of the wonderful music. The story has been heard before, the characters seen and the denouement expected. But these songs are so powerful even today that whenever they play they bring bliss to my senses. I'm talking of Salil Chowdhury's fantastic score in  Maya, the 1961 romance directed by D.D. Kashyap. The film has a likable plot and famous faces. But more than anything, the songs just stand out from the crowd of events and situations, pulling you into a soulful reverie that lingers on for eternity...

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Anand in a different garb (Kalapani)

Dev Anand and dashing go hand in hand. His very name conjures up an image of a freewheeling youngster whistling away in the woods, singing some peppy romantic numbers and wooing the woman in his own charismatic style. He flashes that characteristic smile at every instant to destabilise you, he walks with that swagger reminding you that there will only be one and only one Dev Anand. So, when you see this happy-go-lucky charmer almost transform his intrinsic personality to get into the skin of Karan Mehra in Raj Khosla's Kalapani, it is a surprise for sure.

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The truth of life (Asli Naqli)

There is seldom anything wrong with the films made by Hrishikesh Mukherjee. Even when he was yet to dabble with wholesome comedy, he was making films that were sweet, simple and sensitive. His characters were immensely likable, his narrative was crease-free and his stories were absolutely enthralling. It is hard not to enjoy films such as Anupama. And, the same can be said about the beautiful film called Asli Naqli, a joyful enterprise about life and love...

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Mysteriously forgettable (Baat Ek Raat Ki)

Sometimes the last 30 minutes of a film turns out so good that I'm ready to forgive the otherwise tedious rest. Especially when the twists are pretty sudden and one clever ploy by the director bolsters the climax up. The mundane script makes a somersault into the fast lane and you sit tight for the proceedings. Shankar Mukherjee's nondescript thriller Baat Ek Raat Ki is a film that falls in this group. It starts off with the promise of a tantalising mystery, slows down with some redundancy, is tedious because of the time invested in developing the love angle and then suddenly, like a bolt from the blue becomes fast and action packed again towards the end...

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Problem of plenty (Teen Deviyan)

I currently share the plight of Dev Anand in Amarjeet's 1965 romance Teen Deviyan. Just when one problem is dealt with, another worry is wickedly grinning from around the corner, all set to upset your peace of mind. You think that all matters of concern are laid to rest and you can at last call it a day, but then the work and worries keep piling up. The dilemmas cloud up your senses and very soon you can hardly see any light at the end of the tunnel.

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Treading untried territory (Bombai ka Babu)

Come to think of it, there are quite a few films where Dev Anand has portrayed characters undergoing immense mental turmoil. There's Hum Dono, Asli Naqli, Guide and Kala Bazaar. But, in Bombai ka Babu, his character tilts towards the dangerous territory of incest. A full-bodied man, Babu has to suppress his passion for a beautiful woman only because he is duping her family pretending to be their long-lost son. And in doing so, he is supposed to be her brother. With a plot as fascinating as this, Bombai ka Babu is obviously a thrilling experience. You sympathise with this angst-ridden young man as he is forced into the crime world and stay riveted when he helplessly tries to clear his ground before the charming Maya.

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Introducing an anti-hero (Kala Bazar)

Can we call Dev Anand one of the first anti-heroes in the history of Hindi cinema? For, there are roughly three major films where he handles his grey tones with panache. I'm talking of Guide (1965), Asli Naqli (1962) and Kala Bazar (1960). In all these films Anand's character starts off negatively. But after a certain cathartic moment, he emerges from the flames that help to purify him. In Asli Naqli, his metamorphosis happens when he sees that true love actually resides in poor homes because that emotion needn't be validated by money. In Guide, a personal trauma shakes him up and he atones for his sin by helping villagers. And, in Kala Bazar, the change comes through because of his love for a beautiful girl.

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Incorrectly titled (Nirala)

I should have steered clear of this one. But, how was I supposed to know? Dev Anand, in 1950, looked simply awesome, Madhubala was as usual ravishing, and the expectation of a breezing romance between these two attractive people surely looked enticing.

But, I was duped. For, the very title of Deben Mukherjee’s Nirala turned out to be stupendously misleading. Yes, it was different, as ‘nirala’ should be, but in a very negative way. What starts out as a fun romance disintegrates into a weird tragedy that is puerile and vague, with no plausible reason for becoming so.

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Destination music (Manzil)

I have hardly seen Dev Anand play such a brooding character. Generally this suave and dapper young man entertains with his light frolicky persona. But his Rajkumar Mehta is different. Defiant and determined to the core, Anand, in Mandi Burman's Manzil, is most of the time inebriated and weeping over his unfaithful beloved. But, this 1960 romance's lead pair piqued my curiosity. Nutan and Dev Anand make a handsome couple and the way the film starts, you will be keen to follow this Raju as he scales the heights of success.

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Three in one (Pyar ka Mausam)

Club Nasir Husain's Tumsa Nahin Dekha, Dil Deke Dekho and Jab Pyar Kisise Hota Hain, and you get Pyar ka Mausam. But the astute Husain doesn't cheat you in any way by simply rehashing from his 1957, 1959 and 1961 hits. He throws in more drama, twists, colour and characters to make his 1969 romance thoroughly enjoyable. The segments from the earlier films are stitched so deftly that unless you watch closely, chances are you will miss them. For, the plot flows like a brook, peppered with plenty of action, romance, song and dance. With Nasir Husain at the helm, one thing is certain...thorough cinematic entertainment.

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Terrific tramp (Awara)

The first thing that strikes me when Awara opens is how shockingly handsome Prithviraj Kapoor is. Pushing 45, this heavily built man almost reminds me of a Greek God. Playing the obstinate Justice Raghunath, Prithviraj shows why the Kapoors could mesmerise the audience with panache. Every expression is spot on, his booming baritone modulates impeccably, his eyes belie happiness, pain, sorrow and scare with utmost ease and his personality is too overwhelming to avoid. Thank heavens he passed on those brilliant genes to his sons...

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When love beckons (Jab Pyar Kisise Hota Hain)

Some films take time to grow on you. Nasir Husain's Jab Pyar Kisise Hota Hain is one of them. The first time I watched it, I thought the script is erroneous, the chemistry between the lovers tepid and the songs just about tolerable. I had thought that I would never watch this 1961 romance again.
But, I'm happy to admit, I was wrong. The other day, I tried it again. And voila, this time the film looked different. I loved the songs (except the first two forgettable numbers), Dev Anand was naughtily charming and Parekh was very pretty. I neglected the plot loopholes and enjoyed myself. Films and their layers, never fail to surprise me!!

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Twin bonanza (Hum Dono)

Hum Dono is an archipelago of emotions. A poignant drama revolving around the inanity of war, Amarjeet's 1961 classic is a rare treat for the senses. Whether it is the warmth of a mother-son relationship, the closeness of two sweethearts, the faith and trust between a married couple or the promise of filial love, Hum Dono's large canvas has equal opportunity for all emotions. With tender moments galore, this Dev Anand-Nanda-Sadhana masterpiece reinstates my love for social and family dramas. Oh! How I love this roller-coaster joyride...
What does war do to a man? Vijay Anand pens a touching saga to address this issue. He highlights the banality of war and the sad repercussions such political maladies have on a common man's life. A war tears a son away from his old and frail mother, it separates a man from his loving wife and it builds a huge wall between two sweethearts harbouring a dream in their expectant hearts to settle down in bliss. Even when war ends, nothing is hale and hearty.

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Love thy neighbour (Tere Ghar Ke Saamne)

Didn't know Vijay Anand had this in him!!! A breezy, fun romance that is! Without his trademark suspense, sudden twists and nailbiting action... In 1963's Tere Ghar Ke Samne, he sheds his sleuth like qualities to give film lovers a joyful musical. And, he puts in the backdrop, a baseless rivalry between two good-natured neighbours...Though the film begins on a very Romeo-Juliet note, its end is predictable, and hence, immensely satisfying...

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Thrill pill (Jewel Thief)

Chor bahut chalaak hain. But, even more clever are those who created this chor. The year was 1967. Navketan gifted filmlovers a movie whose magic is yet to be replicated. Dev Anand and his younger brother, Vijay outdid themselves. They made Jewel Thief, a rare suspense thriller that is sleek, stylish and engaging. In the same genre as Hitchcock, and maybe a little of Bond, this jewel of a film sends chills down my spine after every frame. I am yet to be done with it...

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