Posts Tagged ‘Salaam aapki meethi nazar ko’

Rafi Sings for Shammi Kapoor – Part I

July 5, 2010

I’ve been toying with this idea for quite sometime now but was just too busy with lots of other things.

It was dustedoff’s post on Rafi that triggered it all followed by bollyviewer and kanan. I sat down to think but couldn’t get past the romantic numbers to think of any other moods or rasas. To be honest, I wouldn’t even be able to classify Rafi’s songs into moods and rasas correctly. So I came up with an easier option but that was a herculean task in itself again!

 Rafi + Shammi Kapoor + Romance = Hundreds of magical numbers and each one a masterpiece.

So I decided to follow bollyviewer’s trick again  – yes, alphabetical listing of Rafi’s songs picturised on Shammi Kapoor. But when I started thinking of songs that start with ‘A’, I came up with 6 songs in less than a minute…That made matters worse increasing my plight. Since there are so many songs of this duo, I’ll do this post in parts. This is the first volume of the series. And also I had to impose so many other rules so that I could at least come close to finishing this post – like listing not more than one song from a movie, all the numbers preferrably a solo (which I’m sure I’ll break half-way through), but will try to follow as much as possible (without this I’ll never be able to decide on one song,  and also this way, I’ll get to cover a wider range).

 Four most important men in my life : My Dad who introduced me to the other 2, in fact all the other three . Dad had a huge collection of retro songs (cassettes and LPs) and those was my first introduction to Rafi. We were in Bhutan initially and the advent of television had not reached there in the 80’s. It was after we came to Nepal in the early 90’s that I actually saw these songs on tv. Again, it was Dad who used to follow Rangoli and Chitrahaar regularly and that led me to Shammi Kapoor. Most of the songs were already familiar by then and seeing them on screen, most of them filmed on Shammi Kapoor simply stole my heart away – I instantly fell in love with this jodi. Then I put in an extra effort to learn Hindi so that  could understand the lyrics as well. The final man, being my brother, though he isn’t interested much in retro movies and music, I love him nevertheless. These are the most important men in my life whom I love and adore  the most. And this post is dedicated to them. Love you all!!!

This is what Shammi Kapoor himself  had to say about Rafi.

A. Apni baho se koi kaam toh lo (Budtameez, 1966) : I go weak in my knees everytime I hear this song. Had I been in Sadhna’s place, sirf thaamna nahin main toh utha hi le jaati Shammi Kapoor ko 😛
The video on youtube doesn’t have the entire song, but the audio is available. Only this Rafi-Shammi duo could have done justice to this song – Rafi’s intoxicating voice and Shammi’s inimitable style and crazy moves – it’s simply mindblowing.

B. Badan Pe Sitare (Prince, 1969) :  Romantic, naughty and peppy all at the same time. Outstanding rendition by Rafi – the way he changes the tenor of his voice when he sings Zara paas aao toh chain aa jaye, creates a shivering effect. And nobody could match Shammi Kapoor when it came to wooing a lady – he did it with style. Hai banne sawarne ka jabhi mazaa, koi dekhne wala aashiq toh ho….(very occasionally I use make-up but when I do and look at the mirror, this line automatically pops up into my head ;-))Mohabbat ki ye inteha ho gayi, ke masti mein tumko khuda keh gaya…….what beautiful lyrics! And the way Shammi and Rafi carry themselves throughout the song, their energy level is truly remarkable.

C. Chakke pe chakka (Bramhachari, 1968) : This song doesn’t spell romance like how majority of Shammi Kapoor’s songs do. This is more of a fun and lively song that he sings with a bunch of kids. Picturization apart, we can feel the fun and masti in Rafi’s voice. All their songs give us that feeling that Rafi actually enjoyed singing them and Shammi Kapoor enjoyed portraying them equally.

 
D.  Deewane ka naam toh poocho (An Evening in Paris, 1967) : Lively and romantic! How his leading ladies managed to ignore and resist him is beyond my comprehension. Shammi Kapoor has this interesting style of expressing emotions through his body language – his head, neck, body movements were and still are very unique. Great lyrics, refreshing music, amazing starcast, beautiful city and Rafi and Shammi in total synch with each other – a deadly combo.

E.  Ehsaan tera hoga mujh par (Junglee, 1961) : Shammi Kapoor’s first film in color. This song is soft, romantic, sensous and intense all at the same time.  He emotes so well, especially with his eyes, they are so intense that everytime I see this song,I get carried into a different world all together. And it’s not just Shammi doing that, we can hear the emotion in Rafi’s voice. I love the variations in the word Mohabbat…it’s rendered differently every time.  Shammi Kapoor looks terrific in this and Saira is lovely. Fabulous composition, sweet and romantic lyrics, magical voice and heavenly Shammi Kapoor!

F. Yahoo!!! Chahe koi mujhe junglee kahe (Junglee, 1961) : Can’t think of any song that starts with ‘F’ or “Ph”…So, here I go with the most popular song of this jodi. I know I’m breaking the rule and making it all the more obvious by listing two songs back-to-back from the same movie. But how can I not include this song in a Shammi Kapoor special post – it would be a sin! This song has more or less become his pehchaan over the years. Shammi Kapoor looks so attractive esp when he sings mere seene mein bhi dil hai…and ek muddat se yeh toofan…adore him inspite of the lipstick. And god, his eyes, I get drowned in them (Sharbati teri aankhon ki jheel si gehrai mein, main doooooooob jaati hoon…btw, what’s the masculine version of Sharbati?) and so is Rafi’s voice, it’s magnetic!


G. Govinda aala re (Bluffmaster, 1963) : This festive and lively number is one of the best things about this movie. And here I go breaking my own self-imposed rule of including only solo rendition! Shammi Kapoor dances with frenzy in his typical signature style making this song highly entertaining. And Rafi’s energy is amazing!

H. Hai duniya usiki zamana usika (Kashmir Ki Kali, 1964) : Not a very lively song like the rest of them, it’s more of drowning the memories of an old love in drink, but romantic nevertheless. O.P Nayyar’s Music and Rafi’s voice on Shammi Kapoor is an unbeatable combination.  The guy on Saxophone rocks…and the entire ambience is so lovely – scene of a closing bar, one last jam and this magical song. If you just listen this song, you will feel like Rafi is acting and when you watch, you feel it’s Shammi singing the song (which is the case in most of their songs). Absolutely brilliant – voice and acting made for each other.

I. Is rang badalti duniya (Rajkumar, 1964) : This song renders me speechless! It’s an example of a composition and combination par excellence. Yeh dil hai badaa hee diwaanaa, chhedaa naa karo is paagal ko tum se naa sharaaraat kar baithhe, naadaann kee niyat thhik nahi …followed by Kashtee ko sanbhaalo maujon se, toofaan kee niyat thhik nahi and Main kaise khuda hafeez kehdoon – amazing lyrics. And the passion with which Rafi sings those lines and Shammi portrays them is mindblowing. Helplessly in love and trying his best to resist lovely and ethreal Sadhna, he warns her from provoking him and at the same time lures her into doing that very thing – truly classic!

J. Jawaniya yeh mast bin piye (Tumsa Nahin Dekha, 1957) : One of Shammi Kapoor’s earliest hits and it’s through this film that he attained the image of a light-hearted, stylish and romantic hero. This is the introduction song where he is appreciating the bevy of beauties around him, with an expectation that some day he will also find somebody and enjoy blissful love from a fair maiden. Rafi’s voice modulation is amazingly perfect and Shammi Kapoor looks soooo delicious!

K. Kiss kiss kiss kisko pyaar karoon (Tumse Achha Kaun Hai, 1969) : I am not very fond of the movie…the only reason I saw it and saw it till the end was because of Shammi Kapoor and all the lovely songs it has.  Look at his energy even at this age! Rafi  matches that onscreen energy so well. Nobody else could have performed this song the way Shammi Kapoor has. One would think it is him singing this song. And he is the only one who can dance like this without looking ridiculous.

L. Log kahe mujhe pagla kahin ka (Pagla Kahin Ka, 1970) : I adore Helen and I’m a big fan of her dancing. But I love it all the more when Shammi Kapoor is around to give her a company. I actually wanted to include Lal chhadi here but couldn’t think of any other song from M other than Meri mohabbat and Main gaun tum so jao. I already have one song above from Brahmachari and if I had to choose Lal chhadi here, I would have had to think for another song from ‘M’. I’m just making my work earier. Great song again – hyper-energetic singing from Rafi to match Shammi’s dance.

M. Meri Mohabbat Sada Rahegi (Jaanwar, 1965) : Good looks, inimitable style, velvety voice, such aashiqui – how could anyone resist! Shammi Kapoor and Rafi add to the scenic beauty and infuse romance in the air. Just listening to these songs makes one want to fall in love – Timeless Classic! Forget singing, if anybody would just dedicate one Shammi Kapoor song sung by Rafi to me, I would be on cloud nine.

N. Nazar bacha kar chale gaye ho (Dil Tera Deewana,  ) : Another movie which I am not very fond of but it has such fabulous music! I haven’t come across a Shammi Kapoor film that doesn’t have good songs. I usually like all Shammi Kapoor movies but this and Tumse Achha Kaun Hai, I felt, were dragged too long.  But again, as long as I get to see Shammi Kapoor on screen and listen to Rafi’s voice, I don’t mind watching/re-watching any movie, esp when Shammi Kapoor is looking so YUM! This song was also the background score of Shammi Kapoor’s home page.

O. O  haseena zulfon wali (Teesri Manzil, 1966) : All the songs that I can think of are duets, so I am going ahead with my all time favourite song from one of my favourite films featuring my favourite jodi.  Oh jaane wale sun zara, O jhuke jhuke naino wali, O mere sona re sona re were the others, but as long as I have an option of choosing Teesri Manzil song, the others don’t stand a chance. O mere sona re is more of an Asha song than Rafi. So here I go with this. I’ve been resisting so hard to include Teesri manzil songs from the time I started this post. I wanted to include Deewana mujhsa nahin but I sacrificed it for Tumne mujhe dekha (one song per movie restriction) but got stuck here. Let me think of some other song that begins with ‘T’ now.

 P. Pyaar ki kasam hai (Dil Deke Dekho, 1959) : Each song in this movie is a gem and I was desparately waiting to include at least one of them here. I could almost do “My ten favourite Shammi Kapoor songs” from just this one album. Be it the lyrics, music, Rafi and Asha’s rendition or the handsome pair on screen – it’s simply awesome! Dashing Shammi Kapoor, gorgeous and young Asha…There’s innocence, a chulbula-pan, playfulness and romance about it that I adore in this song.

Q. Q – Jab mohabbat jawaan hoti hai (Jawaan Mohabbat, 1971) : The closest I could come to Q was Bada quatil hai yaar mera but when I was anyways compromising, I thought I might as well do it with a song that I really like. Though I love and adore Shammi Kapoor, I prefer his films from the 50’s and 60’s more than the 70’s (in fact, this is not just for Shammi Kapoor films….50’s and 60’s are my favourite decades). But again, a Shammi Kapoor film with so many songs by Rafi is too much of a temptation to resist. I had seen this film long ago, I don’t really remember the story to comment on it, but I love the songs. I had first heard Na rootho na and that alone led me into watching the entire film. I didn’t really notice this song when I actually saw the movie 😉 But later heard this song on Vividh Bharati and fell in love with it. I’ve been trying to figure out and fit this song into the movie ever since  but with no luck so far. Guess, I’ll have to re-watch Jawaan Mohabbat.  I had almost forgotten about it until Nasir posted it on his blog one fine day and I listened to it non-stop for few hours together. I felt as though I had found some long-lost possession. 

R. Rasa sayung re (Singapore, 1960) : Awwww….I simply love this track! Initially I was thinking of Rahi mil gaye raho mein from ‘R’ but since I included a song from DDD above, I had to think of another song and though it’s not a solo (again), I simply couldn’t think beyond this number. I can’t imagine anybody else other than Shammi Kapoor in this song. Nobody else can carry himself the way he does, jump around, dance like crazy and yet look so adorable! I know it’s a Shammi Kapoor special post, But I can’t help not mentioning how lovely Helen looks – like a doll, with such graceful movements and amazing expressions. And Rafi so effortlessly matches upto the onscreen chemistry, liveliness and the folklore.


S. Salaam aapki meethi nazar ko (Boyfriend, 1961) : What a romantic song this is! There’s emoshun, magic, nasha and romance in Rafi’s voice and Shammi Kapoor portrays each of them so beautifully. It’s a treat to the ears as well as to the eyes – a delightful song with a very pleasant picturization.

T. Tum ne mujhe dekha (Teesri Manzil, 1966) : I did think of couple of other songs from ‘T’ (from other movies) but this is something I couldn’t move ahead without. And, now this is a direct cntrl+C – cntrl+v from bollyviewer‘s post ( I can’t even think of attempting to write anything as apt and beautiful as she has – am admiring beauty in every form)-

“While most if us are lost in the wonder of his voice, Rafi could be vocally lost in the wonder of discovery in other ways – as this song highlights. “Tumne mujhe dekha hokar meherbaan” (you looked kindly on me) – you can hear the joy and the wonder of a man who, contrary to his expectations, finds himself loved by his beloved. Rafi banks down his vocal energy, playing this as a sweet love-lorn man, just happy to have his love reciprocated, and you can’t but feel for Shammi’s joy. Is it any wonder that Asha Parekh is weeping into her cocktail at having to deliver a heartbreaking-punch – I wouldn’t be able to do that in the face of that golden voice!”
(In my own words – neither would I!)

 

U. Ukele ukele kahan jaa rahe ho (An Evening in Paris, 1967) :  The only song I can think of is Ukad dukad bamba…if only this had been a duet 😦 Ukele and akele don’t sound very different, do they? 😉

 Another classic song….Shammi Kapoor pursuing his ladies is something that I just can’t get enough of  (I love  him, and love him lots but I don’t get jealous ;-)…hee hee)- it ensures lots of fun, masti, his antics and fabulous music which is always a pleasure to watch and listen to.

V. Voh Marne Se Nahi Darte (Shama Parwana, 1954): I had never heard this song before, thanks to Venkatadri sir. Anything in Rafi’s voice is a treat and that too when it has Shammi Kapoor in it, it’s like sone pe suhaga. Not as lively and full of energy as the other songs but mindblowing all the same.

W. Woh bijli hai hum shola (Vallah Kya Baat Hai, 1962) : I never knew that a film like this existed until I heard Ek toh surat pyaari on Vividh Bharati one morning just as I was leaving for work but I missed the name of the movie. A playful number like this had to have Shammi Kapoor and the mention of Neeli Aankhen, Rafi’s voice and O.P Nayyar-ish music just added to my suspicion. I decided to check this song on youtube, but by the time I reached office, I forgot the mukhda except for the Neeli aankhen part. Unable to recollect the song, I was so restless that I cound’t concentrate on my work. So I spent quite sometime searching for the song – googled for Shammi Kapoor’s fimlography, then searched for and listened to all the songs of the movies I didn’t know/hadn’t heard of till I finally hit the jackpot. And was quite surprised to find out that Roshan was the Music Director! One song led to another and I ended up buying the movie. It’s review has been pending for a very long time. Let’s see when it’ll find it’s place here. For the time being, this song will have to do. A song like this is Shammi Kapoor’s forte, he twists and turns  and rocks-n-rolls and sets the floor on fire. Must say Beena looks enchanting here. And Rafi and Shammi Kapoor – is jodi ki Vallah Kya baat hai!

X. X-Baar bar dekho hazaar baar dekho (China Town, 1962) : I could compile yet another list just with the songs he’s performed in the night clubs! There are so many of them and all of them are ek-se-badh-kar-ek! Not many songs that begin with X, so here I go with another favourite song of mine which I couldn’t include earlier due to my self-imposed restrictions. And it struck me only now, I could have called this jodi Shafi (or Rammi rather). This is such a catchy and peppy number and if Shammi twists to it, it’s Rafi who rocks! ( I’m not very sure what that means myself, I am just going with the flow and  typing whatever comes into my mind).

Y. Yeh chaand sa roshan chehra (Kashmir Ki Kali, 1964) : This song is so cute! Kashmir’s beauty, Sharmila’s dimples, Shammi Kapoor’s antics, Rafi’s voice, lilting music and colorful Kashmiri women – marvelous!!! A true paean…can it get any better than this? Dil ko choo lene wali aawaaz and dil ko chura le jaane wali adaayein, tareef karoon kya uski jisne aap dono ko banaya! This is yet another exception – a classic signature song of the jodi, couldn’t leave it out though I have already added a song from Kashmir Ki Kali earlier. Anyways, majority of the songs starting from Y were from the films that I have already included – Yahoo, Yun toh humne laakh haseen dekhe hai, Yaar chulbula hai etc….

Z. Zara thehro…khuli palak mein jhoota ghussa (Professor, 1961) : What a beautiful song! Shammi Kapoor’s eyes are breathtakingly intense and so is Rafi’s rendition. Our man waltzes like a dream and romances with panache. Kalpana, here is secretly relishing the attention and flattery bestowed upon her (who wouldn’t). And Mr. kapoor knew the affect he could have on women – one intense look with those neeli aankhen of his and he would have the her running into and melting in his arms. But he knew women better and went on to sing such lovely songs for them…No wonder he’s such a top favourite among all of us! Rafi always put in that X-factor into the songs, or is it the other way round? Half the time I keep forgetting who’s singing and who’s acting.

When I listen to the songs I feel it must be Rafi acting and when I see them I feel it’s Shammi Kapoor who’s singing them.

Thanks to dustedoff, memsaab and nasir…most of  the time I searched for Shammi Kapoor’s images in google, I hit your blogs! Thanks Sharmi for those little description you add about the songs in your posts…they helped me a lot. I got the time to drool over the man himself instead of sitting and thinking about what to write 😉

And thanks to bollyviewer for that amazing description to Tumne mujhe dekha!

Special thanks to Nasir and Venkatadri for helping me out with songs when I got stuck. 🙂

This is the longest I have taken to draft and compile a post…lots of other things kept me busy initially and even when I started compiling the list seriously, I spent half the time gazing at Shammi Kapoor….I would search for a song on youtube to attach the link here and I would end up watching the entire song unable to take my eyes off Shammi and ears all reserved for Rafi.

This post had been pending for such a long time. I had thought of posting it on 1st, ie Aditya Raj Kapoor’s birthday. I actually wanted to review his films but the dvd’s are not out yet. So thought the best way to wish him would be to publish this post but my badluck, I could’nt. I could finally complete it today (btw, this day marks my employment anniversary). And contradicting to my own statement at the beginning of this post, I’m not even going to attempt doing a volume 2 for this – it’s too huge a task. Going forward, I would compile one list each of the songs that start with a particular alphabet, but never A-Z in a single post again. I’m so confident that it would take me months to finish if I do.

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Boyfriend 1961

December 29, 2009

Before I start with Rajesh Khanna special this week, there are two movies that have to write about. They have been pending for more than two weeks now.

After I read memsaab’s review of Aakhri Khat, I went to all the video stores in the city hunting for it and finally found it in one. There I saw Boyfriend (though it was a VCD and not a DVD). Not that I need an excuse to buy a Shammi Kapoor film, but doesn’t this look tempting?

The movie begins with a little boy running on the street in a dark night with few men behind his heels. He halts to catch his breath just below this notice on a wall.

An elderly couple visit a temple. One of the pujaris enquires as to who they are and why they come to visit the temple every year on the 2nd of January. The elder pujari introduces them as Thakur Harcharan Singh (Shivraj) and his wife, Rajni Singh (Amirbai Karnataki) from Ambala.  22 years ago, they had lost their son elder son, Madan. So they come every year on that day with a hope of finding him someday.

In Shimla, Madan aka Shyam is being released from  jail after being arrested for the second time for petty theft. First time he was arrested as Madan and later on as Shyam. Inspector returns him his gold locket and sends him off with a piece of advice on leading a good life ahead.Also says no matter how many times he changes his name, but he’ll get caught everytime he does something wrong.

In Thakur Harcharan Singh’s house in Bombay, they are talking about Madan. Even after all these years Rajni feels that they will find him someday. Their younger son Sunil (Dharmendra) makes an entry at this point. He’s a Police Officer and says he is working on a murder case and wont be returning home that night. Rajni is diappointed the he goes around solving everybody else’s problems but doesnt put in enough effort to find Madan. Then in typical filmy ma style she says : Na jane mera Madan kahan hoga, kis haal mein hoga  (Don’t know where my Madan is, how he is).

At this, the scene shifts to the scenic beauty of Shimla and finally we get a proper glimpse of Madan/Shyam’s (Shammi Kapoor) singing Mujhe apna yaar banalo .

Enroute to Bombay, Shyam meets Shantilal in the train. When Shantilal addresses him as Madan, he says he’s Shyam and not Madan. They were together in Shimla jail during Shyam’s first sentence. Shantilal is ill and he tells Shyam about his daughters – Sangeeta and Sushma who live in Bombay.  He had left his family and fled Bombay after taking Rs. 50,000 from Thakur Harcharan Singh.

Shyam tells him they will go together to Bombay and find his daughters. But the following morning he gets up to find Shantilal gone. As he had given a word to Shantilal that he would find Sangeeta and Sushma, he sets out on his mission the moment he reaches Bombay. He asks every girl he meets if her name is Sangeeta/Sushma. Finally he bumps into Sushma (Nishi) but by the time he realizes it’s her, it’s too late, she’s already gone.

Thakur Harcharan Singh is the owner of Stage Center. And Sangeeta does dance shows for him. Shyam reaches the stage and stands outside. Thakur and his wife pass by him.

They see Sangeeta (Madhubala) practicing dance inside and praise her for all the hard work she’s putting up for the show. Sangeeta says she’s dancing so that she can earn enough to pay her father’s debts to him. That’s the Director/Dance Master of Thakur’s shows in the picture.

There’s this guy hiding in the shadow and eyeing Rajni’s necklace. He manages to steal it when she is leaving Stage Center.

Sunil arrives at that very moment and seeing Shyam there he suspects him of stealing the necklace. He takes Shyam’s talashi but doesnt find anything on him and lets him go. When police arrives the real theif  puts the necklace in Sangeeta’s makeup box kept in a taxi and runs away. But Shyam sees him putting the necklace.

So Shyam goes to Sangeeta’s house in the night and steals the necklace from her makeup box. He battles against his will to sell it and finally decides to return it to Sunil the following morning hoping it would give him a chance to prove him that he’s innocent. When he’s still making up his mind on the next course of action, a Hawaldar on duty spots him and asks him what he’s doing there so late in the night. He says he came in search of Sangeeta. On being asked if Sangeeta knows him, he tells the Hawaldar to take him to Sangeeta and he could see it for himself. The moment Shyam tells he knows Shantilal, Sangeeta calls him in. Hawaldar now convinced that he had actually come to meet her, leaves assured.

Both Sangeeta and Sushma are delighted to hear about Shantilal but are hurt at the sametime that he himself didnt come to meet them. As it starts raining very heavily outside, they ask Shyam to stay back that night. Seeing Sangeeta sleeping, he sings Salaam aapki meethi nazar ko.

The sisters get up in the morning to find him gone. Shyam goes to Thakur’s house early the next morning to return the necklace.  But he is stopped by Sampat (Dhumal), Thakur’s man servant. When Sampat learns that Shyam has come to return the stolen necklace he flicks it off from Shyam’s pocket. Unaware of this Shyam goes to Sunil but is surprised himself when he finds the necklace gone from his pocket.  Anyways, he tells Sunil that he has changed now and will find some proper job soon.

Sunil and Sushma are in love. Sushma has a pic of Sunil inside her book and is busy talking to his pic when the phone rings.

It’s Sunday, the only day when Sunil’s off. He tells her he’s coming to her house to meet her. But she has a prior commitment of going shopping with Sangeeta. She makes up an excuse and manages to send Sangeeta alone.

Here Shyam goes to Sethji (who seems to be extremely fond of Shyam) to clear his earlier debts. Shyam owns a room in Bombay and Sethji says he’s planning to get his son married that year and asks if Shyam could give his room to his son. During the conversation Shyam discovers that Thakur and Director are in search of a tall, fair and handsome hero (there’s so much stress on this – 6 foot ka lamba, khubsoorat sa naujawan) for their play “Boyfriend” to cast opposite Sangeeta.

Off he goes to meet Thakur who approves of him at first sight itself. But they still ask him to give an audition and he dances to Mujhe apna yaar banalo and bags the role. He’s introduced to the entire unit including Sangeeta but she puts up her price and doesnt even talk to him properly because he left home that morning without even telling them and she’s angry with him! But not for long (And I dont blame her for that. How could anyone resist his charm for long?)

They sing Aaigo aaigo yeh kya ho gaya on their way home. He drops her at her place and goes to his room. Shantilal comes to see him. He says he doesnt have the courage to face his daughters after all that they have had to go through because of him and the debts he had taken. He is very ill and knows he’s dying. He gives Bhagwat Geeta to Shyam, tells him to give it to his daughters and dies.

The sisters are devastated by the news. And Shyam consoles them.

The all leave for Shimla for a Stage show there. Their show in Shimla “Miya Biwi”  – Dekho Na Jaao Ae Jaan E Man  proves to be a huge success.

After the show is over Shyam and sangeeta go skating. Sangeeta falls down and breaks her leg. This accident leaves her crippled and she can’t dance anymore. Shyam holds himself responsible for it.

She’s all sad and depressed thinking that Shyam may not like her anymore. But Shyam says he’s in love with her soul and she’ll always remain the same for him. But she says she can never dance with him again.  To which he says he had joined the theatre for her and not because he enjoys dancing and acting.
 Sangeeta : You are god to me

Shyam :  What do you know about me to treat me as your god?

Sangeeta : You think I need to know you more than what I already do? What I know of you is more than enough and I trust you more than anyone else

Once they are back in Bombay, Shyam goes to Banwarilal to buy a gift for Sangeeta. He says he needs something that will cheer her up. And Banwari shows him a necklace. Shyam feels it’s similar to Rajni’s necklace that was stolen but Banwari argues that there can be more than one necklace of the same design.

Now that Sangeeta can no longer work for him, Thakur sends his manager (Moolchand) to Sangeeta’s place asking them to either pay his debt of Rs. 50,000 or to vacate the house. He says if they can arrange for Rs. 2,000 (i.e., the interest amount) in 2-3 days, then he can convince Thakur to give them a time of one month to pay the remaining amount. He even gives them a court notice.

Shyam is shocked by Thakur’s behaviour. 

Thakur on the other hand is looking for a heroine for his play. He wants a girl to cast opposite Shyam in “Boyfriend”. But Shyam arrives at that very moment and says he wont work with Thakur anymore. He has an argument with Thakur on how he has treated Sangeeta. Shyam challenges Thakur that a day will come when he’ll have to beg Sangeeta for help and that day he would think of him(there’s so much of stress on 6 foot ka haseen naujawan again. In fact this is how Thakur addresses him throughout the movie).

Sangeeta, Sushma and Shyam are desparately in need of Rs. 2,000 so that they dont lose their shelter at least. Shyam sets out to sell the necklace he had bought for Sangeeta. But since he asks only for Rs. 2,000 for it, everyone feels there’s something fishy about it and nobody buys it.

Tensed that he couldnt arrange for money, he sings Mujhe apna yaar banalo once again (this looks like an all-purpose song ;-)). He gets an idea. He goes to Sethji, gives his room to Sethji’s son and takes Rs. 2,000 in return.

Then he goes to Thakur, deposits Rs. 2,000 and takes a receipt. Now the sisters won’t have to leave the house at least. But Sunil comes and asks him where he got the moeny from. He still feels that Shyam has stolen it. Thakur offers Shyam to come back to stage but Shyam says if he comes back on stage it’ll be with Sangeeta. He again says the 6 foot ka haseen naujawan dialogue – in short, every dog has its day!

Shyam goes to consult a doctor. After seeing Sangeeta’s reports he says she can be cured and she’ll be able to dance again. But he says he will have to do a major operation and that will cost Rs. 5000. Shyam says he’ll arrange for the amount and fixes an appointment with the doctor.

He goes back home to find Sangeeta sleeping (which she’s only pretending to). He sings Dheere Chal Dheere Chal Ae Bheegi Hawa (asks hawa to dheere chal meri bulbul ki hai neenden jawaan and he himself sings so loud :-D)
He keeps the necklace that he had bought for her on her neck. At the end of the song, she wears the it and comes out.
Sangeeta : You think I’ll look good if I wear this?
Shyam : No, now that you’ve finally worn it I feel the necklace looks beautiful. I bought it from the footpath for Rs. 2.25 but it has become priceless

Sangeeta : You are not a human, you are god!
Shyam : Call me whatever you want but dont ever call me god

Sangeeta : If that’s the case shall I tell you the truth?

Shyam : What truth?

Sangeeta : The truth is that you are a theif!
Shyam : A theif?
Sangeeta : Yes, a theif.
Shyam : What did I steal?
Sangeeta : So you are saying you havent stolen anything?
Shyam : No, I havent stolen anything
Sangeeta : Then why are you getting nervous?
Shyam : I’m not nervous
Sangeeta (laughing) :You have stolen my heart away!

Phew!!!! That was such a releif to Shyam 😀

Sunil comes to Sangeeta’s house, meets Sushma and warns her that Shyam’s not a nice man. Sushma tries to defend Shyam. Sangeeta enters the room and Sunil sees the stolen necklace on Sangeeta’s neck.


He asks her where she got the necklace from. He also tells her that it’s a stolen stuff. He threatens them that if they dont tell him who gave that necklace to her, he will arrest both of them. Finally Sushma admits that Shyam gave it.

Sampat’s dream of robbing Thakur (has been eyeing his safe from the very beginning) finally comes true when he finds out the combination to safe’s lock. But he needs a partner to execute his plan. He tells Sevakram (Maruti Rao) to send someone. Sevakram informs Shyam about it. As Shyam desparately needs Rs. 5,000 for Sangeeta’s operation, he accomapnies Sampat in his mission.

Unaware that Sunil has revealed about him, Shyam comes home to Sangeeta. He’s shocked himself to find that it was the same (stolen) necklace. But there’s no way he can prove his innocence. He says he’s going to surrender himself to police but Sangeeta doesnt let him go. Police siren rings, but he runs away before police could arrive. He manages to escape but leaves his gold locket behind.

Thakur and his wife recognize the locket as Madan’s. And they realize that Shyam is their son. They send Sunil to find Shyam.

Shyam comes to Sangeeta’s house disguised as  Sardar Guruvachan Singh (owner of a theatre company in Shimla who wants to cast her in his next play). He takes her to the doctor (with whom he had fixed an appointment earlier). After an operation Sangeeta is cured. She can walk and dance now.

Someone’s been following Guruvachan Singh. Thinking it’s Sunil’s trick to arrest him, he tries to mislead his follower that leads to a hilarious sequence. And this ends with Kyon Jee Mujhe Pehchaa.

Sunil makes a masterplan to arrest Shyam. And when he finally succeeds in doing so Shyam tells Sunil : “It’s my misfortune that I can neither convince you nor Sangeeta that I am innocent.” There’s one more song here – Dekho na jao ae berehem

When Rajni sees Shyam, she hugs him tight and says : Madan beta, where were you all these years? Pagla kahin ka!!! But the twist here is that he refuses to admit he is Madan.

What happens next? Will they ever find the real Madan? Will Sampat get caught? What happens to Sangeeta?

I enjoyed watching the movie but there was nothing wow about it (except for Shammi)! Definitely not one of his best movies either but entertaining enough to keep one glued to his/her seat esp if you are a Shammi Kapoor fan.

I didn’t find Madhubala all that great like in her other movies. She looked kind of exhausted throughout. Chirpy and feisty, Nishi is good but her dialogues get irritating at times. It being one of Dharmendra’s earlier movies, he looks and sounds  novice. I just couldn’t  imagine him screaming “Kutte, Kamine…main tera khoon pee jaaunga” at this point of time.

But it isn’t all that bad either 😀 Shankar Jaikishan’s music is good. And as I had mentioned in my earlier post, I have a soft corner for songs the moment I recognize Rafi’s voice.

I would say it’s Shammi’s movie all the way! And if I watch it again it would be only for Shammi Shammi and Shammi (though that was the case now as well).