Dev is 100 this year. Immortals also die; for they are in flesh and blood and therefore their stay is finite even though they are ‘evergreen’ as did our Dev; he was indeed DEV; above the humans. My mind is clouded with the images both Colour and Black& White when I was in my budding youth at Allahabad. ‘Hum-Dono’, at Niranjan at Matinee, ‘House no 44’ morning show at Vishambhar , ‘Nau do Gyaraha’ morning show in Kanpur, ‘Fantoosh’ at Jhankar the mini theatre, ‘Johny Mera Naam’ at Pushparaj are retained in me. There seems so much to say and write, but to make a coherent attempt is tasking.
Therefore I embark to narrate as the memory dictates and glide me from my adolescence to youth to middle age during which I like so many have adored the evergreen, the earliest superstar Dev Anand.
His life is deftly documented in his own words in the Autobiography– ‘Romancing with life’. Graduated from Lahore in English Literature he wanted to do M.A. But his father’s financial condition did not allow him to proceed further. Struck by the stardom of Ashok Kumar he boarded the Frontier Mail to Bombay where his elder brother Chetan was already stationed. His first hit was ‘Ziddi’, and soon he launched his own production house ‘Navketan’. He was one of the few very well educated at that time in films and which reflected in his selection of films. He falls in love with the reigning singing star of that era— Suraiyya. They both want to marry but Suraiyya’s Grandmother comes in between. He weeps uncontrollably on the shoulders of his elder brother. Then never looks back. Marries his co-star Kalpana Kartik. Teams with his younger genius brother Vijay and makes memorable films– ‘Nau do gyaraha’, ‘Tere Ghar Ke Samne’, ‘Kala Bazar’, ‘Hum-Dono’, ‘Guide’, ‘Jewel Thief’, and ‘Tere Mere Sapne’.
In between he falls in love with two other leading Ladies. Zahida; whom he never mentions in his book played parallel role in ‘Prem Pujari’, and was his leading lady in ‘Gambler’. He confesses to be in love with Zeenat Aman and is on the threshold of a major decision when she ditches him for Raj Kapoor’s ‘Satyam Shiwam Sundaram’. Dev is shattered when in a party Raj boldly kisses Zeenat Aman. He leaves for America to hide his sorrow, wears large goggles to cover his emotions. Zeenat Aman was Western in her attire and thinking so was Dev, they acted together in many movies-’Hare Ram Hare Krishna’, ‘Heera Panna’,’ Ishq Ishq Ishq’’ ‘Warrant’, ‘Darling Darling’,’Prem Shastra’.
He then launched Tina Munim in ‘Des Pardes’, which was a Hit. Thereafter he made some mediocre films such as ‘Swami Dada’, ‘Lootmaar’, but ‘Anand aur Anand’ the launching pad for his son was well made. Soon there was creative degeneration, he seemed to have lost the plot, but the energy and hope in him kept him going. Despite many disastrous ventures he was mentally sharp and active, this could be discerned from his ‘Autobiography’ which he wrote only a few years ago and from the various interviews in which his agile mental faculty is on display.
In an Interview he had stated that his banner had not even given beautiful Cinema but at least 200 memorable songs; indeed he is right. Songs of many banners and specially RK have been great, but the quality and popularity of Navketan stands apart and is unmatched. This was possible under the genius called Sachin Dev Burman whose shadow looms large on the banner of Navketan. Teaming up with stalwarts such as Sahir( Fantoosh, Taxi Driver,Baazi), Majrooh( Kala Pani, Jewel Thief, Nau Do Gyareha), Shailendra( Kala Baazar, Guide) Hasrat Jaipuri( Tere Ghar Ke Saamne), Neeraj( Prem Pujari), Anand Bakshi( Heera Panna, Hare Ram Hare Krishna, Ishq Ishq Ishq) he gave us those immortal songs; perhaps pluralism is the essence of varied manifestations and success !
Among his films ‘Guide’ and ‘Hum-Dono’ are in the category of classics. ‘Baazi’ ‘Jewel Thief ‘, ‘Kala Baazar’,’Tere Mere Sapne’ and ‘Johny Mera Naam’ were brilliant. As director three of his films stand out- ‘Prem Pujari’, ‘Hare Ram Hare Krishna’ and ‘Des Pardes’.As it emerges from his demeanour that he was an extremely modern person, this came out in his films which have a distinct ‘sub-text’ too. ‘Fantoosh’- how life insurance can be misused, ‘Taxi-Driver’- unemployment in urban India and exploring the underbelly of Bombay, ‘Guide’ – resurrection to greatness from defame, ‘Hum-Dono’- how war affects relationships, ‘Prem Pujari’- pacifism,’Tere Mere Sapne’- degeneration in the noble medical profession, ‘Kala Baazar’– how love reforms, ‘Des Pardes’- illegal immigration.
At this juncture it is pertinent to discuss the oft comparison with Raj Kapoor and Dilip Kumar. Well, Raj was essentially a great Director who made many successful films with mass appeal. Dilip will always be remembered as a thespian, whenever the Art of acting will be discussed his name will be foremost. Dev gave us films with wide modern themes and he remained a true ‘Star’ who had a strong urban appeal. Women loved him and men envied. His films barring a few were not block busters but took a strong ‘initial opening’ because of his following among youth.
With the demise of Dev and his talented broters; it is appropriate to assess the contribution of the Anand family to the Indian Cinema. Together with his brothers, the elder Chetan and the younger Vijay their body of work is larger than that of ‘Kapoors’ and it will not be an exaggeration to state that their contribution is matching with that of the ‘First’ family (Kapoors). ‘Neecha Nagar’ was the first Indian film to win a Grand Prix at the Cannes film festival, ‘Haqiquat’ will remain as the best War film of Indian Cinema, ‘Heer Ranjha’ was the only film in poetic form, and ‘Guide’ as said earlier will remain an all-time classic. All these will stand the test of time. I hope the legacy of the Anand family is sustained by the sons of Dev and Vijay. Even then, they will continue to provide happiness and platform of learning for the generations to come.
