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‘Gata Rahe Mera Dil was Patchwork’: In Conversation With Vijay Anand
January 22, 2016
| By
Peeyush Sharma
Every film Vijay Anand handled was unique and unparalleled. A master craftsman of the art of cinema, Vijay Anand’s films stand tall as shining examples of technique, story telling, song picturisation and performances. Starting with his directorial debut Nau Do Gyarah and striking the peak with Guide, Vijay Anand built up an enviable repertoire of films that have some of the best songs of Hindi cinema ever.
A Silhouette exclusive never-before-published interview of Vijay Anand – in conversation with Peeyush Sharma.
The conversation with Vijay Anand as it unfolded in Hindi language, on the sidelines of the International Film Festival was being held in Calcutta in the Nandan film centre in the early nineties.
To read this conversation in translated English, please click here.
Vijay Anand in Chetan Anand’s Haqeeqat
Peeyush Sharma: Vijay ji, main believe karta hoon ke aap one of the finest directors hain Hindi cinema ke.
Vijay Anand: Arre, yahan bade bade mashoor, internationally recognized log hain, aap mera naam zara ahista hi lijiye.
Peeyush Sharma: Honge, mere liye aap in sab se superior rahe hain.
Vijay Anand: Kya aspect hai mera jo aapko itna pasand hai?
Peeyush Sharma: Outstanding direction, script writing, dialogue writing and the way you conceive the shots, aapki set designing and poori film ko handle karna, aaapki editing. Mere khayal se aapka koi saaami nahin hai.
Vijay Anand: Achha, kaun si film aapko itni achhi lag gai?
Peeyush Sharma: Aaapki sabhi films. Each and every one. Sab mein kai kuchh outstanding hota hi hai. Song picture-isation to aapki kamaal ki hoti hi hai.
Vijay Anand: Log to Guru Dutt aur uske baad Raj Khosla ki baat karte hain.
Teesri Manzil, the suspense thriller was a runaway success at the box-office.
Peeyush Sharma: Guru Dutt yes, he was unique and best in his time, par Raj Khosla to aapke ird-gird bhi nahin aaate. Aap best hain is mamle mein. Chahe, Nau Do Gyarah ke gaaane hon, Kala Bazaar ke, Tere Ghar ke Saamne , Guide , Teesri Manzil , Jewel Thief , Johny mera naam , Blackmail , Bullet , Chhupa Rustam aur Tere Mere Sapne , list exhaustive hai, every film you handled was unique and unparalleled. Koi doosra director aapke saath compare nahin kar sakta.
Vijay Anand: Aapka dekhne ka angle music aur gaanon ka raha hai.
Peeyush Sharma: Haan, magar, film ki entire direction, scenes ki conceptualisation and execution, set designing, camera placements, editing, dialogues aur script, har baat me aap baki sab se bahut aage aur unnat hai. Guide jaisi film koi doosra bana hi nahin sakta. Teesri manzil aur Jewel Thief ka complete execution, itne saal baad bhi agar ham dekhen to hame kahin bhi dated nahin lagta aur kamaal ka kaam hai aapka. Johny Mera Naam to film making ki Bible hai. Scripting, dialogues, direction, camera work, editing, har department mein bas kamaal hi hai. Itna consistently excellent kaam aur kisi director ka nahin hai.
Vijay Anand: Aapne dekhin hain sabhi films.
Peeyush Sharma: Kai kai baar, aur kai baar to study groups ke saath.
(At this moment two other cinema persons walked towards our table and had a short appreciative conversation about his lecture. We carried on after they left.)
Peeyush Sharma: Mujhe hamesha lagaa ke Guide mein Gaata rahe mera dil, patch work ki tarah baad mein joda gaya tha, iske bare mein batayiye.
Vijay Anand: Tab to mera kaam fail ho gaya, agar aapne pakad liya to.
Peeyush Sharma: Bilkul nahin, kaam to phir bhi top class hi hai.
Vijay Anand: Haan, aapne theek observe kiya hai. Hamne wo gaana film complete hone ke baad shoot kiya aur add kiya. Ek khaas wajah bhi thi.
Are yaar meri (Teen Deviyan, 1965) – SD Burman / Majrooh Sultanpuri / Kishore Kumar and Asha Bhosle.
Peeyush Sharma: Agar aitraaz na ho batayiye na.
Vijay Anand: Kuchh arsey se Dev Bhai ke saath aur Burman Dada ke saath bhi Kishore bhai ka koi gana record nahin hua tha.
Peeyush Sharma: Jee, yeh to mujhe pata hai, magar yeh ho kaise gaya?
Vijay Anand: Bas, yun hi. Ek to Kishore bahut pareshan the Madhubala ki t abiyat ko lekar, rehearsal, recording par waqt nahin de paa rahe the. Phir Rafi Saab ke saath mamla hit ho gaya, aur waqt guzarta gaya. Phir Dev Bhai milne gaye Kishore ko, bahut miss kar rahe the lambe samay se. Aur unhen zabardasti kheench ke le gaye Burman Dada ke ghar.
Badi magnanimous aur generous personality thi Burman Dada ki, Kishore ko dekhte hi boley, itne din aya kyon nahin, Bangala mein, aur gale laga liya. Bada pyar tha dono mein. Phir kaha ki rehearsal shuru kar ek gana record karenge. Wahin baithe baithe, Dev Bhai ke saamne aur Pancham ko bhi bitha kar, Burman Dada ne composition shuru ki, Khwaab ho tum ya koi haqeeqat kaun ho tum batalao. Yeh gana pehla tha jo lambe arsey ke baad Kishore ne record kiya Dev Bhai ke liye, Burman Dada ke sangeet mein.
Bada kamaal ka gaya Kishore ne, sab ka dil jeet liya. Yahi miss kar rahe the Dev Bhai aur ham sab. Burman Dada ne to unka maatha choom liya. Bahut khush huye.
Phir Dev Bhai ko khayal ayaa ke pehle to Guide release hone jaa rahi hai. Teen Deviyan mein to kuchh kaam baaki hai. Aur phir, Teen Deviyan black and white mein, chhote canvas par taiyaar ko rahi thi. Guide ka mount bada tha, colour mein thi aur awaited film thi. Kyon na ek gana Kishore ka Guide mein le liya jay. Tab hamne Gata rahe mera dil record kiya aur re-shoot kar ke add kiya. Aur gana khoob hit hua tha. Aapne jaise patch work kaha, haan yeh baad mein add on tha, aapki observation ki nazar achhi hai.
Vijay Anand and Jaya Bhaduri in Kora Kagaz (Pic: YouTube)
Peeyush Sharma: Thank you, Vijay ji. Kishore Kumar ka comeback Dev Saab ki awaaz ke roop me to monopolistic tha, phir bhi, Rafi Sahib ke gaane bhi shamil the Teen Deviyan, Jewel Thief jaisi kuchh films mein.
Vijay Anand: Arre, Burman Dada ko koi yeh nahin bata sakta tha ki kaun sa gaana kis-se gavana hai. Unka apna hi parakhne ka aur selection ka andaaz tha. Aur ek baar jab unke zahan mein, conception mein, singer aa jaata kisi ek gaane ke liye to koi us faisle ko influence nahin kar sakta tha. Woh zaroorat padne par poora gaana scrap karne ki had tak chale jaate, naya bana daalte the, par socha huya singer nahin badalte. Unko apne convictions mein pata tha, ke kaun sa gaana kis singer ko best suit karta hai. Aur hamesha wohi best decision rehta tha, aur gaana hit bhi rehta tha.
Peeyush Sharma: Waise Vijay ji, main yeh manta hoon ki Hindustani films ke itihas mein, sabse achhe aur madhur gaane Dev Saab ki filmon ke rahe hain. Yani, ganon ki quality aur quantity, dono ke hisab se, aur koi bhi artist unke muqabale mein nahin khada hota. Bada kamaal ka complete repertoire hai Dev Saab ka.
Vijay Anand: Ek aur achhi observation hai aapki. Is baat mein bahut bada yogdaan Burman Dada ka raha hai. Unke bina to kuchh possible hi nahin tha. Mere active hone ke pehle hi, Dev Bhai aur Burman Dada ki Jodi jam gayi thi. Dono ek doosre ki bahut izzat karte the aur pyar bhi bahut tha.
Hum scene ya script finalise hi unse baat karne ke baad karte the. Kya gaane ki situation hogi, kis back drop par shoot kiya jayega, character kya kapde pehnenge, kaisi zubaan bolenge, kaun kaun hoga us scene mein, kya purpose hai gaane ka, ye sab masle pehle Burman Dada ke saath baith kar discuss karte the, phir gaane compose hone shuru hote the. Unka input har baat me bahut zaroori tha hamare liye. Kai baar unki salah par hamne song situation badal di hai. Ya story content bhi thoda change kar diya hai. Bahut achi aur mature samajh this unki cinema ko lekar, specially music aur songs.
Dance ke steps and style, rhythm, execution, ye sab unke zahan mein pehle hi design ho jata tha, phir hamse zikr karte the. Aur ham khoob kadar karte the unke opinion ki.
Mose chhal kiye jaaye (Guide, 1965) – SD Burman / Shailendra / Lata Mangeshkar
Peeyush Sharma: Kuchh aur Burman Dada ke bare mein bataiye.
Vijay Anand: Kya batayen? Hamari filmon ki to jaan the, unka sangeet mein jo contribution tha woh bemisaal tha, unki kami to bas hamesha mahsoos hoti rehti hai. Ghar bula lete the, zameen par kaleen par baith kar, harmonium haath mein le kar, composing shuru karte the. Ham saamne baith kar sunte rehte the.
SD Burman and Dev Anand
(Pic: sdburman.net)
Aksar ek sitting mein itne kamaal ki dhunen bana daalte the ke ham mushkil mein pad jaate the. Aaye the lene paanch ya chheh dhunen, ek film ke liye, aur beeson pasand kar lete the. Mesmerize kar dete the apne suron se.
Ek baat aur thi, un ki awaaz mein to jaadu tha. Aisa magical effect hota tha ke ham baith ke sunte rehte the. Lyrics to taiyyar hote nahin the, magar apne Bangla ke bol laga kar, wo dhun taiyyar karte aur gaate. Aur ek baat, unke Jodi ka koi gayak nahin tha saari industry mein. Aisi aisi murkiyan, aur gayaki ke kamaal dikhate the ke bas. Jab wohi dhun Lata ya Rafi ya Kishore ya Asha ko sunate, to pehle se kaafi saral seedhi kar dete. Lata bhi aur Kishore bhi, badi openly keh dete the, ke aapke barabar to ham gaa nahin paayenge, is ko zara simplify karo. Magar, Burman Dada bhi zor dete ke nahin, tum zaroor gaa paaoge, aao mere saath rehearsal karo.
Kai baar, Lata aur Kishore, jab rehearsal ke liye aate to pehle unse unke gaane sun-ne baith jaate. Kaafi der tak sab unki gaayiki ka lutf utha te rehte. Badi mehnat karte the rehearse karne mein singer ke saath. Sahi effect, sahi quality jab tak na ho, wo recording nahin karte the. Yahi karan hain ke aaj bhi unke gaane zinda hain.
Peeyush Sharma: Unke assistants mein bhi aapne ya Dev Saab ne achha kaam liya hai sabhi se.
Vijay Anand: Haan, sabhi ko hamne launch ya promote kiya hai. N. Dutta ko Dev Bhai ki filmon se shuruaat mili thi, Milap se. Jaidev ne meri adaakaari mein pehli film ki thi aur unke career ki sabse mashoor film bhi hamne banayi thi, Hum Dono. Phir Pancham ko to hamne promote karna hi tha, Teesri Manzil, meri film thi aur Dum Maro Dum ne to Pancham ki zindagi hi badal di.
O Haseena Zulfonwaali (Teesri Manzil, 1966) – RD Burman / Majrooh Sultanpuri / Mohd Rafi and Bhonsle
Peeyush Sharma: Phir Jaidev ko repeat kyon nahin kiya kabhi?
Vijay Anand: Kuchh misunderstanding ho gayi thi us dauraan, aur Jaidev bhi Burman Dada ka saath chhod gaye, to bas nahin hua phir kaam karna ek saath.
Peeyush Sharma: Pancham ne kaafi films mein bahut achha kaam kiya hai aapke aur Dev Saab ke saath, magar wo Burman Dada wala asar nahin aa saka.
Vijay Anand: Bas, maestro to phir maestro hi hote hain. Waise, Burman Dada apne assistants ki bahut madad aur himmat afzaai karte the. Unki dhunon ko baith kar analyse kar ke batate the ke aise nahin, ye zara dry hai, ya isme public interest nahin aayega, is ko zara is tarah banao. Ya yahan theka to sab dete hain, tum kuchh alag karo to log notice karenge.
Hum Dono ki sab dhunen hamne Burman Dada se OK karvayi thin. Ye pehle se Jaidev ke saath theek kar liya gaya tha. Khud producer ko bhi kehte the, ke main abhi busy hoon, tum Dutta ko lelo, achha kaam karega, ya Jaidev ko lelo. Aur Pancham ke liye to khud film chhodne ko bhe taiyyar rehte the. Aapko bataun ke apne career ke shuru shuru mein, Kalyan ji Anand ji aur Laxmikant aur Pyarelal, ye sab Burman Dada ke paas aate the apni dhun sunaane aur use polish ya acceptable banwaane. Dada ka input in sab ke liye bahut maane rakhta tha. Kai saal ye silsila chalta raha.
Masti Mein Chhed Ke Taraana (Haqeeqat, 1966) – Madan Mohan / Kaifi Azmi / Mohd Rafi. Vijay Anand in a mast mood in this fast-paced number from Chetan Anand’s Haqeeqat, very different from the typically sombre persona he adopted in his roles
Peeyush Sharma: That is very interesting. Mere khayal se tabhi shuru ka kaam un sab ka bhi kafi brilliant hai. Raj Khosla ne Burman Dada ko chhod kar Madan Mohan ka saath kar liya, aur Chetan Anand ji ne bhi. Koi khaas wajah thi.
Madan Mohan with mentor SD Burman
(Pic courtesy: Madanmohan.in)
Vijay Anand: Chetan bhai ko lagta tha ke Burman Dada ka sangeet zara halka rehta hai, wo har composition mein kuchh classical dhoond-te the. Pehle Ustad Ali Akbar Khan sahib, phir Jaidev phir Madan Mohan aur phir Khaiyyam wagairah. Unka bada sadhaa huya kaan hai music ki taraf.
Raj Khosla ki baat alag hai. Unke saath mijaaz milna zara mushkil tha. O P Nayyar ke aashiq ho gaye to gaane pehle khareed liye, phir socha ke kya film banayen. Phir Nayyar se un-ban ho gayi. Waheeda ji se bhi, Suchitra Sen se bhi aur phir Phali Mistry aur Jaal Mistry ke saath bhi un-ban rahi. Magar Madan Mohan ke saath unka kaam kafi achha raha.
Peeyush Sharma: Burman Dada ka classical aspect to bahut strong tha, phir Chetan Anand ji ko aisa kyon laga.
Vijay Anand: Woh apni dhunon ko camouflage larte the. Classical raag based to hoti theen magar unhe light effect dete the. Kehte the zyada puritan tunes nahin chalti. Kisi heavy raag to lighter raag ke saath mix kar dete the. Kehte the complex music public reject kar deti hai. Yeh, attribute badi strongly and successfully Pancham ne bhi follow kiya hai. Shayad yahi karan raha hoge Chetan Bhai ke saath.
Peeyush Sharma: Magar Pancham ke saath Chetan Anand ji ki Kudrat unki musically one of the most successful film rahi hai.
Vijay Anand: Bilkul theek. Bas, waqt waqt ki baat hai.
Peeyush Sharma: Kahin padha tha ke, Burman Dada ne apne hospital bed se Guide ke gaane banaye the, aur aapko baad mein shooting ke dauraan bhej diye the.
Tere Mere Sapne ke liye bhi, Hema ko apne ghar bula liya, Ta Thayi Tat Thayi Ata Thayi, wale gaane ke dance style ko samjhane ke liye.
Vijay Anand: Haan, unhone compose karna to hospital bed se shuru kar liya tha. Main shoot ke liye ravaana hone se pehle unse milne gaya. To unhone weak si awaaz mein, usi hospital ke bed se, mujhe Piya tose naina lage re, ki dhun sunayi aur usme alag paragraph mein alag experiment bhi bataye.
Maine dhun ki taarif ki, to mera haath pakad ke bole. ‘Bijoy,’ (aise hi kehte the mera naam) ‘bahut achha composition hai, screen par zara dhyaan rakhna, gaana bigadne na paay. Presentation aur dance ke steps ka poora dhyaan dena, please.’ Maine aashwasan diya ke fikr mat kariye, main poora khayal rakhoonga. To khud hi boley, haan mujhe pataa hai, tum achha director hai, hamari izzat rakhta hai, hamko bharosa hai.
Koi bimari ke dauraan bhi aisi achhi dhun soch sakta hai aur bana sakta hai, yeh unka kamaal hi tha. Aksar to, Waheeda ko bhi phone kar dete the, ke aise dance ke steps soch kar maine ye dhun banayi hai, zara khayal rahe.
Tere Mere Sapne ke liye bhi, Hema ko apne ghar bula liya, Ta Thayi Tata Thayi Ata Thayi, wale gaane ke dance style ko samjhane ke liye. Badi deep involvement thi unki, bahut unique samajh and style. Aur industry mein bahut izzat thi unki. Kisi ne kabhi kaam kiya ho ya na kiya ho unke saath, izzat sabhi karte the.
Ta Thayi Tata Thayi Ata Thayi (Tere Mere Sapne, 1971) – SD Burman / Hasrat Jaipuri / Asha Bhonsle
Peeyush Sharma: Magar, kehte hain bahut kanjoos the, kuchh share nahin karte the kisi ke saath.
Vijay Anand: Koi first hand experience mujhe nahun hai is baat ka, na hi Dev Bhai ko hai, mere khayal se. Maine ye samjha hai, ke woh, princely family background se the. Royal blood tha. Kapade ki choice aur ghar ka decor aur khane-pakane ka style, sabhi mein royalty jhalakti thi. Yeh mumkin hai ke har kisi ke saath free hona ya milna julna woh apne level ka nahin samajhte honge. Is baat ko unhone show kabhi nahin kiya, yeh sirf mera khayal hai ke ek jhijhak rahi hogi har kisi se freely milne mein. Logon ne isse galat samajh liya. Koi party ya film function ya muhurat to kabhi attend karte dekha nahin ham logon ne. Bas alag personality thi unki.
Peeyush Sharma: Thank you, kai kuchh bataya aapne, achha laga sun kar.
Vijay Anand in a brief appearance in Dil ka bhanwar kare pukar (Tere Ghar Ke Samne)
Vijay Anand: Aur kya hai aapke dil mein?
Peeyush Sharma: Actresses mein se aap ki nazar mein kin ka kaam apko achha laga.
Vijay Anand: In my films, Waheeda to hain hi, phir Nutan, Hema, sabhi achhi hain.
Peeyush Sharma: Camera work, jo aapki films ki khoobi rahi hai, kabhi Fali Mistry aur kabhi V Ratra aur phir Srinivasan, magar kaam aapka sab ke saath superior quality tha.
Vijay Anand: Ratra hamare rishte mein the. Distant cousin. Industry mein mujhse kaafi senior the. Fali ke saath Dev Bhai ki shuru shuru mein hi taal mel jam gayi thi, aur hamare style ko khoob samajhte bhi the aur usme char chaand laga dete the. Bas easy raha hai unke saath kaam karna.
Srinivas ke saath pehli baar maine Teesri Manzil mein kaam kiya tha, Nasir Hussein sahib ne hire kiya tha unko, phir mauka mila Blackmail mein, wohi Joshi, jo producer the, unhone hire kiya tha. But, my personal preference was always Fali. Kisi director ke effective hone mein camera work ka bahut contribution hota hai.
(AT this moment somebody walked up to our table and informed him that the car was now ready to take him to his hotel room).
We shook hands and he complimented me again on my keen observation in cinema and I profusely thanked him for spending few minutes with me. For me, I had just had an opportunity to talk with the greatest or finest director of Hindi cinema that I always had highest regards for.
To read this conversation in translated English, please click here.
Miley, miley do badan (Blackmail, 1973) – Kalyanji Anandji / Rajinder Krishan / Kishore Kumar and Lata Mangeshkar. Only Vijay Anand would have the courage to include a song in the most unusual of situations – where the hero and the heroine hide in a dilapidated barn to escape a pack of ferocious dogs and a bunch of villains and the song breaks out in the background, adding a dash of romance in the charged up climax.
More to read
Guide: The Story of Ordinary People Leading Extraordinary Lives
Main Zindagi Ka Saath Nibhata Chala Gaya – Evergreen Dev Anand
‘Bade Achchhe Din Thhe, Bade Pyare Saathi, Aur Guni Bhi’ – In Conversation with Majrooh Sultanpuri
Fifty Years Ago: Films and Music of 1965
Tere Mere Sapne Ab Ek Rang Hain – Eternal Melodies of SD Burman-Rafi
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Whether you are new or veteran, you are important. Please contribute with your articles on cinema, we are looking forward for an association. Send your writings to amitava@silhouette-magazine.com
Consulting Editor Learning and Creativity and Silhouette Magazine.
To talk of a few passions of Peeyush, one must start with music. He is known to be a collector of music and information pertaining to Indian cinema (majorly Hindi) spanning a period from early 1930s to 1980s. He has a large collection of Bengali and Punjabi music and material as well. He also boasts of a huge library of related material.
Peeyush has delivered talks and lectures on music appreciation, contributed write ups in numerous news papers and magazines. He has co-authored a tribute publication on Anil Biswas. He has co-hosted radio talk shows on music and met and interviewed a number of personalities. Occasionally, he delivers talks even now.
Peeyush has been the founder secretary of the prestigious, Vintage Hindi Music Lovers Association in Bangalore that honored Anil Biswas in 1985. He is known as a storehouse of old Hindi music and information regarding music and movies.
Peeyush is well read in Vedic culture and literature and is invited in various centers to deliver enlightening lectures on Vedic values. His range spans from four Vedas to Upanishads and Darshans as well as Bhagvad Gita. He has delivered talks on Yog Darshan in Yoga schools and large gatherings. He currently lives in Oshawa, Ontario in Canada.
All Posts of Peeyush Sharma
All Posts of Peeyush Sharma
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12 thoughts on “‘Gata Rahe Mera Dil was Patchwork’: In Conversation With Vijay Anand”
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Awesome sharing Peeyushji…!
Wonderful conversation with lots of information about legend Vijay Anand Saheb …..!!!
It is also really great to know from the interview about Burman Dada and Dev Bhai’s partnership and their love & regards for each other.
Thanks for sharing such a unique repository of legend Vijay Anand Saheb.
We pay tribute to legendary Vijay Anand Saheb.
Please Keep sharing your experiences and insights………….!
Peeyush ji thanks a lot for sharing your memorable conversation with Vijay Anand. I do love Hindi movies. I have seen almost all movies of Vijay Anand. This text is so interesting that I did not want it to end. I liked Jewel thief’s song “Hothon Mein Aeisi Baat” very much. It is one the best compositions of Burman Da using all drums of Bharatiya Taal Vaad and very well shot.I think Vijay Anand had used 360 degree angle of camera while shooting this dance sequence. Great reading Sir.
me not able to think , only to read the literature msmrizzzzzzing !!!!
Thank you Gandhi ji, you comments are ace in itself. It is truly the power of the Director, that makes us want more and more. Great encouragement from you. His camera shot concepts were amazing, unparalleled.
Thanks Prabodh Shastri ji for appreciating. Please do visit these pages regularly.
Dear Peeyush ji
What a wonderful interview with one of the most unfeted underrated but a uniquely gifted director of our times the first whizz kid of indian cinema Vijay Anand.
His complete mastery of the film medium makes him a one of a kind genius who wrote the screenplay & dialogue and even edited his own films an auteur whose films have stood the test of times and his unique narrative style and the technical finesse he achieved in the 60s and early 70s is unparalleled and unmatched till date.His highly evolved sense of screen writing with impeccable dialogues & the fabulous song pictursation make his films stand out as shining examples of a unique talent amongst his contemporaries.
It is indeed sad that he is not given the cult status that a Guru Dutt or Raj Kapoor is given but his work stands out and even outshines them most certainly.
Thanks once again Peeyush ji and looking forward to your posts.
Regards
Ashish
Thanks a lot Ashish,
You have rightly said that he deserves much more and was truly the first whiz kid of Indian cinema.
His films are like chapters of Bible for any film maker. His dialogues, screenplay, camera placements, song takes, it is amazing how he could achieve all. It is a treat to watch his films again and again.
Thanks a lot for your comments.
Please do go through our other write-ups as well.
Looking forward to more feed back from you.
PEEYUSH JI,
THIS IS THE BEST CONVERSATION I HAVE EVER READ OF VIJAY ANAND. IT IS VERY FRANK AND OPEN AND TAKES US INTO DEEP INSIGHT INTO GOLDIE’S FILMS AND HIS STYLE AND ART. MANY NEW INTERESTING FACTS ABOUT DEV, CHETAN, SD, RD AND MADAN MOHAN AND OTHERS. THIS ALSO PROVES YOUR STUDY OF FILMS AS VERY DEEP.
I AM DIE HARD FAN OF ANAND FAMILY AND S D BURMANS. I CONGRATULATE YOU ON SUCH OUTSTANDING AND MOST INTERESTING INTERVIEWS. IT WAS A SURPRISE FOR ME AT THIS STAGE , I AM 68 BUT STILL SAME INTEREST AND CURIOSITY CONTINUES GOLDEN ERA.
BEST WISHES PEEYUSH JI. PL KEEP IT UP.
REGARDS.
A K MALHOTRA
M9451133617,
LUCKNOW
Such kind words from you Ashok ji. My job is done when fans like you appreciate it. Those were the days and they were the men who made memories so lovable for us, varna is gham se bhari duniya mein kya rakkha hai.
Oh Thanks Sharma ji,
I am humbled by your response.
After above interview I was obsessed so much with your works, I studied your conversations with Hemant Kumar, Shakti samanta and article on Dev Anand and S D Burman also and found all of them very impressive and interesting. I have saved them for repeat visits. Every time I read I find some new facts and tones. It was incidental that I struck upon “Gata rahe was a patch work”, while scanning matter on Goldie ji and was fortunate to know your works.
I was hardly 10 years when I saw “Paying Guest” and became fan of Dev saab and further Chetan and Vijay obviously came in. Since then it is about 59 years that I got a purpose to my Hobby and it has really contributed lot of positives in my life.
I retire from Hindustan Aeronautics Ltd Lucknow as chief project manager and am settled in Lucknow. I am presently engaged in Social Advocacy for elders.
Peeyush ji can you throw some light on following;-
— Goldie’s last movie “Jana na dil se door”, I understand was completed before Vijay Anand’s death and is a beautiful movie. Can somehow it be released by Vaibhav Anand on big screen or T V. Otherwise we can have DVD to watch it?
— Chetan Anand after Neecha Nagar had to make compromises in almost all his future films. Have you written about him also?
I will be honoured if I can meet you sometime if you happen to visit Lucknow.
My contacts are;
email; akmalhotra123@rediffmail.com, akmalhotra123@gmail.com.
Mobile is 9451133617 and 9044138664.
with regards
ASHOK KUMAR MALHOTRA
Thanks Ashok ji for your kind and warm gesture. I live in Canada and travel to India occasionally. When I am in India I will give you a call.
I did not ask Goldie about jana na dil se door, as I had little time and had to prioritize my questions. I would love to watch that film, may be some day.
I have never spoken to Chetan Anand, but I do intend to do a write up on his films.
I am truly grateful that you are reading all my posts, feel free to place your comments and if there are any questions.
My best regards and wishes.
Thanks for a rare interview from Vijay Anand. What a man indeed !! An all rounder.Have seen all his directed movies several times and try to figure out his master touches in his movies. Be it editing,screenplay or dialogues.
Guide was his masterpiece and without Vijay Anand as director [apart from editor,dialogue writer and screen play writer] this would not have been possible.
Jewel Thief and Johny Mera Naam were all out his movies. I keep on seeing Vijay Anand’s old movies like Tere Ghar Ke Samane, Nau Do Gyarah, Tere Mere Sapne again and again only to revisit his master touches in all departments of film making.
An amazing genius indeed and you are lucky you had an opportunity to talk to him.
Thanks Anil Desai ji,
Vijay Anand was indeed one of a kind. Each film he did had his rare expertise touch in various departments, including exceptional song picturizations. I watch his films repeatedly and learn something new each time. Thanks for your observation and comment.