Dr. Vidya (1962)

Starting on a lighter note, English cinema had Dr. No in 1962 and Hindi had Dr. Vidya. Dr Vidya starring Vyjanthimala and Manoj Kumar is about an educated woman whose husband leaves her because she is educated. For her, he is a Pati parmeshwar and she will not rest until he accepts her back wholeheartedly. The concept is obviously dated today but well, those were the times. Happy birthday Vyjanthimala, whose birthday is on 13th August.


The Plot

Geeta (Vyjanthimala) is a fiesty college girl. She is good at studies and dancing and the upholder of Indian values. Her friend is Shanta (Helen), who is married. Shanta is the opposite of Geeta and influenced by western culture. Shanta’s husband Jagdish has returned from London and Shanta is aghast to find him unaffected by western influences and insisting on Indian values. Another classmate is Kundan (Prem Chopra) who is supportive of Shanta’s thoughts as a modern, independent woman.

Its Geeta’s birthday and the point between India vs western culture is highlighted again. Its also an opportunity for Geeta to present a semi classical song, dancing to Pawan deewani na mane udaye mora ghungtaa. Shanta is embarrassed by her husband’s behavior as he is supportive of Indian traditions and they have a fight upon returning home.

Geeta’s parents (played by Shivraj (as Lala Hansraj) and Mumtaz Begum) are looking for a suitable match for her. Her father conveniently remembers his old friend Chowdhury Hiralal (Nazir Hussain) and his son Ratan (Manoj Kumar). We come to know through a flashback that Geeta had fallen down the stairs as a child. There was a risk of losing her leg. Hiralal promises Hansraj his son Ratan will marry Geeta irrespective of Geeta’s physical disability. Luckily Geeta recovers and the risk is averted (of course, as she has to grow up as Vyjanthimala, an accomplished dancer!).

The match gets fixed. Ratan lives in the village and is hardly educated compared to Geeta. He is a zamindar who works closely with the farmers and their welfare. One day, Shanta, Kundan and their friends arrive at the village for a picnic is the village. Ratan accuses them of dancing in the field causing damage to the crops. He humiliates them and asks them to leave immediately.

Soon its marriage time. Shanta recognizes Ratan and is surprised Geeta is marrying such a uncivilized and uneducated villager. She openly humiliates Ratan. His friends also emphasize Geeta’s education and how she will dominate him. A stung Ratan is unable to face the reality. On the first night, a happy Geeta sings in anticipation of her husband but he doesn’t arrive. He has decided he cannot live with her and is ready to leave the house and the village.

The parents make him see sense but he is adamant. Geeta accepts this dejectedly and returns to her father’s house. Later Hiralal visits Geeta’s house. He falls sick while returning home and passes away at the railway station. Coincidentally, Ratan is at the railway station preparing to leave. He has a sudden shock seeing his father’s body. He returns home to stay with his mother and carry on his duties as a zamindar but not as a husband. He wants no communication with Geeta.

Geeta’s father Hansraj is practical and tells her to persuade her education and she becomes a doctor. She writes a letter informing Ratan of her success. He refuses to read the letter and sends her a substantial amount of money for her expenses. Hansraj is furious at his son-in-laws attitude.

Meanwhile Shanta has drifted away from her husband and wants to be a modern woman meaning wearing western clothes, speaking English and disregarding Indian culture. Geeta lectures her how she is wrong but Shanta disagrees.

Geeta has her own plans to win back Ratan. She goes to his village with her cook Nyarelal (Sundar). Nyarelal will pretend to be a doctor and she is Vidya, his uneducated niece. She assists Nyarelal when he is attending patients.

And rest of the time she is wooing Ratan by singing songs and pretending to be a simple, unsophisticated girl. As expected, Ratan falls in love with Vidya.

But will he marry Vidya when is still married to Geeta? Will circumstances change for the better? And there are a couple of villains waiting to do their job – Madan Puri (who is after Vidya) and Prem Chopra (pursuing Shanta).

The Music

While not the best of S.D. Burman, it has some good songs like Pawan deewani, Khanke kangana, and Jaani tum to dole. Vyjanthimala gets to dance in most of the songs.

My Thoughts

The movie is inspired from the Marathi movie Shikaleli Bayko meaning educated wife. Usha Kiran had played the title role. Dr Vidya is a collection of many filmy formula elements but make the final product boring. There are too many characters and sub plots. The Indian v/s western track was not required. The movie should have stuck to the core story of Geeta and Ratan and how they resolve the differences to reunite as husband and wife. The leads lack chemistry which only improves towards the end of the movie. It is difficult to believe why a qualified doctor would make her servant a doctor without thinking of its risky implications; that’s too far fetched. Overall, Vyjanthimala is fine, Manoj Kumar is O.K. Helen shines in the supporting role which is not limited to a couple of songs.

The verdict – watch Dr. Vidya only for the memorable songs and Vyjanthimala’s dancing skills but watch Dr. No any time!

Mumbaicha Faujdar (1984)

Movies depicting marital discord are not new to cinema. We have many of them where one of the partners is forced into the marriage for whatever reason. Mumbaicha Faujdar (meaning Police Officer from Mumbai) is a Marathi movie which deals with this topic on a lighter note. Impressive acting, dialogues, music and direction make this a delightful watch.


The Plot

So who are the lucky couple? We have Shakuntala “Shaku” (Ranjana) a village girl from a well to do family. Shaku is interested in reading mystery stories. Her father is on the lookout for a suitable husband for her with one important condition. The groom has to be a police officer from Mumbai, considering the power and authority it brings with that position. Her uncle (Jairam Kulkarni) brings many proposals from eligible police officers for her consideration. She is enthralled and sings a song Kasa navasan mala milala.

On the other side is Sub Inspector Jaisingh Rao Mohite (Ravindra Mahajani), a capable officer from Mumbai. Jaisingh meets a journalist Madhuri Yadav (Priya Tendulkar) at his lawyer friend Suryakant’s house. She interviews him for her magazine’s article. Jaisingh realises Madhuri is the perfect life partner he is looking for. A modern, fashionable and sophisticated woman who can be his equal. He imagines their happily married life through the song “Sahajeevanat aali hi swapna sundari.”

He requests his friend Suryakant’s wife (Roohi Berde) to take Madhuri to his father’s place and help in arranging the match. She does so.

But duty first. The police commisioner sends Jaisingh and Havaldar Gondhale (Sharad Talwalkar) to Shaku’s village. Apparently a pair of fraud men are active in that area. Coincidentally, the fraud duo meet Shaku’s family posing as an eligible police officer “groom” and his father (oh yes, supposedly from Mumbai). Their plan is to rob Shaku’s jewellery in the pretext of arranging the marriage. But Jaisingh and Gondhale arrive in time to unmask the frauds. Things move fast and Shaku’s father contacts Jaisingh’s father and the marriage gets fixed. Havaldar Gondhale is instrumental in the match making.

All this is unknown to Jaisingh. Due to a miscommunication, Jaisingh assumes his marriage has been fixed with Madhuri. He gets a shock when he sees the wedding invite with Shaku’s name. His father argues Shaku is the perfect daughter in law for their family and a reluctant Jaisingh has no option but to agree with the mismatched union.

Shaku arrives in Mumbai but is an embarrassment for Jaisingh on a daily basis. She doesn’t have the experience of living in a big city and behaves like an uneducated manner-less village girl. Shaku tries to adjust to the police quarters’ routine but often leading to funny consequences. Her intentions are good but not acceptable to her neighbors, particularly the wives of the other police officers. They consider themselves far advanced in comparison to the down to earth Shaku. Jaisingh has to face some well intended taunts in this regard.

Shaku tries to learn the ways of the modern city life, but remains at heart the simple and innocent village girl. She is a good cook and aims to fulfill her duties as a caring wife. She enjoys support from Havaldar Gondhale who is also a father figure for her.

There are a few touching moments in their relationship but Jaisingh is aware his future with Shaku is not the one he had imagined with Madhuri. He is tolerant and tries to “educate” Shaku to the ways of the city but it is not as easy at it seems. The final straw comes in the police officers party. On request, Shaku sings “Marathmola gaana, shambhar numbari sona” describing Maharashtra’s musical traditions. The guests are impressed and join in the song and dance. But at the end of the song, she slaps a senior police officer who tries to get close to her while dancing, leaving everyone shocked.

Jaisingh has had enough. His wife will never be able to leave her rural mindset and adapt to the urban lifestyle. The only solution left is for Shaku to go back to her father’s house. Shaku has no choice but to leave.

Will Shaku be able return to Mumbai and live with her husband happily ever after? The final part of the movie answers the question to a satisfying and entertaining outcome.

The Music

Jagdish Khebudkar has written the lyrics while Vishwanath More is the music director. In addition to the 3 songs mentioned in the review, the song that stands out is the melodious duet “Ha Sagari Kinara.” Set in Shivaranjani and sung by Suresh Wadkar and Anuradha Paudwal, it brings out the emotions of the estranged couple at a key point in the movie.

My Thoughts

Rajdutt (director) and Vasant Sabnis (screenplay and dialogues) need to be mentioned for their contribution. Vasant Sabnis is also the writer of another classic Ashi Hi Banwa Banwi (1988). But the star of the show is Ranjana. Its fun to watch the outspoken rustic character and she looks comfortable without going over the top. She shares great chemistry with Ravindra Mahajani, being his co-star in many movies. Of special mention is the scene where the newly married couple visit the friend Suryakant’s house and Ranjana is at her best to embarrass Ravindra with her antics! Priya Tendulkar, Roohi Berde and Sharad Talwalkar are good in their supporting roles.

Overall Mumbaicha Faujdar is a light hearted entertainer and manages to retain its charm.

“Mohammed Rafi” Describing The Heroine Songs

Mohammed Rafi, one of Hindi cinema’s most accomplished and versatile singers left suddenly for his heavenly abode on 31 July 1980. But his legacy proposers. His repertoire is vast and choosing a theme itself can be a challenge. So I thought of selecting 10 songs where Rafi sounds extra sweet. In all these songs, the hero is describing the heroine’s beauty. Perhaps Rafi’s singing make the beautiful stars shine brighter! What do you think?

1) Song: Chaudhvin Ka Chand Ho
Film: Chaudhvin Ka Chand (1960)
Credits: Shakeel Badayuni | Ravi | Mohammed Rafi

One of the most iconic songs in this theme, Guru Dutt sees his beautiful wife sleeping and gently starts singing this song comparing her to the full moon, sun and so on. Waheeda Rehman looks strikingly beautiful and deserves the accolades!  It was apt that Rafi won the Filmfare best singer award for this song.

Zulfein hain jaise kaandhe pe baadal jhuke hue,
Aankhen hain jaise meay ke payaale bhare hue,
Masti hai jis me pyaar ki tum, woh sharaab ho
Chaudhvin ka chand ho..


2) Song: Ab Kya Misaal Doon
Film: Aarti (1962)
Credits: Majrooh Sultanpuri | Roshan | Mohammed Rafi

A simple song featuring Pradeep Kumar singing for his wife Meena Kumari. He compares her beauty to the brilliance of the moon. As if the moon’s rays have assumed human form and settled on earth. How poetic and Rafi’s voice enhances the effect.

Chehre main ghul gaya hai haseen chandni ka noor,
Aankhon mein hai chaman ki jawan raat ka suroor,
Gardan hai ek jhuki hui daali gulab ki,
Ab kya misaal doon main tumhare shabaab ki


3) Song: Yeh Chaand Sa Roshan Chehra
Film: Kashmir Ki Kali (1964)
Credits: S.H. Bihari | O.P. Nayyar | Mohammed Rafi

Compared to the first two songs, there is no subtle business here. Its Shammi Kapoor singing in his boisterous style and wooing the heroine in full public view! Rafi’s signing, Shammi’s verve, Sharmila’s rawness and Kashmir, all in one frame! It also demonstrates Rafi’s tremendous range as a singer.

Ikk cheez qayamat bhi hai logon se suna karte the,
Tumhe dekh ke maine maana woh theek kaha karte the,
Hai chaal mein teri zaalim, kuch aisi bala ka jaadu,
Sau baar sambhala dil ko, par ho ke raha bekabu,
Taarif karoon kya uski jisne tumhein banaya


4) Song: Yeh Teri Saadgi
Film: Shabnam (1964)
Credits: Javed Anwar | Usha Khanna | Mohammed Rafi

I would say a different and underrated song for a B-grade movie but so wonderfully sung. Mehmood sings this for an unknown(?) heroine Vijayalakshmi. The images don’t matter when the tune and singing are unforgettable.

Chaal me shokiyaan ya nasheeli bijliyaan,
Har taraf ye shor hai gir padega aasmaan,
Par teri khaamoshi…allama allama,
Ye teri saadgi ye tera baankpan,
jaane bahaar jaane chaman haaye,
tauba shikan tauba shikan


5) Song: Aapke Haseen Rukh Pe
Film: Baharen Phir Bhi Aayegi (1966)
Credits: Anjaan | O.P. Nayyar| Mohammed Rafi

Dharmendra singing for not one but two beauties – Mala Sinha and Tanuja. Of course he is in love with one of them, but the other one loves him too, creating that tricky triangle. Rafi’s honeyed voice flows like a meandering river carrying the listener with him.

Khuli laton ki chhaon mein khila khila ye roop hai,
Ghata se jaise chhan rahi subah subah ki dhoop hai,
Kisi mein woh kashish kahan jo aap mein huzoor hai,
Mera dil machal gaya to mera kya kusoor hai


6) Song: Rukh Se Zara Naqaab
Film: Mere Huzoor (1968)
Credits: A | Shankar Jaikishan| Mohammed Rafi

This is for a formulaic song. Jeetendra, travelling in a train happens to see his co-passenger Mala Sinha’s face reflected in the mirror. He spends the journey singing the song describing all that he has seen and requesting her to dazzle him one more time. The song picturization is a bit annoying but Rafi excels, as usual.

Woh Marmari Se Haath Woh Mahakaa Huaa Badan,
Takaraayaa Mere Dil Se Muhabbat Kaa Ek Chaman,
Mere…Bhi Dil Kaa Phooll Khilaa Do Mere Huzoor
Rukh Se Zara…


7) Song: Nazar Na Lag Jaaye
Film: Night In London (1968)
Credits: Anand Bakshi | Laxmikant Pyarelal| Mohammed Rafi

Mala Sinha once again but this time with Biswajeet. The hero is warning her to be careful as her beauty is bound to attract an evil eye.

Dekh kar teri tarafa bahaar,
Aaja ho rahi hai bekaraar,
Chu rahe phool yun tujhe,
Jaise inhe bhi tujhase pyaar
Ye ho naa jaye, O my love


8) Song: Yeh Reshmi Zulfein
Film: Do Raaste (1969)
Credits: Anand Bakshi| Laxmikant Pyarelal | Mohammed Rafi

A situational song. In a college picnic, the hero Rajesh Khanna impresses Mumtaz by praising her silky hair and intoxicating eyes. Rafi’s signing adds that extra touch of teasing and naughtiness into the song.

Jo yeh aankhe sharam sey jhuk jayegee,
Saree bate yahee bas ruk jayegee,
Chup rehana yeh afasana, koi inn ko naa batalana,
Ke inhe dekhkar jee rahe hain sabhee


9) Song: Khuda Bhi Asmaan Se
Film: Dharti (1970)
Credits: Rajendar Krishan | Shankar Jaikishan | Mohammed Rafi

Mohammed Rafi was the voice of Rajendra Kumar and sung a number of romantic songs where he is praising or teasing the heroine. In this song, the hero comments that the creator himself is wondering who has created this marvellous beauty. What a compliment indeed!

Musavvir khud pareshaa hai ke ye tasvir kisaki hai,
Banogi jisaki tum aisi hasi taqadir kisaki hai,
Kabhi wo jal raha hoga, kabhi khush ho raha hoga


10) Song: Maine Poochha Chaand Se
Film: Abdullah (1980)
Credits: Anand Bakshi | R.D. Burman | Mohammed Rafi

And finally, a song which is probably one of the final songs of this great artist. Sanjay Khan with Zeenat Aman. The hero has confirmed that his beloved has no equal! The singing is soft and subdued.

Maine yeh hijaab tera dhoondha, har jageh shabab tera dhoondha,
Kaliyon se misaal teri poochi, phoolon ne jawaab tera dhoondha,
Maine poocha baag se falak ho ya zameen, aisa phool hai kahin,
Baag ne kaha har kali ki kasam, nahi nahi nahi
Maine poocha chand se…