Dev Anand - Revision history

Jyoti: /* Love life */

2023-11-03T07:41:22Z

‎Love life

Jyoti: /* His last years */

2023-10-15T19:18:51Z

‎His last years

Jyoti: /* Burman-da — Dev Ananad–Kishore combination */

2023-10-15T19:16:32Z

‎Burman-da — Dev Ananad–Kishore combination

Jyoti: /* Waheeda Rehman */

2023-10-15T19:15:59Z

‎Waheeda Rehman

Jyoti: /* Important films */

2023-10-15T19:14:02Z

‎Important films

Jyoti: /* Locations for movies */

2023-10-15T19:13:36Z

‎Locations for movies

Jyoti: /* Important films */

2023-10-15T19:13:10Z

‎Important films

Jyoti: /* Love life */

2023-10-15T19:11:51Z

‎Love life

Pdewan: /* When Dev Anand almost declared his love for Zeenat Aman */

2023-09-24T18:11:30Z

‎When Dev Anand almost declared his love for Zeenat Aman

Pdewan: /* Important films */

2023-09-24T17:13:32Z

‎Important films

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 He added: "The evening delivered a blow to my personality, and my dominating spirit. I had decided on the spur of the moment to tell Zeenat for the first time how much I loved her. And that there was an idea in my mind of another story that would put her on a pedestal as never before, the highest so far. But that was never to be."
-[[Category:Cinema-TV-Pop|ADEV ANAND
+=Mumbai=
-DEV ANAND]]
+[https://indianexpress.com/article/opinion/columns/dev-anand-and-bombay-a-love-affair-for-the-ages-8955971/  Alpana Chowdhury, Sep 26, 2023: ''The Indian Express'']
-[[Category:India|ADEV ANAND
-DEV ANAND]]
+In 1943, when Dharamdev Anand, a young graduate, stepped foot in Bombay, after a train journey from Lahore, it was love at first sight. Chasing his dream to become an actor, Anand, better known as Dev Anand, landed in the city in the midst of the monsoon which he never forgot. Decades later, he told me in an interview, “It rained and rained all through till October.” But that didn’t dampen his spirits.
 [[Category:Cinema-TV-Pop|ADEV ANAND

← Older revision		Revision as of 19:18, 15 October 2023
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	His films spoke of his modern sensibilities and desire to portray tomorrow's headlines today. The Bollywood legend always said that his films were expression of his world view and hence dealt with socially-relevant subjects.		His films spoke of his modern sensibilities and desire to portray tomorrow's headlines today. The Bollywood legend always said that his films were expression of his world view and hence dealt with socially-relevant subjects.
		+
		+	==His later years==
		+	[https://epaper.timesgroup.com/article-share?article=24_09_2023_022_004_cap_TOI Jai Arjun Singh, Sep 24, 2023: ''The Times of India'']
		+
		+
		+	Our movie history is full of instances of male stars trying to reinvent themselves, making alterations to their screen image or choice of collaborators — to fit a new zeitgeist, to stay relevant for new audiences, or simply to play their age. Thus, most recently, Shah Rukh Khan teamed up with the Tamil director Atlee for a new sort of masala action film; in an earlier time, Amitabh Bachchan (when he was exactly the same age SRK is now — 57 going on 58) overturned his shaky fortunes by hosting Kaun Banega Crorepati. Mass superstar Rajinikanth worked in the explicitly political Pa. Ranjith film ‘Kaala’, and even Rishi Kapoor played gritty roles in indie cinema late in his career. By way of contrast, there is Dev Anand — who was not just forever young, as the cliché has it, but also confident (or over-confident?) enough to not seek an image overhaul (one can imagine him disapproving of the ‘Kaala’ scenes where the younger version of Rajinikanth is evoked through animation interludes). Dev, for that’s what he wanted us to call him (“those who like me and love me call me Dev, just Dev, short and sweet and possessive, godly and sexy,” he declared in his extraordinary memoir ‘Romancing with Life’, a book that reads as if he had personally written every word and never allowed an editor near the thing) — Dev just went on, regardless of what anyone thought, confident that his fan base would follow him anywhere. This attitude would result in a number of latter-day films that very few people think of as good cinema. The stories behind the making of some of these films — the continuing infatuation with much younger actresses, the rush to launch a new, untested face as fast as possible — can be embarrassing too. And so, in assessing Dev Anand’s career, one usually sees a clear divide made between the quality of the work in the first two decades (broadly the period from ‘Baazi’, 1951 to ‘Johny Mera Naam’, 1970) and the diminishing returns that followed — the head-bobbing mannerisms, the displays of narcissism on screen, the hurriedly made ego projects.
		+
		+	As a critical approach, this is useful, because his best work shines so bright. ‘CID’, ‘Taxi Driver’, ‘Kala Bazaar’, ‘Paying Guest’, ‘Guide’, ‘Jewel Thief’… these, to name just a few, are enshrined films that define his legacy, and the reason why he is one of our most important star-actors whose centenary deserves to be celebrated with nationwide screenings.
		+
		+	But here’s a proposition: drawing a sharp line between Dev’s early and late career can be a barrier to understanding something essential about the man and the star: that unflagging optimism and self-belief fuelled him through six decades.
		+
		+	For my generation, many of the 1980s Dev Anand films, which are thought to represent a decline (from ‘Swami Dada’ to ‘Sachche ka Bol Bala’ to ‘Awwal Number’), had a strange power because he was a bridge between a much earlier time and the “now” that we were growing up in. As a child, watching my family’s sentimental reactions to him, I realised that this funny, nodding gent — still playing the youthful hero on equal terms with a Jackie Shroff or Aamir Khan — was also the dashing star whom my grandmother had crushed on three decades earlier. This was a very different revelation from watching, say Dilip Kumar and Raaj Kumar reunited in ‘Saudagar’, two respectable old men who clearly were old men, with their younger versions played by other actors. (Dev, who infamously cast Cindy Crawford as his mother in a still photograph around the same time in ‘Awwal Number’, would have scoffed at such timidity!) For me personally — and I’m sure for others — Dev provided a living, immediate link to the distant past in a way that an elderly Dilip Kumar, singing “I love you” to an elderly Nutan in ‘Karma’, couldn’t quite do.
		+
		+	Playing devil’s advocate, one can make a small, defensive case for the last few films too — the ones that most people either politely overlook today or turn into funny internet memes.
		+
		+	Such as the ‘Love at Times Square’ phone conversation where Dev’s character tells his daughter about her mother dying in a grisly plane crash, and then, within seconds, changes the subject with a sing-song “Ab aur rona dhona nahin, jo ho gaya so ho gaya”. It’s unintentionally funny, yes, but it is also very much part of the DNA of this forever-sanguine man, the man one finds in the pages of his memoir — where, each time a chapter in his life closes on a sad note (the broken love story with Suraiya, for instance), he quickly moves on to the next phase, with a mention of the ray of light that is forever showing him the way.
		+
		+	That buoyancy, however caricatured it may have become in his later work, is inseparable from the qualities that made him such a great star-actor in his prime — the dashing hero forever associated with ‘Main zindagi ka saath nibhaata chala gaya’ and ‘Gaata rahe mera dil’. At the level of personal preference and good taste, it’s understandable that a movie buff would pick a repeat viewing of ‘Guide’ over a first-time viewing of ‘Mr Prime Minister’, but if you really want to grasp the spirit of one of our most beloved legends, all of Dev Anand’s work is vital.
		+
		+	[[Category:Cinema-TV-Pop\|ADEV ANAND
		+	DEV ANAND]]
		+	[[Category:India\|ADEV ANAND
		+	DEV ANAND]]

	=Politics=		=Politics=

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 Kishore,who started career from “Ziddi” (M D Khemchand Prakash-1948), sang for Dev under Burmanda’s music for the first time in 1951 and the song was- “Dil ye kya cheej hai” (Baazi), and thereafter he continued upto 60-70 deacade just as…”De bhi chuke hum dil nazrana” (with Geeta Dutt-Jaal) “Dukhi man mere“,”Aye meri topi palat ke aa“and “Wo dekhen to unki inayat“-with Asha-(Fantoosh), “Jeevan ke safar me raahi” (Munimjee) ,”Mana janabne pukara nahi“,”Hay hay hay ye nigahen” & “Jamana kya kahega“-with Asha,”(Paying Guest) Hum hai raahi Pyaarke” & “Aankhome kya jee“-with Asha, “(Nau do gyarah),”Oonche sur me gaye jaa“-(House no.44) “Khwaab ho tum ya“,”Are yaar meri“–with Asha, “Likha hai teri aankhonme” & “oof kitni thandi hai meri” -both with Lata (All from Teen Deviyan),”Gata rahe mera dil“-with Lata (Guide),”Ye dil na hota bechara” & “Aasman ke neeche“-with Lata-(Jewel Thief) ,”Phoolonke rangse” (Prem Pujari) and lastly “Dil aaj shayar hai gum aaj nagma hai“-(gambler).
 No doubt these songs were great hits once upon a time, but I feel, they lack some variety and exact vocal expressions which Dev Anand shew on his chocolate face. You will find this, with something more in SD–DEV–RAFI–melodious & more romantic combination.” think over the songlist below.
 === SD Burman–DevAnand–Mohd. Rafi===
 “Thummak thummak chali kahan“(Ek ke Baad Ek), and more songs form this film,”Chale gaye hum bekhudime” & “Achhaji mai haari chalo maan jaao na“-with Asha-(Kala Pani) “Khoya Khoya chaand “,”Apni to har aah ek toofan hai” & “Rimzim ke Tarane leke aayi Barsaat“-with Asha (All from Kala Bazaar), “Diwana mastana hua dil“-with Asha, & “Saathi na koi manzil” (Both from Bambai ka babu),”O aaja panchhi akela hai“, “Kalike roopme chali ho dhoopme” – (Both from Nau do gyarah),”Dilka bhanwar kare pukar“,”tu kahan ye bata“,”sunle tu dilki sada” & “Dekho rootha na karo” (All from Tere gharke saamne),”Aise to na dekho” & “kahin bekhayaal ho kar” (both from Teen Deviyan),”Kyaa se kyaa ho gaya“,”tere mere sapne ab ek rang hai” & “Din dhal jaye haye“All from Guide), “Chupkese mile pyaase pyaase “-with Geeta Dutt and “mera man tera pyaasa” from gambler (last song of Rafi for Dev and SD).
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 Rafi sang for Dev Anand  (One year before than Kishore ) “Sawan ki gahatao dheere dheere aana” Aage Badho with Khursheed–Sudhir Phadake-1947) and continued from 50-51 to 60-70 decade as below.
-Husnalal Bhagatram- “Chhotasa fasana hai tere mere pyaarka” (with Lata –Birha ki Raat) & “O sanam, sanam sanam (Rafi-Sureiya-Film Sanam) , & more films. C.Ramchandra-”Dekh hame aawaaj na dena” (Rafi-Asha–Amardeep),”Duniya kya hai” (Sarhad) and more films. Chic Chocolete-”Aisa kya kusur kiya“(Rafi-Lata –Naadan) OPNayyar–”Aankho hi aankhonme“(Rafi –Geeta-CID),”Raat sard sard hai”(Jali note,–All rafi songs of this film are enchanting), Salil Chaudhari – Koi soneke dilwala (Maya), Shankar Jaikishan- teri julfonse judaai to nahi (Jab pyar kisisse hota hai)-”Dheere dheere chal“(Rafi-Lata-Love Marriage), “Aap naraz khuda khair karen”(Pyar Muhabbat)and more films, Jaidev-”Mai zindagika saath” and more (Hum dono), MadanMohan-”Sawan ke mahineme ek aagsi seeneme”and classic ”Mujhe le chalo aaj phir us galime” -(Sharabi) etc. etc.
+Husnalal Bhagatram- “Chhotasa fasana hai tere mere pyaarka” (with Lata –Birha ki Raat) & “O sanam, sanam sanam (Rafi-Sureiya-Film Sanam) , & more films.
 [[Category:Cinema-TV-Pop|ADEV ANAND

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  Guide was made in Hindi and English. Vijay Anand directed the Hindi version; Tad Danielewski, the English. Both didn’t want to work with me. However, Dev insisted that only Waheeda will do the role. I told him not to force the directors. But he stood by me, and insisted that as the producer, he would take the call. I blushed when he told me that ever since reading the book by R K Narayan, he had only imagined me playing Rosie. I was taken aback when he told me that he knew that if problems arise, I would stand by him. That’s what happened. There was a lot of chaos as we were shooting simultaneously in Hindi and English. Ego clashes between the two directors hampered the shoot. Dev was very upset and worried. A lot of time was being wasted. One day, he suggested that we should first shoot in Hindi, then in English. He asked me for additional dates and I agreed without a second thought. “See, I knew you’d stand by me,” he replied.
-  During that era, there were three big stars: Dev, Raj Kapoor, and Dilip Kumar. All were very talented, but there was something different about him. He was not condescending. He insisted on working with new directors and crew, and made everyone comfortable. He was a charming actor and a charming human being. He was also a decent flirt. Dev was always the most welldressed person on the set. He had so much energy mentally and physically. If his clothes would get drenched in sweat or get soiled, he would run to his room, change, and then come back to take a shot. I used to joke, and call him an ‘Eveready Battery’, always charged. Dev also had an ear for good music and was very particular about the songs in his films. If he didn’t like a song, he would even tell (Sachin Dev) Burman da, “Dada, maza nahi aaya! Kuch aur banaiye.”
+ During that era, there were three big stars: Dev, Raj Kapoor, and Dilip Kumar. All were very talented, but there was something different about him. He was not condescending. He insisted on working with new directors and crew, and made everyone comfortable. He was a charming actor and a charming human being. He was also a decent flirt. Dev was always the most welldressed person on the set. He had so much energy mentally and physically. If his clothes would get drenched in sweat or get soiled, he would run to his room, change, and then come back to take a shot. I used to joke, and call him an ‘Eveready Battery’, always charged. Dev also had an ear for good music and was very particular about the songs in his films. If he didn’t like a song, he would even tell (Sachin Dev) Burman da, “Dada, maza nahi aaya! Kuch aur banaiye.”
  As I become older, it sometimes becomes difficult to recall the details of the time I spent with him. What I remember the most, however, is how broad-minded and progressive Dev was in his thinking. Also, he didn’t stick to the formulaic films or typical love stories that were being made in that time. He wanted every film of his to be different from the other. He had the guts to make Guide, which had a very bold subject. More than a love story, it was about three people who want to make something of their life. The characters were grey, and made unconventional choices. It was different, yet at the same time, very true to life and the people we see around us even today.
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 (As told to Shruti Sonal)
 [[Category:Cinema-TV-Pop|ADEV ANAND

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 =Important films=
 ==B==
 Apart from [[Guide (1966)]], films that secured his place in India’s pantheon included Hum Dono (1961); Jewel Thief (1967); and [[Hare Rama Hare Krishna (1971)]]. Hum Dono was re-released in colour in 2011 as ‘Hum Dono Rangeen.’
 =Co- stars=

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 Husnalal Bhagatram- “Chhotasa fasana hai tere mere pyaarka” (with Lata –Birha ki Raat) & “O sanam, sanam sanam (Rafi-Sureiya-Film Sanam) , & more films. C.Ramchandra-”Dekh hame aawaaj na dena” (Rafi-Asha–Amardeep),”Duniya kya hai” (Sarhad) and more films. Chic Chocolete-”Aisa kya kusur kiya“(Rafi-Lata –Naadan) OPNayyar–”Aankho hi aankhonme“(Rafi –Geeta-CID),”Raat sard sard hai”(Jali note,–All rafi songs of this film are enchanting), Salil Chaudhari – Koi soneke dilwala (Maya), Shankar Jaikishan- teri julfonse judaai to nahi (Jab pyar kisisse hota hai)-”Dheere dheere chal“(Rafi-Lata-Love Marriage), “Aap naraz khuda khair karen”(Pyar Muhabbat)and more films, Jaidev-”Mai zindagika saath” and more (Hum dono), MadanMohan-”Sawan ke mahineme ek aagsi seeneme”and classic ”Mujhe le chalo aaj phir us galime” -(Sharabi) etc. etc.
-He had a great sense of music. During sittings, he would pick a note and ask the composer to expand on it. His discipline extended to the way he lived. He was a frugal eater, but not choosy. In a party, a single peg of whisky would last the night. Sometimes he would leave even half of that.
+[[Category:Cinema-TV-Pop|ADEV ANAND
+DEV ANAND]]
-His aesthetics were modern, in fact ahead of his time. He was a trend-setter with costumes. In his time, he was the only male star who could carry any dress in any colour.
+[[Category:India|ADEV ANAND
+DEV ANAND]]
- He had a knack for making friends across sectors. King Mahendra of Nepal, Chogyal of Sikkim, King of Bhutan – all became his friends. So did Naval Tata, Ratan Tata’s father, Soli Godrej and Vithal Mallya, who was Vijay Mallya’s father. He hosted the Italian master Michelangelo Antonioni and Brit ish actor Rex Harrison. Hollywood star Shirley Maclaine was a friend. And yet he would write handwritten notes to his fans whenever he could. He would travel abroad, watch plays and movies. I remember him discussing the film, Midnight Express, with me. He invited the famous writer Irving Stone (Lust for Life) to India. Nobel prize recipient Pearl S Buck was involved with the writing of Guide’s English version. They had first met at the Berlin Film Festival where Hum Dono was being shown and she was on the jury. He exchanged notes with other writers such as RK Narayan, Manohar Malgaonkar, Agyeya, Kamleshwar and Khushwant Singh. Once we discussed the difference between star and actor. He quoted American director Elia Kazan who had said that an actor is admired, a star is loved. Dev saab was not apologetic about being called a star.
-−
- He worked with the maximum number of leading ladies. He always encouraged newcomers. He loved interacting with young people. The interactions kept him updated. Which is why his films were not just about current headlines, but also tomorrow’s headlines. Des Pardes (1978) dealt with migration long before it became a news story.
-−
- He had bought the rights of Malgaonkar’s The Princes. But the film was never made. He was also approached to collaborate with the great David Selznick (Gone with the Wind) whose wife Jennifer Jones (Duel in the Sun) was to play the female lead. The project was aborted after Selznick died of a heart attack.
-−
- Dev saab had a ‘never say die’ spirit. He looked towards tomorrow. We all know he faltered towards the end. But I never heard him speak ill of anyone. He remained a great human being. Lyricist-producer Amit Khanna worked closely with Dev Anand. He was also executive producer and production controller for Navketan, Dev’s production company. Writer photo by Rajesh Mehta.
 =Love life=

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 He finally proposed Suraiya on the set of "Jeet" but Suraiya's maternal grandmother opposed the relationship as they were Muslim and Dev Anand Hindu. Suraiya remained unmarried all her life. He married Kalpana Kartik after meetin her on the set of "Taxi Driver".
-==When Dev Anand almost declared his love for Zeenat Aman==
+==When Dev Anand almost declared his love for [[Zeenat Aman]]==
 Basking in the glow of the success of Hare Rama Hare Krishna in 1971, Dev Anand, the ever-romantic hero, soon realised that he was in love with the film's leading lady and his discovery Zeenat Aman.
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 He added: "The evening delivered a blow to my personality, and my dominating spirit. I had decided on the spur of the moment to tell Zeenat for the first time how much I loved her. And that there was an idea in my mind of another story that would put her on a pedestal as never before, the highest so far. But that was never to be."
 =Refusal to accept the advent of age=