Johnny Walker: A Comedian for Whom Laughter Was Serious Business
Whenever Johnny Walker’s daughter Tasneem Khan returned from college in a BEST bus, she would be amused when the conductor yelled, “Johnny Walker bus stop, Johnny Walker bus stop.” Johnny Walker’s residence in Bandra was bang opposite the bus stop so it became a landmark. That is how his memory is still alive in Bandra—a suburb that is known for housing many Bollywood celebrities.
 
Born on 11 November 1926 as Badruddin Kazi, Johnny Walker worked as a bus conductor in Bombay for many years until Balraj Sahni noticed his antics, body language, and peculiar mannerisms and spoke to him. Soon, Johnny got introduced to Guru Dutt and the rest is history. Until Guru Dutt’s death in October 1964, Johnny Walker was close to the ace filmmaker. In fact, when Guru Dutt passed away, Johnny Walker and Waheeda Rehman (Guru Dutt’s protégé) rushed from a film shoot in Chennai to attend to the last rites of the filmmaker.
 

 
Johnny Walker married Noorjahan, the younger sister of Shakila. Shakila, Noorjehan and Nasreen were three sisters who lost their parents at a very young age. They grew up under the tender care of their uncle and aunt. All three girls were beautiful. Of the three sisters, Shakila became the most popular actress. She acted in films like CID, Aar Par, Kali Topi Lal Rumal, Tower House, Hatim Tai and quit films after getting married. She alternated between her palatial house in London and her spacious flat in Marine Drive. Her marriage ended in a divorce and, to make matters worse, her 21-year old daughter committed suicide in Mumbai. Shakila was a diabetic and passed away in 2017 but she was in close touch with her younger sister Noorjehan’s (Noor's) family. Noor was luckier than her elder sister Shakila. She did not have a great career in Bollywood but she found in Johnny Walker a man who would keep her happy all through her life. His simplicity and honesty were more endearing to her than anything else.
 
Johnny Walker met Noor during the shooting of Aar Par (1954). Noor was just a fledgling artiste then.  Both of them tied the knot against resistance from both their families. They have six children—barring one Nasir Khan, all their other children are happily settled in the USA. Noor has preferred to shun the limelight after her marriage in 1955, having sought solace in matrimonial bliss with her actor-husband. Nasir Khan is seen in television serials now.
 
Johnny Walker’s comedy may be considered archaic today. But during the 1950s and 1960s he had his own fan following. In the 1970s, Johnny Walker wasn’t seen in too many films. He had gradually reduced his acting assignments in the 1970s before calling it a day in the 1980s.  He was an intelligent actor who never invested his hard-earned money in film production. Much later in 1985, he produced and directed Pahunchey Huey Log—the only time he ventured into film production. At one time, more than 80% of the taxis that were plying on the roads of Bombay belonged to Johnny Walker.
 
He was close friends with Dilip Kumar, Naushad, Majrooh and Mohammed Rafi—all of whom lived in Bandra. He was a teetotaler—shunning smoking and drinking all through his life. He had quit movies in the 1980s, being unable to adapt to the changing trends and vulgar comedy in Hindi films. It was with much reluctance that he agreed to star in Kamal Haasan’s Chachi 420.
 
His children maintain that they loved their father in the song – “Gareeb Jaanke Hum Ko Na” from the 1957 release Chhoo Mantar that also starred Anita Guha, Shyama and Karan Dewan.
 
Here was an actor whose integrity was unquestionable and steered clear of controversies. He enjoyed his retired life, thoroughly bonding with his children and grandchildren.
 
A simple man with a great character who was known for his clean comedy, Johnny Walker’s memories will continue to be alive through his movies and songs. When he flirted with actresses on the screen, he ensured that he maintained a respectable distance from them – yet never failing to express the emotions of love with all the astuteness that it deserved.
 
Credit has to go to Mohammed Rafi who gave playback to Johnny Walker in most of his movies. When Rafi sings for Walker, you only listen to Walker and not to Rafi. That sums up the talent of Rafi who moulded his voice according to who he was singing for.
 
An actor who placed his family before everything else, he did his bit for charity. He encouraged his family to buy samosas from an old vendor only to help the man. After his retirement, he had a flourishing business dealing in precious and semi-precious stones. A man who remained humility personified all throughout, Walker never forgot his roots and his earlier struggles in life as the son of an impoverished mill worker in Indore. He was forced to leave school in 6th standard—a fact that he regretted all his life.  He sent his sons to the US for further studies.
 
During his hey-day, distributors would insist on him having a song. He was the first actor to engage the services of a secretary. He never worked on Sundays.
 
I recall some of the scenes in some of his landmark films…
 
Readers are welcome to share any other roles of Johnny Walker.
 
In the climax scene of Pyaasa, Johnny is caught in a stampede… he manages to thump the feet of the crowd to move forward…
 
In one of the hilarious scenes in Pratiggya (1975),  Dharmendra slaps him and Johnny Walker says, “Itni si baat ke liye, Itna gussa…” The way he delivered this comic scene still remains etched in my memory.
 
His role in Hrishikesh Mukherjee’s Anand is still fondly remembered.
 

In his own words….

"In those days we used to do clean comedy. We were aware that the person who had come to the cinema had come with his wife and children ... the story was the most important thing. Only after selecting a story would Abrar Alvi and Guru Dutt find suitable actors! Now it's all upside down ... they line up a big hero and find a story to fit in. The comedian has ceased to be a character; he's become something to fit in between scenes. ... I opted out because comedy had become hostage to vulgarity. I acted in 300 films and the Censor Board never cut even one line."
 
 TRIVIA
1. Walker launched his niece Zohra in his directorial film Pahunchey Huye Log. Zohra is the daughter of actress Nasreen (Noor's sister). Nasreen and Shakila were twin sisters. Nasreen is based in Seattle.
 
2. Walker’s brothers Kamaluddin and Salamuddin were film producers. Kamaluddin passed away in 2011.
 
3. His other brother Vahiduddin adopted the screen name of Vijay Kumar and acted in the 1961 release Wanted.
 
4. One of his daughters Firdaus worked for JP Morgan Chase.
 
5. Johnny Walker, before entering films, worked in the Dadar bus depot.
 
6. He won his first Filmfare award for Madhumati (1958).
 
7. He won his second Filmfare award for Shikaar (1968).
 

8. Mahmood’s popularity in Hindi cinema in the 1960s dimmed the demand for his style of comedy but Johnny Walker took it in his stride. He always had his businesses to fall back on. He was fond of Mahmood and never considered him an adversary.
 
9. For Johnny Walker, his family was his world and his world was his family.
 
10. His bungalow was called “Noor Villa” and was located in Perry Cross Road, Bandra.
 
11. He loved collecting different kinds of hats—never tiring of them.
 
12. He often went fishing along with his wife Noor at the Powai Lake.
 
(After working in the corporate world for close to two decades, Bhagyalakshmi Seshachalam started her second career innings as a head-hunter. She is passionate about Hindi movies and loves retro music. When her family shifted to Chennai in the 80s, Bhagya had a taste of Tamil cinema too. In the long term, she plans a book on two of her favourite directors – Guru Dutt and K Balachander. She travels across the country on work and is based in Mysore.)
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    COMMENTS

    Abhijit Joshi

    1 month ago

    Great informative article. Besides his CID role I always liked his role in Chaudavin Ka Chand. His dialogues with Rehman were simply great. In CID his statement before police inspector "Inspector saab iske pahle ke main kuchh karta koi aur aake kuchh aur karke gaya " was a memorable. What an actor and a human being. They don't make them these days.

    Ramesh Poapt

    2 months ago

    very good one! JW acting became stereo typed of late. He was hero in a gujarati
    movie miyan fuski- a popular character in children books in last sixty/ seventy.

    Prasanna

    2 months ago

    A very interesting article. I indeed held Johnny Walker in high esteem as a comedian. It was nice to know his background and his family. Wish I could have met him and said hello to such a good man.

    Mr & Mrs 55: Celluloid Magic by Stalwarts
    9th July is the birth anniversary of Guru Dutt while 31st July is the death anniversary of Mohammed Rafi. Rafi had a great equation with not only Dutt but also with his wife Geeta with whom he had the opportunity to sing some legendary songs. OP Nayyar was also so fond of Rafi that he never looked beyond “The God of Music” as some of the Rafi fans eulogize him.
     
    It is extremely difficult to pick only a few songs from Rafi’s vast oeuvre.
     
    Here we review Mr & Mrs 55 – a 1955 release produced and directed by Guru Dutt. The movie was hugely successful at the box office. This was the only film where Madhubala and Guru Dutt were seen together. “Udhar Tum Haseen Ho, Idhar Dil Jawan Hai” and “Jaane Kahan Mera Jigar Gaya Ji” have stood the test of time as immortal classics.
     
    An impoverished and struggling cartoonist, Preetam (Guru Dutt), encounters Anita (Madhubala) at a tennis match. Anita is controlled by her aunt Sita Devi (Lalita Pawar), a crusader for Women’s Rights who wishes to shield Anita from men.
     
    However Anita’s father stipulates in his will that Anita will inherit his fortune only if she marries within a month of turning 21.
     
    Anita’s love for a badminton player Ramesh (Al Nasir) proves to be unrequited as Ramesh is least interested in getting married to her. Sita hatches a plan to get Anita married to someone who can be given a monthly stipend for consenting to the marriage, who would later be persuaded to divorce Anita. 
     
    Anita and Pritam have met earlier – but Pritam hides the fact that he is the chosen short-term contractual husband for her. Even when they meet in the registrar’s office, Pritam is silent on the subject. But when Anita comes to know the truth, she is furious.
     
    Though Pritam and Anita do not stay together, Pritam kidnaps her and takes her to his home in a nearby village. Johnny supports him in this endeavour. As Pritam and Anita start getting drawn to each other, Sita Devi arrives and takes Anita away.
     
     
    Resigned to his imminent fate of losing Anita, Pritam fabricates evidence against himself to facilitate their divorce.
     
    Heart-broken, Pritam decides to leave Bombay. Taking a dig at the overbearingly commercial focus of Bombay and the equally unmistakable political character of Delhi, he tells Johnny, “I have chosen to leave behind the city of traders (Bombay) and move to the city of Emperors (Delhi).” Even as the divorce proceedings are on in the court, Anita is overcome by remorse and the moment of epiphany soon arrives. She realizes that Pritam was truly in love with her. Johnny acts as a catalyst to bring about this reunion.
     
    The last scene of the film shot at the airport featuring Dutt, Walker, Madhubala and Yasmeen is a must-watch. This scene stays with you long after you have watched the film.
     
    Many netizens have opined that the title Mr and Mrs 55 wasn’t very appealing, but I beg to differ. I think it is one of the most innovative film titles for that era.
     
    Guru Dutt cocks a snook at women’s emancipation – but in a subtle and gentle fashion – without sensationalizing the issue. Kudos to him! Dutt and Madhubala indeed make a great pair on screen. Johnny Walker’s brand of comedy may sound a bit outdated today – but on hindsight Johny Walker’s comic interludes were clean, enjoyable and often blended with the film’s narrative.
     
    The support he renders to the hero as his friend makes you long to have a friend like him! Someone who is jovial – caustic at times – but someone who also stands by you during a crisis! In real life, Dutt and Walker had an excellent personal rapport that they could extend to their characterisations on screen.
     
    The other memorable tracks in the film are “Dil Par Hua Aisa Jadoo” and “Chal Diye Banda Nawaz”. The former was a Rafi solo while the latter was a duet by Rafi & Geeta Dutt. Mr and Mrs 55 also boasts of the melancholic “Preetam Aan Milo” sung by Geeta Dutt that was later used by Gulzar in his ribtickling comedy “Angoor” (1982). The movie also has a cabaret (not the vulgar kind) by dancer Cuckoo (“Neele Aasmani”) who in real life, splurged all her wealth and died in penury in the early 80’s.  How can we forget “Thandi Hawa Kaali Ghata” sung by Geeta Dutt and Shamshad Begum. The song was shot in the Mahatma Gandhi swimming pool in Bombay’s Shivaji Park.
     
    The cartoons in the film were drawn by R. K. Laxman.
     
    The lyrics by Majrooh Sultanpuri are poetic. Cinematography by V K Murthy is as always brilliant. Murthy was a regular fixture in all the films produced and directed by Guru Dutt. Murthy was considered a creative genius. Despite the fact that Mr and Mrs 55 has been shot in black and white, it exposes you to the Bombay of the mid 50s. The shots of Dutt’s and Walker’s banter in a Bombay bakery remind you of the Parsi/ Iranian bakeries that dotted the Mumbai skyline decades ago.
     
    As someone who is a philogynist and loses his heart to the beautiful woman whom he has met, Guru Dutt breathes life into the role of the indigent cartoonist Pritam.
     
    Guru Dutt’s nuanced acting is equally complemented by Madhubala’s competent performance. Her impish charm and childlike innocence prove that Madhubala was one of the rare cases of a beautiful actress who could also act.
     
    Lalita Pawar makes a powerful impact as an elderly woman who has no qualms about displaying her misandrous disposition. Kumkum has a brief role playing Guru Dutt’s sister-in-law where she speaks about the importance of family for a woman. While in Kumkum’s house, Anita tells  her, “You have been married for four years and you already have three children. It is important to maintain a distance between children”.  Guru Dutt subtly hints at the significance of family planning here. Johnny Walker (as Johnny) and Yasmeen (Vinita Butt) as Julie too make a lovely pair.
     
    The film was adapted from a play written by Abrar Alvi titled “Modern Marriage”. Alvi’s dialogues are racy, thought-provoking, caustic and deliver a punch. The dialogues blend with the plot seamlessly.
     
    “If you don’t have roti, why don’t you eat bread?” asks an innocent Madhubala.
     
    Later she also fumes at her husband, “Flatter me as much as you want – you won’t get 1 Rupee more than your salary of Rs 250”.
     
    When Sita Devi meets Pritam for the first time, she asks him, “Are you a communist?”. Pritam replies, “No, I am a cartoonist.”
     
    A romantic comedy that also makes you think, Mr and Mrs 55 is mildly satirical. The film drives home the point that a woman is incomplete without a man – modern women may not subscribe to this (supposedly) archaic view! Dutt also takes a dig at the growing influence of western culture in India and pays glowing tributes to the traditional Indian values. Too sad that we lost such a creative genius so soon!
     
    The fluid camera movements, long tracking shots and intelligent use of light, shade and close-ups give the impression that Dutt was highly influenced by Hollywood. It is downright hilarious when he tells his brother’s children not to touch her Anita because being a fairy, she would fly away if they touched her!
     
    Pawar as a feminist and a crusader of women’s rights becomes repetitive after a point and Guru Dutt smoking in every alternate scene also is a major irritant.
     
    TRIVIA
     
    Al Nasir who played the charcater of Ramesh was married to famed character artiste Veena. Veena later acted as Guru Dutt's arrogant and high-handed wife in the 1959 classic Kagaz Ke Phool. An actress known for her classic beauty and impeccable dialog delivery, Veena became a victim of stereotyping. Al Nasir often went hunting with Veena and his two children in the forests of Bhopal.
     
    Yasmin (Vinita Butt) made her screen debut in Mr and Mrs 55. She also acted in Filmistan’s international venture, “Three Headed Cobra”. Vinita fell in love with makeup man Jimmy Vining while shooting for this film. They became man and wife in November 1955. After honeymooning in Mahabaleshwar, Vinita settled down as a home maker. Like Bhagyashree later, Vinita insisted on acting only in those movies that employed her husband as a technician.
     
     
    Vinita was clear about her career – “Either make a success of your chosen profession or get out of it.”  She was born in Rawalpindi on 3 April 1937.  Vinita spent the first seven years of her life in Kashmir. She arrived in Bombay in November 1954, sometime after she had done her Senior Cambridge in Bangalore. In Bangalore, she had appeared on the stage in Tagore’s “Sacrifice” and one of J. B. Priestley’s plays.
     
    Guru Dutt spotted her in Bangalore and offered her a film contract. But things didn’t materialize for some time. Later, Chandulal Shah offered her a role in Oot Patang.  She enjoyed acting and expressed her gratitude to Chandulal Shah and Goharbai whom she admired and respected.
     
    Vinita met Guru Dutt in Mehboob Studios where the latter offered her the role of the Anglo Indian girl in Mr and Mrs 55.
     
    Vinita Butt aka Yasmeen who became Mrs Jimmy Vining steadfastly shunned all publicity and media hype after her marriage. Unconfirmed reports say that she stays in Valsad now... but again no one knows the truth!
     
    A question to film historians - why did Guru Dutt never act with Madhubala again? Are there any answers? 
     
    (After working in the corporate world for close to two decades, Bhagyalakshmi Seshachalam started her second career innings as a head-hunter. She is passionate about Hindi movies and loves retro music. When her family shifted to Chennai in the 80s, Bhagya had a taste of Tamil cinema too. In the long term, she plans a book on two of her favourite directors – Guru Dutt and K Balachander. She travels across the country on work and is based in Mysore.)
     
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    COMMENTS

    Ramesh Poapt

    2 months ago

    'mast' one! zakkas!

    REPLY

    Bhagyalakshmi Seshachalam

    In Reply to Ramesh Poapt 2 months ago

    Thank you so much, Sir. I really appreciate your feedback.
    I would also like to inform the readers that the actor Al-Nasir who enacted the role of Ramesh in this movie passed away two years after the release of this film in 1957. He was only 34 years old then. His actress wife Veena has shared this in an old interview of hers. Veena singlehandedly managed her children after her husband's tragic death. Veena was the elder sister of character actor Iftekhar. She herself passed away in 2004.

    Bhagyalakshmi Seshachalam

    In Reply to Bhagyalakshmi Seshachalam 2 months ago

    It also appears from a few publications that Al -Nasir was quite a casanova. Veena was his third wife. He was also married to actress Meena Shorey of "Ek Thi Ladki" fame.

    Dhund (1973): A Gripping Thriller
    28th July is the death anniversary of well-known character actor Jagdish Raj Khurana. Jagdish Raj played the role of a police inspector in numerous Bollywood films. Dhund is one such film where he had a slightly extended role as an inspector who supports police inspector Madan Puri who is investigating the murder. Dhund was adapted from Dame Agatha Christie’s novel The Unexpected Guest.
     
    The most remarkable aspect of B R Chopra’s directorial abilities is that he could make a thriller with the same panache as he could a socially relevant film (like Sadhana, Gumraah, Nikaah). I think some of the credit has to go to his editor Pran Mehta who edited most of Chopra’s films. 
     
    Dhund has memorable music by the redoubtable Ravi. It also has Chopra favorites Nana Palshikar and Ashok Kumar in pivotal roles. Zeenat Aman has been presented well too and Sanjay Khan looks handsome even though he was 32 when the film released.  Zeenat Aman’s sartorial sense deserves special mention – whether it is a saree or a night dress, she carries it off so well. Very few actresses have had such an excellent fashion sense in Bollywood. It is a mystery how the veteran actress managed to style herself so well in film after film. She deserves credit for her innovative styling.
     
    Veteran actor Danny Denzongpa recalled how he had to persuade Dharam Chopra, the cinematographer, to allow him to throw a plate the way he wanted to.
    That particular scene had a powerful impact when the movie released.
     
    But the most tragic aspect of viewing Dhund is to recall the acrimonious association between Sanjay Khan and Zeenat Aman in real life. Sanjay Khan, who has also released his autobiography, was born as Abbas in Bangalore in 1941 and studied in St Germaine’s High School near Ulsoor lake. He grew up in Cox town before shifting to Bombay in the early 60s to try his luck in Bollywood. In Dhund, Khan plays the knight in armour who comes to the rescue of a young woman Rani Ranjit Singh (Zeenat Aman). Khan enacted reasonably well the role of Suresh, a lawyer who is contesting the elections in Mahabaleshwar. Rani is mentally and physically tortured by a boorish husband Ranjit Singh (Danny Denzongpa in the role of a lifetime).  In real life, Khan and Aman were married for a brief while before they separated. Khan was already married to a Parsi woman called Zarine Katrak in the mid 60’s.
     
    During the shooting of BR Chopra’s Insaaf Ka Tarazu in Pune, Aman was shuffling between Pune and Mumbai. Sanjay Khan was holding a party in a well-known five star hotel in Bombay and he allegedly forced Zeenat to travel from Pune to Bombay to attend the party.
     
    According to insiders in Bollywood, he had become suspicious of Zeenat Aman and wanted her to give more preference to his home production Abdullah. Reports say that he took out his shoes (with pointed heels) and hit Zeenat with such a force that it damaged one part of her eye. Perhaps they had had a nasty argument. But it appears that he kept hitting her even as his guests who had graced the party cheered him on. Aman and Khan separated soon after but Aman had to be hospitalized and till today the ravages of the violent attack can be seen on her beautiful face. I was pained to read about the violence that Aman had to undergo under the hands of her lover. I don’t think any woman deserves this kind of treatment!
     
    On a misty night in Mahabaleshwar, a car meets with a freak accident and the man driving the car Chandrashekhar (Navin Nischol) enters the house of Ranjit Singh (Danny) to make a telephone call. Instead he finds Ranjit Singh dead and a woman (Zeenat) standing in front of the dead body and holding a gun. The woman says that she has killed her husband and says that her husband was violent and animal-like in his behaviour. They had had an argument. Ranjit had taken the revolver to shoot at her and in the physical tussle that ensured, the bullet had accidentally hit Ranjit Singh. Chandrashekhar stages a ploy to save Rani from the gallows.
     
     
    The police are called and events are narrated in such a fashion as to create the impression that robbery was the motive behind the murder. Chandrashekar’s creativity comes handy but he lies to the police that he saw a man in a black or dark blue overcoat rushing out of the house. Rani is thankful to Chandrashekar for saving her.
     
    But as the police team (Madan Puri and Jagdish Raj) start investigating the murder, skeletons start tumbling out of the cupboard one by one. Ranjit Singh was a maniac who lost both his limbs during a hunting expedition when a tiger had attacked him.
     
    Ranjit Singh treats his family members (mother Urmila Bhatt, a younger brother and his wife Rani) so badly that they are all fed up of him. He keeps using his revolver to shoot at birds, dogs and cats. Even the servants in the households (Deven Varma and Ashoo) are petrified of their master.
     
    Ranjit, who leads an insular life in his bungalow near the jungle, never loses an opportunity to fire a volley of abuses at his hapless wife. He is frustrated to the core due to his physical handicap and that he has to be wheel chair bound forever.His hectoring has assumed gigantic proportions causing intense discomfort to his family members.
     
     
    When Rani attempts suicide, Suresh (Sanjay Khan) saves her in the nick of the time. He escorts her back home and assures Rani that he would visit her daily.
     
    Slowly a bond develops between Rani and Suresh (we can’t really blame Rani, can we?) which eventually blossoms as love. Suresh assures Rani that he can get her a divorce from the wily and vituperative Ranjit. Ranjit has no hold on his tongue as he abuses his wife in front of Suresh.
     
    Things take a turn for the worse when there is a major argument between Rani and Ranjit and the latter threatens to either kill her lover or spill the beans about their affair in front of the media gathering at Savoy Hotel. Rani calls up Suresh at the hotel and informs him about Ranjith’s nefarious plans.
     
     
    What happens next? Who murdered Ranjith Singh? Who is the real culprit? How are things resolved towards the end? Do Rani and Suresh get united? For answers to these questions, you have to watch the movie. The courtroom scenes are interesting to watch and Ashok Kumar as the public prosecutor Mr Mehta manages to charm you with his arguments laced with sarcasm and humour. Nana Palshikar as the judge has his moments too. Palshikar’s dialog delivery is amazing.
     
    When Dhund was released in 1973, it was only an average grosser. May be the film was ahead of its time. Songs like Jubna Se Chunariya Kisak Gayi Re, Sansar Ki Har Kshay Ka , Uljhan Suljhe Na are eminently hummable and these compositions are proof of the wonderful synergy that composer Ravi had with the legendary lyricist Sahir Ludhianvi.
     
    Performances are avant-garde, be it Danny, Sanjay Khan, Zeenat, Palshikar or Ashok Kumar. Deven Verma as the Nepali servant provides the comic relief in an otherwise intense plot. Nivedita (Libi Rana) has a brief role (guest appearance) and strangely her name is not featured on the credit rolls.  Rana had debuted with the Kamaljeet-Waheeda Rehman starrer “Shagun” but despite her beauty and charm, she couldn’t make it in Bollywood. You could easily call her the Katrina Kaif of the 60s. She is now settled in South Mumbai. It is a bit ludicrous to see the posse of policemen (Puri, Jagdish Raj etc) who are bulky and obese. However, they have played their parts with perfection.
     
    Dhund is a fast-paced thriller that is a must-watch. It also has repeat value mainly because of the way the screenplay has been treated. Cinematography by Dharam Chopra is brilliant and so is the editing. Chopra has captured the beauty of the picturesque Mahabaleswar in the most aesthetic fashion.  The background music adds to the suspense quotient of the film.
     
    Dhund is a must-watch….Don’t miss it and do not reveal the end to anyone! 
     
    Dhund was remade years later in Tamil as Puriyadha Pudhir (1991) and the film starred Raghuvaran, Rehman, Rekha and Sithara. It was a moderate success at the box office.
     
    (After working in the corporate world for close to two decades, Bhagyalakshmi Seshachalam started her second career innings as a head-hunter. She is passionate about Hindi movies and loves retro music. When her family shifted to Chennai in the 80s, Bhagya had a taste of Tamil cinema too. In the long term, she plans a book on two of her favourite directors – Guru Dutt and K Balachander. She travels across the country on work and is based in Mysore.)
     
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    COMMENTS

    Ramesh Poapt

    2 months ago

    nivedita had arole in 'djarti kahe pukarke' with sanjeev kumar, a good
    song picturised on her, 'diye jalaye aaj hum, chalo isi khushime'
    she was heroine in one more black n white movie with again
    sanjiv kumar as hero. story was about believing in God or not.

    REPLY

    Vydehi

    In Reply to Ramesh Poapt 2 months ago

    I recall having seen this movie. It was called "Jyoti". Sarika was a child artist then and had a screen name called as "Master Suraj". Sanjeev Kumar and Nivedita played the lead in this film that had a memorable number "Soch Ke Ye Gagan Jhoome" that was sung by Manna Dey and Lata Mangeshkar. This was a 1971 release.

    Anil Kumar

    2 months ago

    Great review and background information. Thanks

    R Balakrishnan

    2 months ago

    Nice review. Had seen this movie in its first week of release. And then seen it another time. Thanks

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