Instead, he forges Rosie's signature, laying the foundation for the destruction of all that he had worked so hard to build. Sure that Marcos is doing so to get Rosie back, and blinded by jealousy, Raju does not show Rosie the documents at all. Her jewels are in the locker, states the manager, and Marcos wants to ensure that Rosie gets them. Later, he decides to close their joint bank account and sends the bank manager to get Rosie's signature. First, he sends Rosie a copy of his newly-published book. It is during this dark period that Marcos makes his presence felt again. His gambling, drinking, and his coterie of hangers-on only drives Rosie further away from Raju. Raju is in no mood to relent - he is focused only on her triumph, and the lifestyle they live because of that. Rosy is resentful of the demands that Raju makes on her, and dance seems to be less of a joy than a duty to be performed. Alas, on the way to that pinnacle, she and Raju drift apart. Eventually, Rosie's career flourishes, and she becomes the celebrated dancer, Nalini. Raju not only encourages her to dance, but also manages her career. Rosie (Waheeda Rehman) has left her husband Marcos (Kishore Sahu), and moved in with Raju Guide (Dev Anand), who fully supports her passion for dance. Little does he know that all hell will break lose after the show. He promises to tell her that evening - they are to participate in a stage show organised by Kala Mandir. Anand agrees - before the whole thing blows up, he has to let his beloved know. His sister advises him to at least confess the whole to Janaki. But his parents make a surprise visit, and he finds himself in a mess. When he falls in love with Janaki (a Tamilian), he is forced by circumstances to keep the pretence going. which is followed by a duet with Nita beginning Bade hain dil ke kaale only to have Raja joining in.Ī lovely little satire about the provincialism that plagues the country, where people still refer to themselves as Punjabi or Gujarati, Maharashtrian or Marwari, Madrasi or Bengali, New Delhi sees Kishore Kumar as Anand, a Punjabi, who is forced to pretend to be a Tamilian in order to find accommodation. Since the gauntlet has been thrown down, how can Raja not pick it up? So begins Megha re. And they end up quarrelling over who is the better singer. So while Tere bina aag ye chandni symbolises Raj's plea to escape hell and his quest for music, love, life itself - Mujhko yeh narak na chahiye mujhko phool, mujhko geet, mujhko preet chahiye, Mujhko chahiye bahaar, the gentler strains of Ghar aaya mera pardesi talks of the prodigal coming home to find that love, that music, that haven he so yearns for.Īs expected, neither Raja nor Neeta can go for too long without squabbling. Three parts, symbolising Earth, Hell, and Heaven. I mentioned earlier, the picturisation itself divided the sequence into The original LP divided this entire song sequence into two segments as Such fluidity that one can be forgiven for thinking they are one single song. Asĭirector, Raj Kapoor brought in Madame Simkie, Uday Shankar's dancingĪre two distinct songs in that track, but one follows the other with Redemption, and a giant KN Singh waiting for Raj to fall. The slippery slopes towards hell a graceful Nargis promising Sets were equally grandiose, with the steps climbing up to heaven, and But that was as far as it remained - a thought filed away in some dark corner of my brain for no real purpose that I could fathom at the time. As I continued to watch Hindi films, I found that songs coming one immediately after the other was not as uncommon an occurrence as I'd initially thought. Then I watched Bobby and was caught by a similar sequence of songs. My next tryst with the same scenario was Megha re from Dil Deke Dekho. Record, so Song 1 would be on Side A while Song 1A would be on Side B. Header' - the industry term for two separate songs that are picturised back-to-back, but which do not fit on one side of a 78 rpm My initial introduction to these type of songs was of course the dream sequence in Awara (more about that later). AK suggested that perhaps I could do a post on the theme. Mr Salian had mentioned his fascination with what he called 'twin songs' - songs which follow one after the other in a film. Some time back, fellow-blogger AK of Songs of Yore emailed a comment that one of his readers, Harishchandra M.
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