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Adieu - Nasir Husain
Nasir Husain
For Nasir Husain, entertainment was never spelt with just a capital ’E’, but every letter was spelt in capitals. Nasir
Husain was the
ultimate dream merchant, that monumental talent who made candyfloss
movies the way no one else could, the man who not
only defined screen entertainment but
redefined it. He was a filmmaker who set rather than followed trends, a genius
writer-producer-director whose films, as fluffy as a well-made cream cake, were delightful celluloid confections that
one could
savour again and again. Nasir did not merely influence trends and set the
box-office on fire, within the fifteen entertainers that he
produced and directed, or only
produced or only directed, the man gave us a whopping array of some of our greatest talents, some
discovered by him, others propelled by a Nasir Husain film into the orbit of success or stardom.
The famous ‘formula’ of the ‘60s was never exploited by anyone as successfully as it was by Nasir Husain. A hero, an
(initially) incandescent heroine, a villain and some fabulous music all created on the foundation of a simple plot
added up to a bonanza that made distributors smile non-stop from the 1958 Tumsa Nahin Dekha to the 1977 Hum
Kisise Kum Naheen. So much so that in 1973, after the release of his blockbuster Yaadon Ki Baaraat, he had said in an
interview, “Wait! I will give you a flop!” In 1982, and again in 1984 and 1985, Nasir fulfilled that promise too with the
only three directorial mishaps of his entire career Zamaane Ko Dikhaana Hai, Manzil Manzil and Zabardast! He
knew that trends had changed, and it was time to take a sabbatical from direction. He introduced his son, Mansoor
Khan, and Nasir Husain Films changed the very flow of mainstream cinema with the path-breaking Qayamat Se
Qayamat Tak. Later in the early ’90s, when this writer met him for an interview, Nasir was planning a “typically
Nasir Husain entertainer” (his quote) which would also have marked the return of R.D.Burman to the banner. But it
was not destined to be.
Essentially a writer, Nasir saw to it that his writing was chaste, and never cheap, coarse or colloquial. His dialogues,
even when downright hilarious in the plentiful comic scenes that adorned his films, had that perfect tightrope
balance between the literary and the commercial. The Bhopal-born, Lucknow-educated Nasir made his entry into
films as a writer, and it was as dialogue writer (Akele Hum Akele Tum, 1995) that he also had his swan song.
“I came up on my own steam, so I have never been able to take nonsense from anyone,” he said then. He revered his
guru S.Mukerji, and was the brightest of the filmmakers from that school where Entertainment was so all-important
that it was almost sacred.
Nasir was a talented writer right from his college days. With the active encouragement of his teacher, Professor
Ahtisham Hussain, he entered the inter-University writing competition and his stories – far removed from the kind
of films that he is now famous for – won the First Prizes in two consecutive years.
He moved to Mumbai in the late ’40s and his first assignment was writing a few scenes for the Shyam-Naseem film
Chandni Raat (1949). “The writer had fallen sick, so I got a chance,” he explained. He then co-wrote some films like
Filmistan’s Munimji (1955) and got his solo writer break with Paying Guest (1957).
During this stint, Nasir would get involved with every department of filmmaking, learning how sets were made,
how shot divisions were done, absorbing camera techniques, sitting in on the music and picking up the rudiments of
editing and direction. “S.Mukerji would always insist on one scene written in various ways, on many tunes for a
single situation, or various methods of shooting the same scene, and I followed this from day one of my career,”he
recalled.
When Paying Guest became a big hit, S.Mukerji wanted a story from him. Audaciously, Nasir told him that he would
sell him the story only if he let him direct it himself ! And thus began the story of Nasir Husain, filmmaker
extraordinary.
THE NASIR HUSAIN DREAM FACTORY:
TUMSA NAHIN DEKHA (1957)
“I told S.Mukerji that he could let me direct a few scenes as a test and only if he did not like my work he could
entrust the film to someone else. He liked my work, though I confess that I was unhappy with the stars that he gave
me — Shammi Kapoor, a six-flop actor and Ameeta, who never fitted into my concept of a heroine. Also Sahir
Ludhianvi, who was to do all the lyrics, was on a high horse and kept comparing me to Guru Dutt and Pyaasa. I
told him that I had no intention of becoming a Guru Dutt or of making a Pyaasa. After the title song I replaced him
with Majrooh Sultanpuri.”
Tumsa Nahin Dekha proved a blockbuster bigger than Paying Guest in the same year. Nasir Husain changed the
very concept of a screen hero forever from a chaste, vegetarian romantic to a physically aggressive wooer who belted
out zingy songs. As for O.P.Nayyar, he spun an all-hit score with the three names who were to become the pillars of
Nasir’s music – Majrooh, Asha Bhosle and Mohammed Rafi in the mellifluous strains of Jawaniyaan yeh mast mast
bin piye, “Tumsa nahin dekha”, “Chhupne wale saamne aa”, ‘Dekho kasam se”, “Sar pe topi laal” and “Aayi hai
door se.
DIL DEKE DEKHO (1959)
“After Tumsa Nahin Dekha, Shammi Kapoor was a hit star. And during the making of this film, I had decided to
work with him again – I had already realised that he is the best all-rounder we ever had in the industry. He was the
complete actor, the total star, the man who had no limitations, whether in emotional, romantic or comic scenes - and
he was unparalleled at songs.”
With DDD, Nasir Husain clinched his standing as a man with a finger soundly on the audience pulse. He introduced
two bright talents, composer Usha Khanna and actress Asha Parekh, and though he never worked with the former
again (despite a score that boasted of hits like the title-song, “Bolo bolo”, “Hum aur tum aur yeh samaa”, “Bade hai
dil ke kale” and “Yaar chulbula hai”), he went on to form an association with Asha that lasted all the way till
Caravan in 1971.”
JAB PYAR KISISE HOTA HAI (1961)
“I decided to branch out and launch my banner, Nasir Husain Films. I signed Shanker Jaikishan as they were the top
names then, and they refused to work with Majrooh as they had Hasrat Jaipuri and Shailendra. Jai was amazing,
though Shanker did only one dance number.”
The Dev Anand-Asha Parekh film was a massive hit again, it’s title-track proving a benchmark number that was
visually emulated in the future super-hit from Aradhana, “Mere sapnon ki rani”. To this day Rajendranath, the
comedian in the film, is remembered as the Popatlal of the film. The songs “Sau saal pahele”, “Teri zulfon se judaai”,
and “Yeh aankhen uff yumma” were chartbusters. The formula was ensconced firmly and with this hat-trick, Nasir
emerged as the King Midas of the box-ofice and a star in his own right.
PHIR WOHI DIL LAYA HOON (1963)
“I wanted S.D.Burman for this film, as he was one of our greatest composers. S-J were very good, but I felt that I
should not spend Rs 1.5 lakhs on their music when I could get the same calibre for less. But O.P. Nayyar said he
would like to work with me again, and I had not repeated him only because of his attitude and his penchant for
swear words. So I gave him the film.”
The Joy Mukerji-Asha Parekh entertainer was masala unlimited against a backdrop of a family raaz. One of the
many films that catapulted Joy Mukerji to short-lived but dizzy stardom, the jubilee hit is also remembered for its
fabulous Nayyar hits like the title-song, “Aanchal mein sajaa lena kaliyan”, “Ankhon se jo utri hai dil mein”,
“Dekho bijli dole”, “Laakhon hai nigaah mein” and “Aji qiblaa mohtarmaa.
TEESRI MANZIL (1966)
“I decided to make two films simultaneously, and since Baharon Ke Sapne was one of my prize-winning stories, I
chose that one to direct. I entrusted Teesri Manzil to Vijay Anand though it was my own script. Dev Anand
arbitrarily cancelled two shooting schedules and I told Goldie that we could not wait. At a party, I told Shammi to do
the film. We were both high when he agreed. I had promised R.D.Burman two films as I had watched him at work
with his father and thought that he was extraordinary. Shammi wanted RD out and Shanker Jaikishan in, and had
even told Jai to slash his fees for me. I persuaded him to listen to Pancham first. The nervous Pancham played out his
tunes, and Shammi was hooked.”
Teesri Manzil remains one of the most-loved suspense thrillers to this day, a cult film with cult music, and Vijay’s
only success as director without his brother. It was also the first manzil of popularity for R.D.Burman, and in
1966-1967, it almost vied with Milan on the pop charts. Pancham had made his first dent in the S-J-domain, and his
score for this film led to his signing Manoranjan, Shammi’s directorial debut , even when Shanker was alive!
The music was the truly standout feature of the film, even as Helen and Premnath made an impact. To date,
Shammi rates “Dekhiye saahibo” as one of the finest songs ever filmed on him, though at that time it just could not
match the endemic popular sweep of the innovative “Aaja aaja main hoon pyar tera” or of “Deewana mujhsa nahin”,
“O mere sona re” (the film’s most popular and enduring song which is top remix fodder today), “O haseena
zulfonwali” and “Tumne mujhe dekha”.
BAHARON KE SAPNE (1967)
“ The film was realistic, a complete departure from the films that I had made till then, and remains my only film
where I did not offer pure entertainment. G.P. Sippy and I were the first to sign Rajesh Khanna, who had won the
Filmfare-United Producers’ Talent Contest. Rajesh as he looked then fitted my concept of a young man with the lean
kind of look!”
But even with this stark social saga, Nasir never tasted failure – the film did average business, though the original sad
ending of the story was changed to a happy, optimistic one. The outstanding music helped, with Pancham packing a
wallop with some of his finest creations ever – the popular “Aaja piya tohe pyar doon” and “Chunri sambhaal gori”
(Manna Dey’s sole hit for the banner) and the not-so-popular Kya jaanu sajan” and “Zamane ne mare jawaan kaise
kaise.”
PYAR KA MAUSAM (1969)
“My trust in R.D.Burman proved justified. I chose a simple subject now –it was back to entertainment. Shashi was a
very professional star, but his lucky phase had not begun. The film was quite successful, but the music was a rage.”
Pyar Ka Mausam was the lost-and-found story of Bharat Bhushan and Nirupa Roy, and their long-lost son, who
grows up as Shashi Kapoor. Shot extensively in Kashmir like Phir Wohi Dil Laya Hoon, the romantic musical was
speckled with timeless RD beauties like “Tum bin jaaoon kahaan” (the best known double-version ever of Rafi and
Kishore), “Nisultana re”, “Na jaa o mere humdum” and some of RD’s most innovative compositions, “Chekhush
nazarein”, “Aap[ se miliye”,”Main na miloongi”and “Aap chahe mujhko”. Pyar Ka Mausam also remains Nasir
Husain’s only directorial venture without Asha Bhosle.
CARAVAN (1971)
“I helped my brother Tahir launch his banner, TV Films as a producer. The story was developed jointly by Sachin
Bhaumick and me.”
Arguably, Caravan remains Hindi cinema’s most successful road movie. Jeetendra’s trade mark jhatkas, a milestone
cabaret number from Helen, a stunning and award-winning performance by second lead Aruna Irani, and some
absolutely superb songs made Caravan a major blockbuster in 1971. The unforgettable score (I would rate it among
high on his top ten) consolidated Pancham as the fourth pillar of Nasir Husain’s music. “Monica o my darling”,
“Dilbar dil se pyaare”, “Chadti jawaani”, “Goriya kahaan tera des”, “Kitna pyara waada” and “Daiyyan yeh main
kahaan aa phansi” remain as alluring after 31 years.
YAADON KI BAARAAT (1973)
“ It was too late when I realised that Salim-Javed had palmed off the same basic plot to me and Prakash Mehra. But
our characters and treatment were completely different, and so both Zanjeer and my film were major hits in the same
year!”
Bowing down to the call of time, Nasir replaced favourite Asha Parekh with the pop icon Zeenat Aman in a youthful,
swinging film with music to match. A vendetta film once again set against the lost-and-found plot, YKB remains
Nasir’s only Kishore-concession to RD – this was Kishore’s peak and the film needed hep numbers. Kishore thus got
four tracks to Rafi’s two, though one was a duet between them, and Rafi annexed the score’s crowning triumph,
“Chura liya hai tumne” from the guitar-strumming Vijay Arora. And Nasir insisted on writing the dialogues despite
Salim-Javed’s presence. For Dharamendra, it was nature’s consolation prize – Salim-Javed had offered Zanjeer to
Dharamendra as producer!
And while Nasir’s maternal nephew Tariq played one of the leads, there were four other talents in the film that few
know about then but were to hit big time later, paternal nephew Aamir Khan played Tariq as a kid, Padmini
Kolhapure and sister Shivangi introduced as featured child singers in the title-track, and music directors Jatin-Lalit in
the chorus!
HUM KISISE KUM NAHEEN (1977)
“I enjoyed working with Rishi Kapoor and I did one more film with him. I was also to do a multistarrer with him, but
that never took off.””
The last hit from the veteran as a director was another lost-and-found musical, with a childhood lovers angle added!
Nasir’s new discovery Kajal Kiran was no Asha Parekh, but HKKN was a Rishi Kapoor-Zeenat Aman-Tariq
showcase all the way, Rishi probably laying the foundation for his Karz role with his swinging dance numbers and
Zeenat stealing the show with her special appearance in one of the finest qawwalis heard in the ‘70s – the title – track.
This time, Nasir insisted on a Rafi-Kishore balance, but Rafi was always destined to have that edge in Nasir’s films –
he not only won the National award for “Kya hua tera waada” but staged a triumphant comeback with this film,
Dharam-Veer and Amar Akbar Anthony, winning back ground that he had lost primarily because of the
Burman-Kishore alliance!
The music marked the final moment of glory of Nasir with RD – and the musical competition in the film is still
cherished even for its visual punch.
ZAMAANE KO DIKHAANA HAI (1982), MANZIL MANZIL (1984) AND ZABARDAST (1985)
“Despite the arrival of video, I cannot escape responsibility for the debacles of these films. I did feel that Zamaane..
deserved a better deal. Manzil Manzil yet again proved that a movie on amnesia could never run. I was not really
keen on the overdone subject of Zabardast which I was to originally make with Dilip Kumar, Dharmendra and Rishi
Kapoor for my own banner but finally made with Sanjeev Kumar, Sunny Deol and Rajiv Kapoor for Mushir-Riaz. I
disagree that RD gave weak music in the first two films. He was passing through a lean phase during Zabardast.”
Three flops in a row undermined Husain’s standing in an increasingly commercial milleu. It was time to hand over
the reigns to Mansoor Khan, who had already proved his flair for cinema with the short film Umberto. As for RD’s
music, the sole high points were “Pooncho na yaar kya hua”and “Hoga tumse pyaara kaun”(ZKDH) and “O meri
jaan”(Manzil Manzil). Rafi’s exit in 1980 did not help either.
QAYAMAT SE QAYAMAT TAK (1988)
“Mansoor made it a precondition that he would choose his team himself as soon as it was decided that he and not I
would direct this film. We did not ‘drop’ Pancham – Mansoor felt that he could not possibly tell Pancham Uncle to
change his style for him. Pancham will come back the day I direct again, which I plan to do soon.”
If ever there was a single film that revolutionised in Hindi cinema after Raja Harishchandra, Alam Ara, Kismet (1943)
and Bobby, it was this teenage love story set against a backdrop of hate. It broke all the rules in the era of violence
and video – it boasted of clean romance, soft, melodious music and intense emotions. Mansoor Khan proved a chip
off the old block but broke the Nasir Husain tradition of a happy ending. Aamir Khan, Juhi Chawla, Anand-Milind,
Udit Narayan and Alka Yagnik stormed into the reckoning. Raj Zuthsi (later to marry Nasir’s daughter Nusrat) made
his sparkling debut and the trendsetting film cocked a snook at the video menace, notching up a genuine 50 weeks’
run in the halls and winning a slew of awards, including for debut-making cinematographer Kiran Deohans.
JO JEETA WOHI SIKANDER (1992)
“My son has acquired my ear for melody, I think. He was impressed by Jatin-Lalit’s tunes and we had a tough time
explaining to Anand-Milind why we were not taking them despite QSQT!” Nasir basked in the glory of son
Mansoor’s success as the guy once again broke free from the shackles of any genre with a film that talked - most
inappropriately for its times - of moral, ethical and family values. Aamir Khan’s lead role had powerful negative
undertones, and Mansoor wrote the script himself, getting father Nasir to write the crisp, very youthful and yet
incisive dialogues when he was a sprightly 67! The colour of Pancham apart, the music was soothing and melodious
and did extremnely well. JJWS also introduced Farah Khan as choreographer. This film was thus destined to be the
parting gift of Nasir under a banner that was synonymous with excellent entertainment – Nasir Husain Films.
Nasir has gone, but his films will live on as long as his legacy as long as Hindi cinema exists. The man who in life
made us smile, chortle, laugh and hum has finally managed to bring a nostalgic lump in the throats of cine
buffs.Tumsa nahin dekha, Nasir-saab!
- Rajiv Vijayakar