My beloved Shammi is 77 today! Many happy returns of the day, and wishing him good health and happiness for another year!
Edited to add: Suhan sent me this link to a nice interview with him. She also informs me that it’s Helen’s birthday too! So janam din mubarek ho to you too, Helen!
This film is truly a Shammi showcase. He spends half of it disguised as an elderly professor, and very convincingly too, I might add. It’s one of his best films from an acting standpoint, and he is quite restrained throughout—although still irrepressibly irresistible and charming. Good performances from everyone else in the cast, lovely hit songs by Shankar Jaikishan and locations in beautiful Darjeeling are the juicy cherries on top of this bit of romantic fluff.
Ramsu issued me a challenge to post the soundtrack of my life’s events using only music from Shammi’s black and white movies. I have done my level best, but plizz to remember that 90 percent of my life (so far) had passed by before I discovered any Hindi movies, let alone dear Shammi. So I did cheat a little bit.
And if the lyrics don’t seem to fit the occasion, well, what do I know? I don’t speak Hindi. I have included links to YouTube videos where there is one! Update: I’ve added audio files where there’s no video available. Enjoy!
I can’t find words to describe this movie. Sublime? Magnificent? Classic, for sure. Fantastic romantic story; excellent debuts by “Filmalaya discoveries” Asha Parekh and music director Usha Khanna; and of course, my favorite actor of all time, Shammi Kapoor. I ask you, how can you not like a film whose credits begin with a little boy in his chaddis and a pair of wings and gladiator sandals taking aim at your heart? It’s also directed and written by Nasir Husain, who gave Shammi his first big hit with Tumsa Nahin Dekha. I’ve said it before: Nasir Husain=great entertainment.
It was such fun to watch it again! Not to mention that I ended up on the floor as a Shammi-induced puddle.
I fortuitously stumbled across this blog while looking for old film images: Papa Ajoba.
It is a fantastic site written by Anuja Ghosalkar, the granddaughter of Ram Tipnis (whom she calls Papa Ajoba, meaning father-grandfather in Marathi). She is chronicling his stories from years of working as a makeup artist in the film industry (he began working in the 1940s). There are also audio interviews with him posted (sadly for me in Marathi and Hindi, but some of you will understand) along with photos and some video. He has a phenomenal memory.
Like most westerners discovering Hindi films and music, I fell in love quickly with the wonderful song form known as “qawwali.” People have many different interpretations on what a true qawwali is; I am just going to list my favorite film qawwalis, which I know have taken some liberties with the pure form. I like this particular article about qawwali and its history and development.
My personal criteria are that there be at least one singer with a chorus, and the song should build in rhythm, accompanied by clapping in addition to musical instruments and picturized in front of an audience which joins in. I also prefer the ones from older films which use more traditional instruments (e.g. dhola, harmonium, tabla, sarangi), and which usually begin with an alaap. If a “nautch-girl” is dancing, I consider that a mujra, not a qawwali. My definition and preferences might be too narrow for some, and too broad for some, but hey—it’s my blog!
This is the movie that propelled me into helpless and undying Shammi infatuation. I did go willingly! It’s a lovely romantic story set largely in the beauty of Kashmir, with songs to match by Shankar Jaikishan (including the completely fabulous Helen number “Suku Suku”). Shammi is so engaging as a stern, unhappy man who is transformed by love. He is very ably supported by Lalita Pawar, Shashikala, Anoop Kumar and others—and Saira Banu in her debut film.
Warning: this is a long post with many screen shots, because I can’t talk enough about this film (and I can’t seem to stop taking Shammi screen caps)!
Take the plot of It Happened One Night, sprinkle in some ingredients from An Affair To Remember, then stir in a third plot which is completely nuts, and voila! it’s Basant. Two of my favorite Hollywood films and some masala craziness for the price of one Hindi film! Sure, there are huge plot holes and it’s nonsensical at times, but what do I care—especially when the hero and heroine are my beloved Shammi Kapoor and beautiful Nutan. They are great together: his nonchalant silliness complements her feisty character perfectly.
Plus, there’s Pran! and lovely music from OP Nayyar.
MemsaabStory 
