Birth anniversary of Dev Anand: KIS KISKO PYAAR KAROON?
One would not know whether it is fortuitousness or what but a day before Dev Anand’s birth anniversary is being celebrated, released Kapil Sharma’s debut film KIS KISKO PYAAR KAROON which obliquely is a tribute to the genius of Dev Anand. How? Well, Dev Anand was perhaps the first and only film star who had the panache and the ability to work with 2-3 actresses in a film and he developed this template to make it his own hallmark and the manifestation of the templates found echoes in scores of films that Dev Anand made, be it a CID, PREM PUJARI, JEWEL THIEF, HARE RAMA HARE KRISHNA, KALA BAZAAR, HEERA PANNA etc.
|GUIDE AND KIS KISKO PYAAR KAROON|
While Kapil Sharma’s KIS KISKO PYAAR KAROON has veneered into caricature to elicit laughter, it being his defining template, for Dev Anand the template that he had developed had the texture of romance woven all over it. So in a film Dev Anand could serenade a Waheeda Rehman and also flirt with a Zaheeda as he did in PREM PUJARI or could try to maintain a fine balance between old love and new infatuation as it was in HEERA PANNA, or in a GUIDE. Perhaps Dev Anand being an urban hero and a hopelessly romantic actor till the time he hung his boots, he flirted with the genre of romance to use it as the catalyst to use exotic locations around the world and present to them the cities of romance around the world. There may not have been a necessity to use the location in his films, but Dev Anand being Dev Anand using the template of romance perhaps emerged as an ambassador of romance for the romantics of the country to have an aspiration to visit these countries. It was Dev Anand who used the location of Sikkim before it became a part of the country to showcase it to the world through his cult film JEWEL THIEF.
It also happened in the films of Dev Anand that a new location, a foreign location at that was used in most of the cases by Dev Anand to inject a new element of romance into the script and it provided him an opportunity to laterally facilitate entry of a new Heroine into the script, perhaps guided by the maxim that in a new place the heart can explore new opportunities! This is where Dev Anand was different from other film makers who followed him suit in using the exotic locations to nurture and cultivate the idea of romance. Yash Chopra was his most worthy successor, but perhaps being seeped in the family traditions, his heroes never flirted with the idea of a new romance in a new foreign locale, they continued to serenade the heroine, who originally was supposed to be serenaded according to the script.
The flirtation that Dev Anand indulged in, in a way was responsible for giving wings to many a careers like those of Waheeda Rehman, Zaheeda, Tanuja, etc., all and there was also one defining factor of Dev Anand’s films that a heroine who may be a vamp in a film would turn out to be a heroine in his next or subsequent film: so a Waheeda Rehman as a vamp became his heroine, a Zeenat Aman from a sister in HARE RAMA HARE KRISHNA went on to be his heroine in scores of subsequent films. This is where Dev Anand was different in that he worked on the image of his heroines and in his films he provided them a platform to rise and shine and make a mark for themselves. But for Dev Anand, perhaps no other director had invested so much of energy in his heroines as well to give them a place of eminence.
His achievements and the oeuvre of the work that he has left behind becomes more so awe-inspiring when one sees the kind of roles that the heroines of the present times are getting in the world of Hindi cinema. He indeed was dev or the god who has left behind a volume of work that would be cynosure of the eye for the connoisseurs and a data mine of opportunities for the researchers to unravel his enigma.