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Upperstall Review

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Songs and Music


Baazi

 

Hindi, Thriller, 1951, B/W




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Madan (Dev Anand) is a small time gambler forced into joining the owner of the Star Hotel, a mysterious and shadowy criminal, to pay for his sister's medical expenses. His sister is treated by a doctor Rajani (Kalpana Kartik) who loves Madan and he her. But a cop, Ramesh (Krishna Dhawan), also loves Rajani. The cabaret dancer at the club (Geeta Bali) is in love with Madan. When Madan wants out from a life of crime, the boss orders him to be bumped off. The dancer dies saving him and Madan is framed for her murder. He is condemned to death but is saved by Ramesh who lays a trap to catch the villain who turns out to be Rajani's father (KN Singh).



Baazi was Guru Dutt's first film as director. The film, clearly influenced by the film noir movement of Hollywood in the 1940s, does admittedly appear stilted and dated today. It's various elements represent the classic cliches we have come to see in Indian films. The hero being lead to a life of crime since he cannot afford keeping his sick sister in a sanatorium, the goody two shoes heroine bent on reforming him, the moll who loves him and takes the bullet meant for him, asking him to acknowledge that she's not such a bad woman after all and dying before he can say so in his arms, and the villain is ...no surprises...the heroine's father, on the surface a decent and well respected man! But while viewing Baazi, we have to remember it was among the first of its type. In fact, Baazi set the tone for the spate of urban crime films that were to come out of Bollywood in the 1950s and early 1960s.

Baazi also shows a criminal hero with a tough as nails exterior but of course with a heart of gold inside. The film took actor Dev Anand, already a star, to the top to rule the rest of the 1950s with Dilip Kumar and Raj Kapoor. He was the ideal actor for the crime wave films and played in a number of them, at times even playing a shaded character in some of them - Jaal (1952), Pocketmaar (1955), Kala Bazar (1960) to name some.

But in spite of the now much imitated plot, there are some moments of inventiveness and experimentation, which give a glimpse of the genius of Guru Dutt, which were to be seen in later films. The songs are integrated into the story line rather than standard items or appendages to the plot. The entire scene where the moll warns the hero he is going to be killed is done through a club dance - Suno Gajar Kya Gaaye. A ghazal, Tadbir se Bigdi Hui Taqdeer, is set to a hep western beat as the moll tries to seduce the hero. The experiment works and how! The song, popular even today, proved to be the most popular song in the film. According to hero Dev Anand, audiences came in repeatedly just to see this song in the theatres.

In fact, the entire music score of the film has a lively and zingy beat to it, all in all a most jazzy score by SD Burman, which is easily the highlight of the film. The songs also saw an untapped side of singer and wife to be, Geeta Roy. Known only for sad songs and bhajans till then, the ease with which she went western was marvelous to behold. The sex appeal in her voice was brought to the fore and helped her build an identity of her own, a style no singer could copy.

Special mention has to be made of Geeta Bali's lively performance as she plays the dancing girl who falls for the hero and takes the bullet meant for him. It is easily the most accomplished performance in the film.

Baazi also promoted a lot of new talent, several of whom went on to make quite a name for themselves - Lyricist Sahir Ludhianvi, choreographer Zohra Sehgal, comedian Johnny Walker, and actress Kalpana Kartik. The screenplay was written by well known actor Balraj Sahni.

The film, though being a trendsetter, interestingly also shows Guru Dutt's traditional attitude to women. The moll is mostly dressed in western clothes, while the goody two shoes heroine is always in traditional Indian attire. The moll is immoral and she has to pay for it with her life, her redemption being taking the bullet meant for the hero. This attitude to women was further noticed even in the posters of Mr and Mrs 55 where the poster on one half showed the heroine, Madhubala, dressed in western attire making the hero, Guru Dutt, buckle her shoe while the right half showed the heroine in a traditional sari touching the hero's feet!


Upperstall review by: Karan Bali aka TheThirdMan


Sharmahe Kahe - Shamshad Begum
Tadbir se Bigdi Hui Taqdeer - Geeta Dutt
Suno Gajar Kya Gaaye - Geeta Dutt
Aaj ki Raat Piya - Geeta Dutt
Yeh Kaun Aaya - Geeta Dutt
Dekh ke Akeli Mohe Barkha Sataaye - Geeta Dutt
Tum Bhi Na Bhoolna Balam - Geeta Dutt
Mere Labhon pe - Kishore Kumar


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