Jaal is a not bad follow up to Baazi from Guru Dutt. Inspired by the Italian film, Bitter Rice, The film won much praise for its 'realistic' depiction of the Christian fisherfolk as against usual stereotypes of them being immoral and drunkards. Jaal shows the community as hardworking and god-fearing respectable folk, but unfortunately uneven characterizations and a plodding pace make Jaal a not-so-tense thriller.

Though the film is engrossing enough at best, the germs of Guru Dutt to be able to give ordinary scenes a unique visual treatment are definitely present like the ferris wheel sequence where Lisa rides with Maria with Tony waiting below. As Lisa warns Maria about Tony, with each turn of the wheel, Maria’s view of Tony is changed, not just physically but psychologically or following the Yeh Raat Yeh Chandni song as Maria makes her way onto the beach, she is caught in a fishing net – symbolic of her being snared…Scenes like these and a fine understanding on Guru Dutt’s part on how to picturize songs do help lift the film a notch or two.

The main problem with the film is the central character, Tony. Tony was too dark and negative a character reforming only right at the very end when Maria tells him she would wait for him. At the same time, the film makes total cardboard caricatures of his Arab accomplices takes a lot away from the real danger he represents. Still, Dev Anand does pretty well in his one of his typical shaded roles of the 1950s while Geeta Bali again scores heavily as the efferverscent Maria. Purnima, KN Singh and Ramsingh lend adequate support.

The film sees the beginning of the Guru Dutt - VK Murthy partnership and while the camerawork is efficient though raw, certain sequences like the sunset shots in the Pigla Hai Sona show early signs of the magic Dutt and Murthy would create with light and shade in subsequent films like Pyaasa (1957), Kaagaz ke Phool (1959) and Sahib Bibi aur Ghulam (1962).

SD Burman’s music is remarkable for the Hemant Kumar all time hit Yeh Raat Yeh Chandni and its counterpart by Lata Mangeshkar - Chandni Raaten Pyar ki Baaten. Other well tuned compositions include Pigla Hai Sona and Chori Chori Meri Gali Mein making good use of Goan folk music, the Kishore Kumar – Geeta Dutt duet De Bhi Chuke Hum Dil Nazrana picturized with Dev and Geeta Bali up on a tree and the warning song Soch Samajhkar Dil ko Lagana rendered in her unique style by Geeta Dutt.