The five highest-grossing films at the Indian Box Office in 1954
1.Nagin
Nagin is a 1954 Indian Hindi-language romantic drama film, directed by Nandlal Jaswantlal, and written by Hameed Butt and Bijon Bhattacharya. It stars Vyjayanthimala and Pradeep Kumar, and has a hit musical score by Hemant Kumar. This film was partly produced in Technicolor.
Two Adivasi tribes are in conflict for the local economic rights. The daughter of the Nagi tribe's chief, Mala (Vyjayanthimala), vows to kill the son of the Ragi tribe's chief, Sanatan (Pradeep Kumar), as revenge. Trespassing in the enemy territory, she is mesmerized by the music of a flute (played by the musician Kalyanji Virji Shah). Coming closer, she finds out that the player is Sanatan. They fall in love, but find it difficult to appease the enmity between the two tribes and to resist the attempts of the villain Prabir (Jeevan) to marry Mala.
Soundtrack
The film's soundtrack was composed by Hemanta Mukherjee. It included thirteen tracks, including the hit "Man Dole Mera Tan Dole", whose "Been Music" was performed by Kalyanji on clavioline and by Ravi on harmonium, who once worked under Hemanta Mukherjee's direction and later became independent music directors. It was released under E.P. and L.P. gramophone records by The Gramophone Company of India, now known as Saregama. The lyrics were written by Rajinder Krishan.
Songs
Man Dole Mera Tan Dole Lata Mangeshkar
Tere Dwar Khada Ek Jogi Hemant Kumar
Sun Rasiya Man Bhasiya Lata Mangeshkar
Yaad Rakhna Pyar Ki Nishani Hemant Kumar, Asha Bhosle, Chorus
Sun Ri Sakhi Lata Mangeshkar, Chorus
Mera Dil Ye Pukare Aaja Lata Mangeshkar
Jadugar Saiyan Lata Mangeshkar
Ari Chhod De Patang Lata Mangeshkar, Hemant Kumar
Mera Badli Mein Chhup Gaya Chand Lata Mangeshkar
O Zindagi Ke Denewale Hemant Kumar, Chorus
Teri Yaad Mein Jalkar Dekh Liya Lata Mangeshkar
Oonchi Oonchi Duniya Ki Deewarein Lata Mangeshka
2.Nastik
Nastik (The Atheist) is a 1954 Hindi social crime drama film written and directed by I. S. Johar. It was produced by Filmistan Ltd. under the Shashadhar Mukherjee Productions banner. Its cinematographer was Dronacharya, and the choreography was by the Indian classical dancer Lachhu Maharaj and Narendra Sharma. The dialogues were by Mrs. Ramma Johar. C. Ramchandra composed the music while the lyricist was Kavi Pradeep.Known for his "patriotic" lyrics, Pradeep's "immortal" song "Dekh Tere Sansar Ki Haalat Kya Ho Gayi Bhagwan" (See What Your World Has Come To, God) sung by him, remains popular.The film starred Nalini Jaywant, Ajit, Raj Mehra, Ulhas, Mehmood and Roopmala.
The film was dubbed into Tamil and released in 1962 as Madadhipathi Magal. Dialogues and lyrics were written by Ku. Ma. Balasubramaniam.
The film is set against the back drop of Partition with its ensuing riots and violence, and using actual footage of refugees. The story is about a man who loses his faith in God when his parents are killed in the rioting, and his brother and sister die as refugees when the priest refuses to help them. He sets out to avenge his siblings' death.
3.Taxi Driver
Taxi Driver is a 1954 Hindi movie produced by Navketan Films. The film was directed by Chetan Anand and stars his brother Dev Anand, Dev's wife-to-be Kalpana Kartik and Johnny Walker. The film was written by Chetan himself, along with his wife Uma Anand and his other brother Vijay Anand. The film's music director was S. D. Burman and the lyrics were written by Sahir Ludhianvi.
It is a nostalgic journey through 1950s Bombay with its quiet, peaceful and scenic background, electric trams, and a unique taxi driver, Mangal, who is called "Hero" by his friends. A driver who drives a cab by day, then drinks at night, listens to the seductive club dancer Sylvie, and then goes into a drunken stupor – and wakes up with a hangover. One day, while assisting another taxi driver, Mangal comes to the assistance of a damsel in distress, Mala, who is being molested by two thugs. Mangal gallantly rescues her, and attempts to take her to her destination, but to no avail, as the person she is looking for has moved. The next day, Mangal and the young woman, Mala, again attempt to seek Ratanlal, a music director, but the entire day is spent in vain. Mala lives in Mangal's tiny apartment and both become attracted to each other. When Mala finds out about Sylvie, she leaves him. He goes in search of her, but finds out that she has become a famous singer with the help of her music director friend. Will Mangal ever get a chance to tell about his love for Mala? What will Sylvie's reaction be?
Legacy
Dev Anand's taxi in the movie was the British made Hillman Minx, a black car with the number 1111. Such became the popularity following the film, that the British made Hillman Minx became a vehicle of choice as a taxi in Bombay until the 1970s
Songs
"Jayen To Jayen Kahan (Talat)" Talat Mahmood
"Dil Jale To Jale" Lata Mangeshkar
"Jayen To Jayen Kahan (Lata)" Lata Mangeshkar
"Chahe Koi Khush Ho" Kishore Kumar, Johnny Walker
"Aye Meri Zindagi Aaj" Lata Mangeshkar
"Jeene Do Aur Jiyo" Asha Bhosle
"Dil Se Milake Dil Pyaar Kijiye" Lata Mangeshkar
"Dekho Mane Nahi"
4.Mirza Ghalib
Mirza Ghalib (1954) is an Indian Hindi and Urdu language biographical film, directed by Sohrab Modi. Based on the life of well-known poet Mirza Ghalib, the film was acclaimed upon release. It stars Bharat Bhushan as Ghalib and Suraiya as his courtesan lover. The film won (1) the President's Gold Medal for the All India Best Feature Film and (2) the President's Silver Medal for Best Feature Film in Hindi in the 2nd National Film Awards for 1954. Suraiya's singing (of Mirza Ghalib's ghazals) and her acting was specially applauded by the Prime Minister, Jawahar Lal Nehru, who remarked to her " You have brought back Ghalib to life", in a special screening of the film in Rastrapati Bhawan
The film depicts an episode in the life of famous poet Mirza Ghalib during the last Mogul King, Bahadur Shah Zafar's times. The story revolves around the love and admiration of Moti Begum, (named "Chaudhvin"(moon-faced) by Mirza Ghalib), played by Suraiya, for Mirza Ghalib, played by Bharat Bhushan, and its end in the tragic death of 'Chadhvin' (Suraiya).
Ghalib is already a married man, married to "Begum" (Nigar Sultana), who is a pious woman, in love with and in awe of her poet husband. Emperor Bahadur Shah "Zafar" (Iftekhar), himself a poet of considerable stature, is hosting a "mushaira" (poetry recitation session). At the "mushaira", the poetry of "Zauq" is much applauded; Mirza Asadullah Khan "Ghalib", on the other hand, finds no takers for his "ghazals" (poems). (In another scene, when ghalib is reciting out of court, even the general populace thinks his ghazals are too profound and his Urdu too difficult.) In the more intellectual environment of the mushaira, nobody except the Mufti (Murad) and the Kotwal, Hashmat Khan (Ulhas) can find anything to appreciate in Ghalib's poetry. The Mufti expresses his appreciation to Ghalib; the Kotwal spends his time hurriedly writing down the ghazal Ghalib has just recited. Ghalib instead of reciting melodiously as others do, starts by just "reading" his ghazals dryly (maybe he finds the poets below his calibre), and even calls himself a poet ("Sukhanver") par excellence in one of his ghazals. This irks some of the poets present, at which Ghalib walks out of the court.
On his way home, he hears a woman singing one of his own ghazals. The singer is Moti Begum (Suraiya), daughter of a retired courtesan (Durga Khote). Moti is mad about Ghalib's poetry, and even about the man himself, even though she has no idea what her favourite poet looks like. Ghalib, delighted that someone likes his poetry, knocks on Moti's door and is admitted. Ghalib is awestruck not just by her enthusiasm for his ghazals but also by her beauty, and addresses her as Chaudhvin Begum (chaudhvin means "full moon"). When he realises she doesn"t know that he is Ghalib, he teases her by deprecating Ghalib's poetry. Moti, of course, leaps to her hero's defence and literally shoos the unexpected guest from her house. Right on Ghalib's heels (in fact, bumping into the poet in the doorway) comes another visitor to Moti's house: the Kotwal. He has just returned from the mushaira at the fort, bringing with him the transcript of the Ghalib ghazal he'd heard there. He hands over the ghazal to a grateful Moti, and astonishes her by identifying her recent guest as Ghalib himself.
A few days later, Ghalib comes across yet another person singing one of his ghazals. This time, it's a poor mendicant who, when questioned, tells Ghalib that Moti Begum teaches him these ghazals so that he can sing them to earn a few paisas. Ghalib, ego well fuelled, goes off to Moti Begum's house once again, and is welcomed with much ecstatic gushing by the woman, who has now taken to calling herself Chaudhvin Begum. She is shy and demure; he is soulful. But Chaudhvin Begum is just one aspect of Ghalib's somewhat troubled life. He may be a great poet, but that greatness isn't enough to keep the wolves from the door. One somewhat benevolent wolf is the moneylender Mathuradas (Mukri) to whom Ghalib owes a large sum of money. Mathuradas comes by every now and then, asking for the debt to be cleared; but Ghalib always manages to fob him off.
…and there is Ghalib's wife (Nigar Sultana), an extremely religious woman who is tormented by the fact that none of her children have survived beyond infancy. Her relationship with her husband is one of easy camaraderie; she is his staunch supporter, a wife who never cribs that they're forever in debt and who, even when she suspects that her husband is in love with another woman, does not protest or demand his love for herself. (Instead, she tells him to marry a second time). This is an intriguing woman; she can be surprisingly progressive at times, irritatingly dull at others, and even, occasionally, appealing and wise.
Right now, however, the one facing hard times is Chaudhvin Begum. The Kotwal, Hashmat Khan, has been lusting after her and has persuaded Chaudhvin's penurious mother to give her daughter in marriage to him. He has even paid a bride price of Rs 2,000 — and Chaudhvin's mother, despite all of Chaudhvin's protests, insists that the wedding will take place. In desperation, Chaudhvin writes a letter to Ghalib and sends it to him through her doorkeeper-cum-general dogsbody, a man with a taste for liquor. The man sets out for Ghalib's house on a Tuesday, wanders into a wine shop, and emerges on Thursday, leaving Ghalib very little time to devise any very effective plan to rescue Chaudhvin from this unwanted marriage. He decides to hand over Rs 2,000 to Chaudhvin's mother; but since he doesn’t possess that much, he sets out to 'earn' it — by gambling. He's successful, and hurries off to hand over the sum to the money-grubbing old woman.
…Who has, in the meantime, become a changed person, all because a desperate Chaudhvin has tried to commit suicide. Suddenly overcome by a fit of maternal affection, Chaudhvin's mother heaps recriminations on the head of the just-arrived Kotwal: he will not be married to Chaudhvin, not for all the gold in the world. Much arguing ensues, but the mother stands firm and the Kotwal is left fuming and vowing vengeance — mainly on Ghalib.
There is much to come, of course: the Kotwal's attempts to have his revenge on Ghalib; Ghalib's own growing love for Chaudhvin Begum, and his wife's increasing frustration — on the one hand, jealous of Chaudhvin Begum; on the other, wishing for her husband's happiness. And all of it played out against the background of a Delhi that's changing, even the de jure power of its puppet emperor now ceded to the British Resident.
5.Aar Paar
Aar-Paar (English: This or That) is a 1954 Indian noir-comedy Hindi-language film. Directed by Guru Dutt, it has music by O.P. Nayyar and lyrics by Majrooh Sultanpuri. A light-hearted film (unlike those of Dutt's later years), Aar-Paar stars Johnny Walker, Shyama, Shakila, Jagdeep, Jagdish Sethi. Raj Khosla and Atma Ram, Guru Dutt's brother assisted Guru Dutt in film direction
self and become rich, before he can even think of marriage.
Cast
Shyama as Nikki,Guru Dutt as Kalu,Jagdish Sethi as Lalaji,Johnny Walker as Rustom,Jagdeep as Elaichi Sandow,Shakila as Dancer,Bir Sakhuja,Rajendra,Amir Banu,Rashid Khan,M.A. Lateef
Songs
"Sun Sun Sun Sun Zaalima" Geeta Dutt and Mohammed Rafi
"Ja Ja Ja Ja Bewafa" Geeta Dutt
"Babuji Dheere Chalna" Geeta Dutt
"Ye Lo Main Haari Piya" Geeta Dutt
"Hoon Abhi Main Jawaan Aye Dil" Geeta Dutt
"Mohabat Karlo Ji Barlo" Geeta Dutt and Mohammed Rafi
"Na Na Na Na Na Na Tauba Tauba" Geeta Dutt and Mohammed Rafi
"Kabhi Aar Kabhi Paar" Shamshad Begum
1.Nagin
Nagin is a 1954 Indian Hindi-language romantic drama film, directed by Nandlal Jaswantlal, and written by Hameed Butt and Bijon Bhattacharya. It stars Vyjayanthimala and Pradeep Kumar, and has a hit musical score by Hemant Kumar. This film was partly produced in Technicolor.
Two Adivasi tribes are in conflict for the local economic rights. The daughter of the Nagi tribe's chief, Mala (Vyjayanthimala), vows to kill the son of the Ragi tribe's chief, Sanatan (Pradeep Kumar), as revenge. Trespassing in the enemy territory, she is mesmerized by the music of a flute (played by the musician Kalyanji Virji Shah). Coming closer, she finds out that the player is Sanatan. They fall in love, but find it difficult to appease the enmity between the two tribes and to resist the attempts of the villain Prabir (Jeevan) to marry Mala.
Soundtrack
The film's soundtrack was composed by Hemanta Mukherjee. It included thirteen tracks, including the hit "Man Dole Mera Tan Dole", whose "Been Music" was performed by Kalyanji on clavioline and by Ravi on harmonium, who once worked under Hemanta Mukherjee's direction and later became independent music directors. It was released under E.P. and L.P. gramophone records by The Gramophone Company of India, now known as Saregama. The lyrics were written by Rajinder Krishan.
Songs
Man Dole Mera Tan Dole Lata Mangeshkar
Tere Dwar Khada Ek Jogi Hemant Kumar
Sun Rasiya Man Bhasiya Lata Mangeshkar
Yaad Rakhna Pyar Ki Nishani Hemant Kumar, Asha Bhosle, Chorus
Sun Ri Sakhi Lata Mangeshkar, Chorus
Mera Dil Ye Pukare Aaja Lata Mangeshkar
Jadugar Saiyan Lata Mangeshkar
Ari Chhod De Patang Lata Mangeshkar, Hemant Kumar
Mera Badli Mein Chhup Gaya Chand Lata Mangeshkar
O Zindagi Ke Denewale Hemant Kumar, Chorus
Teri Yaad Mein Jalkar Dekh Liya Lata Mangeshkar
Oonchi Oonchi Duniya Ki Deewarein Lata Mangeshka
2.Nastik
Nastik (The Atheist) is a 1954 Hindi social crime drama film written and directed by I. S. Johar. It was produced by Filmistan Ltd. under the Shashadhar Mukherjee Productions banner. Its cinematographer was Dronacharya, and the choreography was by the Indian classical dancer Lachhu Maharaj and Narendra Sharma. The dialogues were by Mrs. Ramma Johar. C. Ramchandra composed the music while the lyricist was Kavi Pradeep.Known for his "patriotic" lyrics, Pradeep's "immortal" song "Dekh Tere Sansar Ki Haalat Kya Ho Gayi Bhagwan" (See What Your World Has Come To, God) sung by him, remains popular.The film starred Nalini Jaywant, Ajit, Raj Mehra, Ulhas, Mehmood and Roopmala.
The film was dubbed into Tamil and released in 1962 as Madadhipathi Magal. Dialogues and lyrics were written by Ku. Ma. Balasubramaniam.
The film is set against the back drop of Partition with its ensuing riots and violence, and using actual footage of refugees. The story is about a man who loses his faith in God when his parents are killed in the rioting, and his brother and sister die as refugees when the priest refuses to help them. He sets out to avenge his siblings' death.
3.Taxi Driver
Taxi Driver is a 1954 Hindi movie produced by Navketan Films. The film was directed by Chetan Anand and stars his brother Dev Anand, Dev's wife-to-be Kalpana Kartik and Johnny Walker. The film was written by Chetan himself, along with his wife Uma Anand and his other brother Vijay Anand. The film's music director was S. D. Burman and the lyrics were written by Sahir Ludhianvi.
It is a nostalgic journey through 1950s Bombay with its quiet, peaceful and scenic background, electric trams, and a unique taxi driver, Mangal, who is called "Hero" by his friends. A driver who drives a cab by day, then drinks at night, listens to the seductive club dancer Sylvie, and then goes into a drunken stupor – and wakes up with a hangover. One day, while assisting another taxi driver, Mangal comes to the assistance of a damsel in distress, Mala, who is being molested by two thugs. Mangal gallantly rescues her, and attempts to take her to her destination, but to no avail, as the person she is looking for has moved. The next day, Mangal and the young woman, Mala, again attempt to seek Ratanlal, a music director, but the entire day is spent in vain. Mala lives in Mangal's tiny apartment and both become attracted to each other. When Mala finds out about Sylvie, she leaves him. He goes in search of her, but finds out that she has become a famous singer with the help of her music director friend. Will Mangal ever get a chance to tell about his love for Mala? What will Sylvie's reaction be?
Legacy
Dev Anand's taxi in the movie was the British made Hillman Minx, a black car with the number 1111. Such became the popularity following the film, that the British made Hillman Minx became a vehicle of choice as a taxi in Bombay until the 1970s
Songs
"Jayen To Jayen Kahan (Talat)" Talat Mahmood
"Dil Jale To Jale" Lata Mangeshkar
"Jayen To Jayen Kahan (Lata)" Lata Mangeshkar
"Chahe Koi Khush Ho" Kishore Kumar, Johnny Walker
"Aye Meri Zindagi Aaj" Lata Mangeshkar
"Jeene Do Aur Jiyo" Asha Bhosle
"Dil Se Milake Dil Pyaar Kijiye" Lata Mangeshkar
"Dekho Mane Nahi"
4.Mirza Ghalib
Mirza Ghalib (1954) is an Indian Hindi and Urdu language biographical film, directed by Sohrab Modi. Based on the life of well-known poet Mirza Ghalib, the film was acclaimed upon release. It stars Bharat Bhushan as Ghalib and Suraiya as his courtesan lover. The film won (1) the President's Gold Medal for the All India Best Feature Film and (2) the President's Silver Medal for Best Feature Film in Hindi in the 2nd National Film Awards for 1954. Suraiya's singing (of Mirza Ghalib's ghazals) and her acting was specially applauded by the Prime Minister, Jawahar Lal Nehru, who remarked to her " You have brought back Ghalib to life", in a special screening of the film in Rastrapati Bhawan
The film depicts an episode in the life of famous poet Mirza Ghalib during the last Mogul King, Bahadur Shah Zafar's times. The story revolves around the love and admiration of Moti Begum, (named "Chaudhvin"(moon-faced) by Mirza Ghalib), played by Suraiya, for Mirza Ghalib, played by Bharat Bhushan, and its end in the tragic death of 'Chadhvin' (Suraiya).
Ghalib is already a married man, married to "Begum" (Nigar Sultana), who is a pious woman, in love with and in awe of her poet husband. Emperor Bahadur Shah "Zafar" (Iftekhar), himself a poet of considerable stature, is hosting a "mushaira" (poetry recitation session). At the "mushaira", the poetry of "Zauq" is much applauded; Mirza Asadullah Khan "Ghalib", on the other hand, finds no takers for his "ghazals" (poems). (In another scene, when ghalib is reciting out of court, even the general populace thinks his ghazals are too profound and his Urdu too difficult.) In the more intellectual environment of the mushaira, nobody except the Mufti (Murad) and the Kotwal, Hashmat Khan (Ulhas) can find anything to appreciate in Ghalib's poetry. The Mufti expresses his appreciation to Ghalib; the Kotwal spends his time hurriedly writing down the ghazal Ghalib has just recited. Ghalib instead of reciting melodiously as others do, starts by just "reading" his ghazals dryly (maybe he finds the poets below his calibre), and even calls himself a poet ("Sukhanver") par excellence in one of his ghazals. This irks some of the poets present, at which Ghalib walks out of the court.
On his way home, he hears a woman singing one of his own ghazals. The singer is Moti Begum (Suraiya), daughter of a retired courtesan (Durga Khote). Moti is mad about Ghalib's poetry, and even about the man himself, even though she has no idea what her favourite poet looks like. Ghalib, delighted that someone likes his poetry, knocks on Moti's door and is admitted. Ghalib is awestruck not just by her enthusiasm for his ghazals but also by her beauty, and addresses her as Chaudhvin Begum (chaudhvin means "full moon"). When he realises she doesn"t know that he is Ghalib, he teases her by deprecating Ghalib's poetry. Moti, of course, leaps to her hero's defence and literally shoos the unexpected guest from her house. Right on Ghalib's heels (in fact, bumping into the poet in the doorway) comes another visitor to Moti's house: the Kotwal. He has just returned from the mushaira at the fort, bringing with him the transcript of the Ghalib ghazal he'd heard there. He hands over the ghazal to a grateful Moti, and astonishes her by identifying her recent guest as Ghalib himself.
A few days later, Ghalib comes across yet another person singing one of his ghazals. This time, it's a poor mendicant who, when questioned, tells Ghalib that Moti Begum teaches him these ghazals so that he can sing them to earn a few paisas. Ghalib, ego well fuelled, goes off to Moti Begum's house once again, and is welcomed with much ecstatic gushing by the woman, who has now taken to calling herself Chaudhvin Begum. She is shy and demure; he is soulful. But Chaudhvin Begum is just one aspect of Ghalib's somewhat troubled life. He may be a great poet, but that greatness isn't enough to keep the wolves from the door. One somewhat benevolent wolf is the moneylender Mathuradas (Mukri) to whom Ghalib owes a large sum of money. Mathuradas comes by every now and then, asking for the debt to be cleared; but Ghalib always manages to fob him off.
…and there is Ghalib's wife (Nigar Sultana), an extremely religious woman who is tormented by the fact that none of her children have survived beyond infancy. Her relationship with her husband is one of easy camaraderie; she is his staunch supporter, a wife who never cribs that they're forever in debt and who, even when she suspects that her husband is in love with another woman, does not protest or demand his love for herself. (Instead, she tells him to marry a second time). This is an intriguing woman; she can be surprisingly progressive at times, irritatingly dull at others, and even, occasionally, appealing and wise.
Right now, however, the one facing hard times is Chaudhvin Begum. The Kotwal, Hashmat Khan, has been lusting after her and has persuaded Chaudhvin's penurious mother to give her daughter in marriage to him. He has even paid a bride price of Rs 2,000 — and Chaudhvin's mother, despite all of Chaudhvin's protests, insists that the wedding will take place. In desperation, Chaudhvin writes a letter to Ghalib and sends it to him through her doorkeeper-cum-general dogsbody, a man with a taste for liquor. The man sets out for Ghalib's house on a Tuesday, wanders into a wine shop, and emerges on Thursday, leaving Ghalib very little time to devise any very effective plan to rescue Chaudhvin from this unwanted marriage. He decides to hand over Rs 2,000 to Chaudhvin's mother; but since he doesn’t possess that much, he sets out to 'earn' it — by gambling. He's successful, and hurries off to hand over the sum to the money-grubbing old woman.
…Who has, in the meantime, become a changed person, all because a desperate Chaudhvin has tried to commit suicide. Suddenly overcome by a fit of maternal affection, Chaudhvin's mother heaps recriminations on the head of the just-arrived Kotwal: he will not be married to Chaudhvin, not for all the gold in the world. Much arguing ensues, but the mother stands firm and the Kotwal is left fuming and vowing vengeance — mainly on Ghalib.
There is much to come, of course: the Kotwal's attempts to have his revenge on Ghalib; Ghalib's own growing love for Chaudhvin Begum, and his wife's increasing frustration — on the one hand, jealous of Chaudhvin Begum; on the other, wishing for her husband's happiness. And all of it played out against the background of a Delhi that's changing, even the de jure power of its puppet emperor now ceded to the British Resident.
5.Aar Paar
Aar-Paar (English: This or That) is a 1954 Indian noir-comedy Hindi-language film. Directed by Guru Dutt, it has music by O.P. Nayyar and lyrics by Majrooh Sultanpuri. A light-hearted film (unlike those of Dutt's later years), Aar-Paar stars Johnny Walker, Shyama, Shakila, Jagdeep, Jagdish Sethi. Raj Khosla and Atma Ram, Guru Dutt's brother assisted Guru Dutt in film direction
self and become rich, before he can even think of marriage.
Cast
Shyama as Nikki,Guru Dutt as Kalu,Jagdish Sethi as Lalaji,Johnny Walker as Rustom,Jagdeep as Elaichi Sandow,Shakila as Dancer,Bir Sakhuja,Rajendra,Amir Banu,Rashid Khan,M.A. Lateef
Songs
"Sun Sun Sun Sun Zaalima" Geeta Dutt and Mohammed Rafi
"Ja Ja Ja Ja Bewafa" Geeta Dutt
"Babuji Dheere Chalna" Geeta Dutt
"Ye Lo Main Haari Piya" Geeta Dutt
"Hoon Abhi Main Jawaan Aye Dil" Geeta Dutt
"Mohabat Karlo Ji Barlo" Geeta Dutt and Mohammed Rafi
"Na Na Na Na Na Na Tauba Tauba" Geeta Dutt and Mohammed Rafi
"Kabhi Aar Kabhi Paar" Shamshad Begum
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