Wednesday, January 03, 2024

The two doyens of Naseeb


The 1981 blockbuster Naseeb, Manmohan Desai’s unapologetically outlandish but queerly, if not inadvertantly, entertaining tribute to his iconic masala epic Amar Akbar Anthony, is one of my favourite flicks on three counts. 

Prime among them is the effortless acting by two well-known but largely unsung legends of Indian cinema: Amjad Khan and Amrish Puri. 

While the world, almost mechanically, heaps praises on the largely formulaic and unduly celebrated portrayals of Amitabh Bachchan, Rishi Kapoor and Shatrughan Sinha (in that order), it’s the marvellous underplay of Amrish saab and Khan saab, an inimitable trait of both artistes, that persuasively underlines the often-eclipsed fact: that good acting can salvage just about anything, including the unintended hilarity of Manmohan Desai products.

Laxmikant-Pyarelal’s purposeful music is the film’s second charm: melodic numbers like “Mere Naseeb Mein Tu Hain ki Nahin” lend great dignity to the pomposity of the overtly obvious lyrics, the star-studded fare of “John Johnny Janardan” is a fine tribute to the everlasting genius of Mohammed Rafi, and the concluding “Rang Jamake jayenge” stands out even as Manmohan Desai’s staple signature device that forms an integral part of his geometrical denouements in film after film.          

The third allure is the film’s inaugural episode, a gaudy scene smacking of a diamond comic-like innocence (read extreme inanity) which depicts the tragedy of Jaggi (Guinness Book fame Jagdish Raj) and Namdev (the one and only Pran saab). Jaggi, Namdev, Raghu (the splendid Kader Khan) and Damu (Amjad khan) are close pals. When Namdev gets a lottery ticket in a windfall gain, he shares it with his three friends in good faith. Jaggi, who is in possession of the ticket, is overjoyed when it is announced as the jackpot-winning number. Then comes a treacherous twist: Jaggi is murdered, and Namdev is framed for the crime, by the dreadful duo of Damu and Raghu.

Despite the ludicrousness of this first chapter, it is highly enjoyable and redolent with mixed emotions: whatever your cinematic sensibilities, you feel the urge, if not a surge, to experience the pain of Jaggi and Namdev and curse Damu and Raghu for their iniquity.        

The film then travels through the usual Amitabh-centric route, with other stars paying regular homage to the tallest hero, both as characters and actors. 


Here’s a selective blow by blow account of the subsequent chapters, that happen a decade later in the film’s timeline: 

Damu and Raghu are owners of a plush hotel that stands on the foundations of the lottery prize

Damu’s son Vicky (Shatru) goes to England for higher studies (specialization not known) 

Raghu’s worthy sons manage dad’s business empire (dependable duo of perpetually rapist looks: Shakti Kapoor and Prem Chopra)   

Namdev's elder son and part-time boxer Johnny (Bachchan babu) is a waiter (employed by Damu-Raghu) 

Sunny, Johnny’s younger bro is (hardly) studying in a co-ed circus (Shubha Khote and Jeevan are the tails of this headless institution)

Few laughably scrumptious complexities:

Johnny and Vicky are best friends; they fall in love with this supposedly irresistible singer Asha (Southern siren Hema Malini) unaware of their fatal commonality of choice. How? The Vicky-Asha short-lived affair bloomed in England while Asha-Johnny chemistry was struck in India - blame the polarity for the mishap, not the plurality!

Julie (Reena Roy) is madly in love with Vicky (rooted in Bollywood's favourite theme of 'bachpan ka pyar')

When Asha dumps him for a reason, Vicky turns alcoholic; narrates his sob story to Johnny

Johnny and Julie team up in a (needlessly desperate) sacrificial bid to reunite Vicky and Asha.   

Meanwhile, Sunny falls for Kim (Asha’s younger sis); and now get ready for a true shocker: Asha and Kim are daughters of Jaggi.

And all this while, Namdev has been pursuing his protracted vendetta mission, keen to reunite with his beloved Johnny and Sunny. How the story unfolds and justice prevails merits at least a single watch: go ahead and make the most of your viewing time!


But before I conclude, I must come back to Don and Damu, my favourite actors. Amitabh Bachchan entertains us no doubt, but it takes a Puri and a Khan to engage us. 

Their presence is magnificent, and I cite only two instances of their superb screen interpretations. 

The phraseology I reproduce is not exact, but it is inconsequential before their superb performances. A must watch for those artistes of the ‘offbeat’ brigade who make a living taking workshops on acting without ever touching the soul of acting.  

On learning that the great Don is slated to visit India, Damu casually asks Raghu a key question: maine unko kabhi nahi dekha. Tumne dekha hai? (I haven't seen him yet, have you?) Amjad saab’s “Tumne dekha hai?” is astoundingly natural for what is clearly an over the top film. 

When the police raid the Don’s premises and quiz those present at the venue, the vicious Don transforms into a chef  - complete with his toque blanche and apron – and replies with a benevolent smile – Dekho saab, hum yahaan khana banate hai, woh kab aate hai, kab jaate hai, hame kabhi bataa ke nahi jaate” (Look sir, we are cooks, we are unaware of Don's entries and exits) 

I can watch this movie again and again for these two. Amrish saab and Amjad saab, you are sorely missed.