Nasser Hussain and Teesri Manzil
Srinivas Ganti
Murder and melody
As a tribute to the memory of Nasir Hussain who passed away recently,
Vijay Anand recreates the making of Teesri Manzil, the one film he directed
for the jubilee maker
Will you direct a film for my banner?" The offer took Vijay Anand by
surprise. Why would Nasir Hussain, who was a producer-director himself, want
to hand over the reins to Goldie? Of course, the hit maker was no stranger
to Goldie. Those days he was directing Dev Anand in Jab Pyar Kissi Se Hota
Hai and would often drop in at the house to meet the star and discuss dates.
"I'm planning a fortnight's outdoor schedule in Darjeeling," he'd tell Dev.
"No problem," Dev would reply genially. "Which season would suit you best?"
Nasir would outline his schedule and Dev would try and work it into his
calender. "You want a fortnight from me, I'll give you 20 days. We have to
keep in mind that shootings in the hillstation can be disrupted by the heavy
fog, sudden showers and snow storms."
Nasir Hussain and Dev Anand shared a warm professional relationship and
Goldie who was living with Dev at the time, was often privy to their
conversations. He had a healthy respect for Nasir's command over the
language, his youthful lingo, but he couldn't identify with his style of
working. Nasir Hussain never had a complete script. Whenever Dev Anand
enquired about the scenes that Nasir wanted to shoot he'd be told, "I'll
bring the scenes over in a day or two." And a couple of days later he'd be
back with the 10 scenes that featured Dev. So Dev Anand knew well in advance
what was expected of him at the shoot and was happy. Goldie, curious to know
more about the film, was not happy.
When JPKHH reached the half-way mark Nasir decided to have the first trial.
Dev Anand was invited. He wondered if Goldie could come along too. Nasir
agreed immediately. The rushes were screened. When the film was being
discussed Dev turned to Goldie and asked him what he thought of the film.
Goldie who was very young and inexperienced at the time, was reluctant to
give his opinion. After some prodding he told Nasir, "Your film is a hit, no
doubts about that. But I have one suggestion to make." The point was made,
noted and incorporated (Goldie refuses to divulge detials). And Nasir was
favourably impressed with Dev Anand's bright, young brother.
A few months later, Nasir was ready to launch two new films. Baharon Ke
Sapne was set on one of his prize-winning stories. The stark social was a
complete departure from the fun-filled entertainers Nasir had made till then
and he signed Rajesh Khanna, winner of the Filmfare United Producers' Talent
Contest, in the lead and decided to concentrate on this film. For the second
film he signed Dev Anand and asked his brother, Goldie if he would direct it
for Nasir Hussain Films.
Goldie wasn't easy to persuade. In an industry where egoes ruled he wondered
at the capriciousness of one film-maker offering a film to another. He
worried about a clash of personalities, ideas and work culuture. And finally
accepted on the condition that he be allowed to make the film his way.
Nasir had hit upon a formula that guaranteed sure-fire success in the '60s.
A hero, an incandescent heroine, a villian, fabulous music and a simple plot
were brewed together to churn out jubilee hits like Tumsa Nahin Dekha, Dil
Deke Dekho, Jab Pyar Kissi Se Hota Hai and Phir Wohi Dil Laya Hoon. "It was
a successful formula but I didn't want to make another Nasir Hussain film.
My film was going to be different, with the Vijay Anand stamp," Goldie
recalls 36 years later. It was an audicious stand to take for a newcomer but
Nasir Husain who had himself taken several risks in his attempts to forge
his own identity, could appreciate the rebel and his demand for his creative
rights.
Soon after however Nasir and Dev fell out. Dev had arbitarily cancelled two
schedules because he was too busy to start a new film. An exasperated Nasir
finally told Goldie that he couldn't wait eternally for his brother's dates.
"Goldie, Dev ab film mein nahin hai, tum ho ya nahin?" he demanded to know.
It was an awkward situation but Goldie had a ready repartee, "Did you want
me to direct the film because it starred Devsahab?" Nasir immediately
assured him that that was not the case. "No, I took you for yourself. And I
still want you," he insisted. "In that case I'll direct the film," Goldie
reasoned. Today, he admits that his decision could have hurt Dev because he
hardly did films outside the Naveketan banner. "We never spoke on the
subject," he confesses.
With Dev out of the project the search for another hero began. Nasir knew
Shammi Kapoor well, both of them having worked together in Tumsa Nahin Dekha
and Dil Deke Dekho. "If you approve, I'll talk to him," Nasir told Goldie.
Goldie had no problems with either Shammi or Asha Parekh who was another
Nasir Hussain regular. "But we'll have to get a story that suits Shammi
because he's nothing like Devsahab," Goldie pointed out.
Soon after, at a party Nasir approached Shammi. "We were both high when he
agreed to do the film," Nasir laughed later.
Then the story sittings began. Nasir, very conscious of Goldie's independent
ways, gave him complete creative freedom on the project. Goldie who had
always had great respect for Nasir's talent as a writer, insisted that he
write the script. "This way you won't get too detached from the film and
remain involved with its day-to-day progression," he rationalised. Nasir
Husain was impressed with Goldie's clear-eyed logic. "We'll write the story
together," he decided.
Finding a story to suit Shammi Kapoor's image and was in keeping with Nasir'
s films while giving Goldie an opportunity to give it his stamp, was no easy
task. Everyday stories were narrated and rejected. Then one day Nasir
narrated a scene to Goldie. Two girls are waiting at a petrol pump for the
tank of their car to be filled. One of the girls is on her way to Mussourie
from Delhi. "What will you do there?" her friend asks her. "My sister fell
from the third floor of a hotel there and though many believe it was suicide
I think she was pushed. I suspect a guy called Rocky who played on the hotel
's band to be behind her murder," the former replies. Her friend asks her
how she will recognise the drummer, Rocky. "I believe he wears dark
glasses," the sister of the victim retorts. The camera shifts to a young
man who's zoomed into the pump after them and parked on his bike is avidly
listening into their conversation. He immediately takes off his glasses and
tucks them into his pocket. At this point Nasir's inspiration petered out
but that one scene had Goldie hooked. "It'll make a perfect film, we'll
develop it," he told Nasir excitedly.
From that one scene the story of Teesri Manzil was born also it sparked off
the film's title. "The girl was pushed from a top floor and in Mussourie,
houses are not more that three storeys high. If she had fallen from the
second floor she'd have been injured but not killed. So we decided to take
her a floor higher-to the teesri manzil . And that's how the film came to be
called Teesri Manzil," Goldie explains with a smile.
Teesri Manzil was a murder mystery. Shammi was very conscious of the fact
that Goldie who was directing him had only worked with Dev Anand before and
he would often ask Nasir, "Goldie is happy with my work, isn't he? Woh mere
layak film bana raha hai, na?" Nasir was quick to reassure his hero that
Goldie had great respect for Shammi Kapoor, the actor, and determined to
make a memorable film.
Goldie on his part was very sure that Teesri Manzil would be a musical
because Nasir was famous for his musicals and Shammi was a musical star.The
obvious choice for music director were Shankar-Jaikishen who were the
reigning composers of the time and had scored the music for Nasir's earlier
hits-Tumsa Nahin Dekha, Dil Deke Dekho and Jab Pyar Kissi Se Hota Hai. The
other choice was OP Nayyar who was another Shammi Kapoor regular. But Goldie
had in mind a newcomer called RD Burman who had to his credit a bit role in
Mehmood's Bhoot Bangla and the score of Chota Nawab.
"I'd known Pancham since he was a child. When I was working on my first
film, Nau Do Gyarah he would often accompany Burmanda (his father, SD
Burman) to music sittings. He could play everything from the harmonium and
sitar to the tabla and mouth organ," Goldie remembers. Those days dada was
very worried about Pancham. Dev and Goldie would constantly reassure him,
"Pancham nikal jayega." Dada wanted the Anand brothers to give Pancham a
break in one of their films and Goldie had decided to entrust him with the
compositions of Jewel Thief when Teesri Manzil came along.
Nasir was willing to try out Pancham after Goldie assured him that the boy
was very talented and he would get great work from him. But he had to get
Shammi Kapoor's consent first. "We can't afford to antagonise Shammi," he
reasoned.
The star when approached hollered,"Who is this Pancham?" When told that he
was SD Burman's son, Shammi argued, "SD Burman is Dev Anand's music
director. My music director is OP Nayyar. Take him or Shankar-Jiakishan." He
even convinced Jaikisan to slash his fees for this film. But Goldie wanted
only Pancham. Realising that a confrontation was brewing, Nasir
diplomatically suggested a sitting with Pancham after 10-12 days for which
Shammi Kapoor would be invited. If Shammi approved of Pancham's music he was
on.
Goldie knew this could be Pancham's big break. "Give it your best shot," he
urged. "And remember you are not composing for a deboniar Dev but a
flamboyant Shammi Kapoor."
Pancham was a keen student of Western music and had several friends who
played in orchestras abroad. His own collection of Western music was
enviable and his knowledge prodigious. He could play every instrument from
the harmonium and tabla to drums, trumpets and the bongo. From a very young
age his father SD Burman had let him handle his orchestra and Goldie knew
that the boy had it in him to be a great composer. He only needed to apply
himself. And perhaps realising that this could be his breakthrough film
Pancham got cracking and by the day of the sitting was ready with 30-35
compositions. An innovative mix of rock-and-roll, the twist and jazz that he
thought was perfect for Shammi Kapoor who had modeled himself on Elvis
Presley and James Dean.
At 7 p.m. Shammi and Nasir drove up to be introduced to Pancham. Shammi who
had mentally vetoed Pancham, was lolling negligiently when he struck the
first note. But as the music played on he sat up and slowly started inching
closer to Pancham. From the pahaldi 'Deewana mujhsa nahin...' to the
oh-so-westernised 'Aaja aaja main hoon pyar tera...' Pancham was
mesmerizing. "He's on," Shammi told Nasir when Pancham was through. Nasir
quickly signed the young Burman for not just Teesri Manzil but Baharon Ka
Sapne too. Pancham who for years had had no takers for his revolutionary
brand of music suddenly found himself giving the reigning masters,
Shankar-Jaikishen a run for their ratings in 1966.
His score for Teesri Manzil was rousing, seductive and brought Western music
into Hindi film playback. Who can forget the almost orgasmic crooning in
'Aaja aaja..' with its concerto of electric guitars, drums, bongo, trumpets,
keyboard, flute and frenzied percussion. 'O haseena zulfonwali...' had the
same frenetic pace and infectious energy. 'Deewana mujhsa nahin...' and
'Tumne mujhe dekha...' were slower, more mellow, tingling with the soft
strains of the violin and piano while 'O mera sona re...' with Asha Bhosle
playing the contrite lover, was a gentle combo of bongo, guitar and folksy
flute. 'Main inpe marta hoon...' returned to the animated beat with a
spirited mix of perky percussion, guitars and trumpets. Like Shammi Kapoor
who had changed the face of the Hindi film hero with his ductail locks,
leather jackets, cocky swagger and unabashed sensuality, Pancham with his
inventive orchestration gave Hindi film music a new zing.
"Pancham was brilliant," Goldie asserts. "He soon had composers copying his
tunes. If only he had been a little more dedicated he'd have left the
competition far behind. He gave his best for Dev sahab and me. There were
times when I'd tell him at 9 p.m. that I wanted an orginal composition in 30
minutes flat and sitting there in front of me he would whip up the most
brilliant tune. Pancham's problem was that he'd pass off B-grade tunes to
directors who didn't have such a keen musical sense. And that resulted in
his downfall. However, if he'd lived longer I'm sure he would have made a
strong comeback and proved that he wasn't only a genius with western
orchestration but was also a master of melody like his father. 1942...A Love
Story, his last composition, proved that."
SD Burman was very grateful to Goldie for giving Pancham his big break. In
an industry where promises made in the morning are forgotten by night,
Goldie had kept his word. Pancham's music in Teesri Manzil made his father a
very proud man. But he continued to warn his son, "Pancham gane ko kabhi mat
bhoolo. Don't let your orchestration overpower the lyrics."
Pancham's tunes were perfect, Shammi agreed, but when Goldie told him that
he was planning to shoot 'O haseena zulfonwali..' in one shot with no
close-ups, sitting atop a crane, the camera zooming into his eyes, he sought
out Nasir complaining that his director had lost it. Soon after, Nasir
turned up on the sets and watched Goldie quietly from a corner. It wasn't
long before he was taking his star aside and telling him that the director
knew his job. "Kamaal ka shot liya hai," he asserted, allaying Shammi's
misgivings.
For most of the film Nasir kept his distance. His involvement was limited to
writing the script. He even let Goldie do the editing after Goldie had
walked into the editing room one day and told him that he felt that a
particular scene should be cut differently. "If you know so much about
editing why don't you take my place," Nasir had snapped. Goldie had been
unfazed, "Aapko burra laga. If I sit at the table you'll dislike me even
more." When Nasir assured him that he wasn;t angry, Goldir had confidently
slipped into his chair and had edited the scene with so much technical
finesse that Nasir had had no hesitation handing over the job to him.
Only once was there a conflict of interests. It happened when Goldie who was
simultaneously shooting Guide, wrapped up his shooting of the film and was
called to Hollywood for the negative cutting. A huge set of a mela had been
erected for the picturisation of another Pancham composition, 'Dekhiye
sahabo woh koi aur thi..' In a quandary Goldie went to his producer and
confessed that he might have to delay the shooting of his film because he
had to be in LA for a fortnight. He was shocked when Nasir told him
blithely. "Don't worry, you go work on Guide, I'll shoot the song myself."
When Goldie told him that was unthinkable, Nasir was genuinely puzzled, "Why
not? I'm a director too! My mentor, S Mukherji had no problems if two
directors worked together on the same project." Goldie told him firmly that
he didn't work that way. Couldn't Nasir wait till he got back from LA to
shoot the song? "Shammi's dates could pose a problem," Nasir pointed out.
Goldie immediately called his star and requested him for alternate dates. "I
can fit you into my schedule but Nasir nahin maan raha hai," he told Goldie.
A deeply disturbed Goldie flew out to Hollywood but half-way through the
editing of Guide he returned to Mumbai. "It wasn't that I didn't have
confidence in Nasir's ability. I knew he'd do a good job. But Teesri Manzil
was my film. I didn't want anyone else calling the shots," explains Goldie.
He had also visualised shooting the song in a unique fashion. He wanted to
put Dev and Asha on a swing and the cameraman on a crane with a hand-held
camera. He drove to the sets straight from the airport to catch Nasir who
was all set to shoot the song, by surprise. In four days he had completed
the song and flown back to LA.
That incident drove a wedge between the producer and his director even
though there was never any open clashes. 'I was just very hurt by his
behaviour. I remember when we were in Mahabaleshwar shooting 'Deewana mujhsa
nahin...' and I felt that the scene that immediately preceded didn't quite
lead up to the song, I called Nasir in Mumbai. I told him I could rewrite
the scene if he didn't mind my doing so. I had so much respect for Nasir,"
Goldie sighs.
While Goldie and Nasir drifted apart, Goldie and Shammi drew closer as the
film progressed. One incident in particlar increased Shammi's admiration and
affection for his young director. When they were shooting 'Tumne mujhe dekha
hokar...' Shammi got the news that his wife Geeta Bali was very ill. She had
contracted small pox while shooting in Punjab for Rano. A very disturbed
Shammi rushed straight to her bedside and nursed her tenderly over the next
few weeks. But all his love and care didn't stop her from going away
forever. Shammi was devastated by her death. He lost all interest in his
career...in life in general. Nasir shrewdly realised that if he demolished
his expensive set Shammi would never return to complete Teesri Manzil. So he
kept it standing, repeatedly telling Shammi that he shouldn't worry about
the mounting costs. He should just concentrate on getting over his loss and
only when he felt he was ready to start working again should he come back.
In his own way, Nasir was applying a subtle moral pressure on Shammi to
return to the world of the living. But it wasn't working. Shammi continued
to shut himself away in his home, mourning his wife.
Finally, one day Goldie stomped into his house and physically dragged him to
the set. Overwhelmed by sorrow and guilt, Shammi was a man on the verge of a
breakdown. "His hands were shaking, his voice was wavering...He didn't look
like he'd ever be able to act again," Goldie recalls. The only way to shake
him out of his despair, Goldie realised, was to get him working again. He
set up a very difficult shot. "I decided to wrap up the song in two long
shots, the camera going around him in circles on a round trolley."
When Shammi learnt what Goldie was planning he was astounded. "You expect me
to carry off such a difficult shot? Me, a broken man? I can't do it!" he
almost sobbed. Goldie was unshakable. "You can try," he urged. "If it is too
much we'll announce pack-up."
Reluctantly, Shammi stepped in front of the camera. And came up with a
perfect take. There was jubilation amongst the unit. Everyone was clapping.
Shammi was almost collapsing. And Goldie announced that he wanted a retake.
There was pin-drop silence. But to everyone surprise Shammi quietly stepped
in front of the camera again. And came up with another perfect take that
gave him back his lost confidence. Shammi was in control again. He was soon
back to shooting everyday and recommending Goldie to everyone.
Surprisingly though, the two never worked together again even though they
remained in touch. "Our lifestyle was too different," Goldie analyses. At
the end of the day Shammi believed in getting together with the unit and
having a blast. He would be upset to find Goldie frequently absent from
these get-togethers. When Shammi would tell him petutantly, "You're not my
friend," Goldie would explain that he much preferred to go on long, solitary
walks after pack-up during which he planned the next day's shoot in his
mind. It wasn't something Shammi could understand.
However, despite Goldie's aloofness, he certainly had his finger on the
pulse of the audience because both Teesri Manzil and Guide turned out to be
landmark films. Another film-maker would have been battling a nervous
breakdown handling two big projects simulatnously, but Goldie insists it was
fun. "It was like having two girlfriends, both beautiful and demanding equal
attention and loyalty. You couldn't neglect one for the other," he points
out.
However, despite the surprise hits Goldie failed to cash in on their
success. It didn't bother him. "I'm not an obsessed film-maker. I have to be
won over and constantly spurred with new challenges. Every year an average
of 500 films are being made. If I wanted to add to the film it would have to
be a film different from the rest," he explains.
Teesri Manzil certainly was a "difficult" film even within the framework of
mainstream cinema. A murder mystery it continues to draw repeat audiences
even though the identity of the murderer is no longer a secret. Goldie
explains its evergreen appeal with a quotation of Keats, "A thing of beauty
is a joy for ever." Teesri Manzil, he points out, was a beautiful films,
whose innovative music score and visual sweep continues to find for it
takers even today.
In fact, the Shammi-Helen number, 'O haseena zulfonwali...' is a hot
favourite even today. Goldie spotted Helen when shooting for his first film
Nau Do Gyarah in a group of dancers. She was a beauty and a great dancer and
he wanted to give her a break. When Teesri Manzil came along he decided to
cast her in the role of the girl who is an eye-witness to the murder. He
also gifted her the chart-buster and was delighted when he noticed that she
sparked off Shammi's competitive spirit. "Whenever they were in the frame
together he wanted to outshine her and that made their moments magical," he
beams at the memory.
The film also marked a comeback for Premnath. Goldie admits he was always a
fan of the "boss". And in both Teesri Manzil and Johnny Mera Naam Premnath
was integral to the plot and justified his director's confidence in his
histrionics. The film brought the director and his mentor close and Goldie
was almost like a surrogate father to Premnath's son, Junior (Prem Kishen)
and even made a film, Jaan Haazir Hai to launch him off as an actor.
Goldie was also a fond uncle to Mansoor and Aamir Khan. When Qayamat Se
Qayamat Hai hit the screen the biggest bouquet came from Goldie who had
remained a friend of Mansoor's parents, Nasir and Asha, over the last three
decades. But surprisigly, Nasir and Goldie never made another film together.
In fact, Goldie confesses that he has yet to see the completed Teesri Manzil
. "I was out of the country when the film opened and over the years I have
seen bits and pieces of the film on TV but never have I sat through the
whole film," he admits. You wonder if Nasir made another offer and Goldie
says, "I'm not the kind of person people make offers to. As a person I'm too
individualistic and as a film-maker too much of a perfectionist. I can live
without working every single day of my life. I've been without work for 15
years and it didn't kill me. For me it was enough that Teesri Manzil was a
milestone. A landmark film whose cult music plays on our collective memory
even today."
-Roshmila Bhattacharya
Arunabha S Roy
> The obvious choice for music director were Shankar-Jaikishen who were the
> reigning composers of the time and had scored the music for Nasir's earlier
> hits-Tumsa Nahin Dekha, Dil Deke Dekho and Jab Pyar Kissi Se Hota Hai.
Wow. They actually got one right.
- Arunabha
surjit singh
And, Screen is a part of (the presumably prestigious) Indian Express group.
S a d
>
> - Arunabha
Ritu
> http://www.screenindia.com/20020412/fnost.html
>
>
> Murder and melody
>
> As a tribute to the memory of Nasir Hussain who passed away recently,
> Vijay Anand recreates the making of Teesri Manzil, the one film he directed
> for the jubilee maker
Is this a tribute to Nasir Hussain or Vijay Anand??
Goldie Anand is busy harping about his own contribution to the film
and the various issues he had with people. It is interesting to note
how he not only takes credit for giving Pancham his big break he also
takes credit of getting Shammi Kapoor back on track after Geeta Bali's
untimely demise. Too much of I,Me,Myself if you ask me.
Ritu