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|Directed by||Basu Bhattacharya|
|Written by||Phanishwar Nath Renu (Dialogue)|
|Screenplay by||Nabendu Ghosh|
|Based on||Teesri Kasam Urf Maare Gaye Gulfam
by Phanishwar Nath Renu
|Running time||159 min|
Teesri Kasam (English: The Third Promise) is a 1966 film based on a short story, Mare Gaye Gulfam by Phanishwarnath Renu, a Hindi novelist. The film stars Raj Kapoor and Waheeda Rehman. The duo Shankar-Jaikishan composed the flim's score.
Directed by Basu Bhattacharya, Teesri Kasam is an unconventional film that portrays the society of the rural India and simplicity of villagers. Through the story of a naive bullock cart driver who falls in love with a dancer at nautanki, popular folk theatre of region. The film also deals with issue of exploitation of women in performing arts, especially travelling folk theatre.  The whole film is shot in Araria, Bihar. Cinematography is by Subrata Mitra, who previously shot Satyajit Ray's Apu Trilogy, dialogues by Phanishwarnath Renu, screenplay by Nabendu Ghosh.
The plot centers on Hiraman, a rustic villager from a remote village in Araria (Bihar), who drives a bullock cart to earn his livelihood. The story begins with Hiraman taking two consecutive vows based on difficult situations in his life. He then meets a nautanki dancer named Hirabai. The story then evolves into one of the friendship between a bullock cart driver and an urban nautanki dancer. The movie, finally, ends with Hiraman taking a third vow.
Hiraman (Raj Kapoor) is a bullock cart driver with conservative traditional values. While smuggling illegal goods on his bullock cart and narrowly escaping the police, Hiraman takes a vow (the first Kasam) to never carry illegal goods again in his cart. While subsequently transporting bamboo for timber trader on his bullock cart, he is beaten by two men when their horses are upset by the bamboo in the cart. After that incident, Hiraman takes another vow (the second Kasam) to never carry bamboo again in his cart.
One night Hiraman is asked to carry Hirabai (Waheeda Rehman), a nautanki dancer, as a passenger to a village fair 40 miles away. As they travel together Hiraman sings to pass the time and tells her the story of the legend of Mahua. As the journey progresses, Hirabai is mesmerized by Hiraman's innocence and his simple philosophy of life. Hiraman in return sees her as an angel of purity.
Once they reach the village fair, Hiraman joins with his band of bullock cart drivers and Hirabai joins the nautanki company. Hirabai asks Hiraman to stay at village fair for a few days to see her dance. Hirabai arranges free passes for Hiraman and his friends to see nautanki on every night as long as village fair runs.
As Hiraman attends nautanki, he becomes aware that other people see her as a prostitute, which disturbs him. He tries to shield and protect her from society. The bond between two grows stronger as the days pass at the fair. He gets involved in fights with local people who speak badly about her and her profession. Hirabai tries to make him understand the harsh reality of her life. Hiraman asks her to leave her profession and start living a respectable life. Hirabai refuses to leave her acting career. Depressed, Hiraman leaves village fair and returns to his village.
In the mean time, Hirabai understands Hiraman's unselfish love. Hirabai meets Hiraman and reveals her past secret that she had been already sold and she was no longer a virgin beauty. Hirabai returns to her hometown. After seeing Hirabai going away from his life, Hiraman takes third vow (teesri Kasam) to never carry a nautanki company dancer again in his cart.
- Raj Kapoor as Hiraman
- Waheeda Rehman as Hira Bai
- Dulari as Hiraman's Bhabhi
- Iftekhar as Vikram Singh
- Keshto Mukherji as Shivratan
- A.K. Hangal
- Asit Sen
- C. S. Dubey
Writer Phanishwarnath Renu who wrote the original short story, Mare Gaye Gulfam in 1954, also wrote the dialogues of the film, while the screenplay was by Nabendu Ghosh, who had previously written classics, Devdas (1955), Sujata (1959) and Bandini (1963) for Bimal Roy.
Director Basu Bhattacharya who has assisted Roy in his early career, brought his sensibilities of realism to the film. During the film he asked both Raj Kapoor and Waheeda Rehman to act in natural style, this was important for the film as Raj Kapoor through the filming managed to avoid his usual mannerism, though he did play his usual simpleton in the film too. In fact Basu Bhattacharya was one of the few directors who could manage to convince Raj Kapoor a director himself, in his acting career to act differently, which had limited his acting repertoire. 
Most of the film was shot at Bina, a town near Bhopal, with a few scenes shot at Powai Lake and Mohan Studios in Mumbai.  Subrata Mitra who had shot Satyajit Ray's early films, shifted to Bombay briefly during the 1960s, initially to shoot Merchant Ivory films. He was roped in to shoot the film, which is still remembered for its cinematic lyricism.  Actor A. K. Hangal till then theatre actor, knew producer Shailender from IPTA theatre group days, and agreed to play the small role Hiraman's elder brother. The film took many years to complete, however eventually much of his role was deleted in the final editing to reduce the length of the film.
- Director - Basu Bhattacharya
- Story & Dialogue - Phanishwar Nath Renu
- Screenplay - Nabendu Ghosh
- Producer - Shailendra
- Editor - G. G. Mayekar
- Cinematographer - Subrata Mitra
- Art Director - Desh Mukherjee
- Costume and Wardrobe - Hanuman, Pandit Shivram
- Choreographer - Lachhu Maharaj
- Music Director - Shankar Jaikishan
- Lyricist - Hasrat Jaipuri, Shailendra
- Playback Singers - Asha Bhosle, Manna Dey, Suman Kalyanpur, Lata Mangeshkar, Mubarak Begum, Mukesh, Shambhu, Shankar
|1.||"Aa Aa Bhi Jaa"||Shailendra||Lata Mangeshkar||5:03|
|2.||"Chalat Musafir"||Shailendra||Manna Dey||3:04|
|4.||"Haye Ghazab Kahin Tara Toota"||Shailendra||Asha Bhosle||4:13|
|5.||"Maare Gaye Gulfaam"||Hasrat Jaipuri||Lata Mangeshkar||4:00|
|6.||"Paan Khaye Saiyan Hamaaro"||Shailendra||Asha Bhosle||4:08|
|7.||"Sajanwa Bairi Ho Gaye Hamar"||Shailendra||Mukesh||3:51|
|8.||"Sajan Re Jhoot Mat Bolo"||Shailendra||Mukesh||3:43|
|9.||"Lali Lali Doliya Mein Lali Re"||Shailendra||Asha Bhosle||3:11|
The film received critically acclaimed and also the National Film Award for Best Feature Film, however it was a commercial failure. Bhattacharya thereafter shifted to making small budget films on marital relationship in the genre known as middle cinema, which straddled both the dictates of mainstream Bollywood and sensibilities of art house cinema. He never made another film on a literary work for the rest of career. Though in time the film came to be regarded as a classic. 
- 1967 National Film Award for Best Feature Film 
- 1967 Moscow International Film Festival: Grand Prix - Nominated
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