Asli-Naqli

From Wikipedia, the free encyclopedia
Jump to: navigation, search
For the 1986 film, see Asli Naqli (1986 film).
Asli-Naqli
Asli-Naqli (1962).jpg
Directed by Hrishikesh Mukherjee
Produced by L B Lachmana
L B Thakur
Written by Inder Raj Anand
Starring Dev Anand
Sadhana Shivdasani, Nazir Hussain
Music by Shankar Jaikishan
Cinematography Jaywant Pathare
Edited by Dad Dhaimade
Release date
1962
Country India
Language Hindi

Asli-Naqli (English: Real And Fake) is a 1962 Hindi film produced by L.B Lachman and L.B Thakur. The film is directed by Hrishikesh Mukherjee and stars Dev Anand, Sadhana Shivdasani, Leela Chitnis, Anwar Hussain, Sandhya Roy and Keshto Mukherjee. The film's music is by Shankar Jaikishan and lyrics by Hasrat Jaipuri. The film became a box office hit.[1]

Plot[edit]

Anand (Dev Anand) is a spoiled grandson of a rich businessman Rai Bahadur (played by Nazir Hussain). His grandfather wants him to marry Rekha (Sandhya Roy), only daughter and heiress of a rich man despite of Anand's disinterest for her. In the ensuring fight, Anand leaves his house to prove his worthiness and ends up in the streets of Bombay (present day Mumbai). There one person meets Anand and takes Anand to his house in poor neighborhood.

Anand settles himself there temporarily and tries to find work. He meets a beautiful, educated young woman Renu (Sadhana Shivdasani) and gets impressed with her. She helps him to find a job but he soon loses it due to his incompetency. Renu works in a small company but tells her mother (Leela Chitnis) that she is attending college. She lies to her mother that her father is sending them money. When Anand asks she explains that she is hiding the fact that her father is dead as her mother can't tolerate that news. Anand further impresses with her and asks Renu to marry him and she happily agrees.

But Rai Bahadur comes to know about Anand's whereabouts and meets him. He demands that Anand should forget Renu and marry Rekha for which Anand disagrees. Rai Bahadur blackmails Renu that he would tell her mother about his father's death if she wouldn't marry different person. Having no other way she agrees and tells Anand to forget her. Renu's mother overhears this conversation and understands that her husband is no more. She accepts her fate and tells Renu that she should marry according to her own wishes. Renu and Anand marry and at the end Rai Bahadur accepts Renu and transfer all his property to her name.

Cast[edit]

Trivia[edit]

Hrishikesh Mukherjee as a director comes to maturity in this film and develops a signature style of healthy family entertainment. This film follows one of his earlier successes, Anari.

Innovative Song Picturisation: In the expression of love, while filming the song, "Ek but banaunga," Hrishikesh Mukherjee took care so that Dev Anand and Sadhana maintained a distance of at least 20 feet between them. At one time when they come nearer, there is a blackboard on stand between them. When Dev Anand turns around the blackboard to Sadhana's side, the latter puts a slate between them. In the backdrop of rains outside, with Mohammed Rafi's magic all around, someone takes away a goat from the rain-sheltered veranda and one is transported to the dream world of love. At times Dev Anand is outside in the veranda with the bamboo mesh of a window between them. Dev is worshipping Sadhana with folded hands and in the end Sadhana comes near with her hands raised in blessing.

Similarly while picturising the song, "Tera mera pyaar amar," Hrishikesh Mukherjee demonstrates the love between Dev Anand and Sadhana by putting them in different places as the song unfolds. In the early part of his career, Hrishikesh Mukherjee was a cinematographer and all through the film, there is brilliant camera work.

Highlights: There is a scene in which Nazir Hussain praises the workmanship of an artifact to Dev Anand when the latter is disturbed. The same scene would be repeated by Hrishikesh Mukherjee in the film Namak Haram (1973) between Om Shivpuri and Amitabh Bachchan.

In this film, in a lone scene, Motilal, the character actor gives a brilliant performance by advising Dev Anand to let things go, rather than to control them. He asks Dev Anand in the club to hold sands in his palm and tells him, "If you would try to hold on to the sands, these would escape through your fingers. But if you keep your palm open, they would stay undisturbed."

The film is refreshing with brilliant acting by all the cast and is very competently directed by Hrishikesh Mukherjee.

This film's story is partly inspired by The Definite Object, a 1917 romance novel by the British writer Jeffery Farnol.

Soundtrack[edit]

# Title Singer(s)
1 Kal Ki Daulat Aaj Ki Khushian Mohammed Rafi
2 Lakh Chhupao Chhup Na Sakega Lata Mangeshkar
3 Gori Zara Hans De Tu Hans De Mohammed Rafi
4 Tujhe Jeevan Ki Dor Se Mohammed Rafi, Lata Mangeshkar
5 Tera Mera Pyaar Amar Lata Mangeshkar
6 Chheda Mera Dil Ne Tarana Mohammed Rafi
7 Ek But Banaoonga Mohammed Rafi

References[edit]

External links[edit]