All about late actor and director Vijay Anand

Vijay Anand was brought into the world on January 22, 1934 in Gurdaspur, Punjab and was the most youthful of the three Anand siblings. His senior siblings were chief Chetan Anand and entertainer Dev Anand. However Vijay, lovingly known as Goldie, some say on account of his wavy hair, is referred to now as a chief, he really began his vocation as an entertainer in 1955 in a family show called Joru Ka Bhai (1955), coordinated by sibling Chetan. He didn’t seek after acting, be that as it may, liking to be behind the camera for most part. His best film as an entertainer is supposed to be Kora Kagaz (1974). The movie, coordinated by Anil Ganguly, depended on the 1963 Bengali movie Saat Pake Bandha coordinated by Ajoy Kar, and featured Suchitra Sen and Soumitra Chatterjee. He played a school teacher who weds a lot more youthful young lady (Jaya Bhaduri), from a well off family. The young lady’s mom doesn’t care for the way that their child in-law isn’t rich like them and her consistent obstruction makes sharpness between the couple. In Tere Mere Sapne (1971), a film featuring Dev Anand and Mumtaz, he played a specialist who is tipsy constantly. However he’s an alcoholic, he goes about as the soul manager of the hero and was popular for his little yet huge job. He additionally coordinated the film. It’s supposed to be his most genuine film till date as it rotated around the genuine calling of specialists failing to remember the Hippocratic Oath and aimlessly seeking after lucre. It purportedly changed the fortunes of Mumtaz, whose going about as an indifferent spouse was greatly respected in the film. Individuals began treating her in a serious way as an entertainer after this. In Main Tulsi Tere Aangan Ki (1978), he played a debased property manager who weds another, a lot more youthful lady (Asha Parekh) and carries disturbance into the existence of his significant other (Nutan). In 1994, he showed up as investigator Sam D’Silva in the hit TV series Tehkikaat. The sequential turned out to be very famous and his science with Saurabh Shukla, who played Gopichand, his accomplice, was highly appreciated.

At the point when it came to filmmaking, Vijay, similar to his siblings, also was impacted by the neo-noir Hollywood movies. That was a lot of obvious in his first time at the helm Nau Do Gyarah (1957), where a transporter (Dev Anand) and a runaway lady (Kalpana Kartik) experience passionate feelings for, prompting numerous misfortunes. His next executive endeavor Kala Bazar (1960) had every one of the three siblings acting together interestingly. Dev Anand played a dark marketeer who gets going by selling film tickets in dark however is subsequently transformed through affection. It’s said that Vijay’s cherished recollections of seeing film tickets of Dev Anand’s movies being sold in dark gave him the thought for this film. The film utilized film of the debut of the film Mother India (1957) to extraordinary benefit and with entertainers like Dilip Kumar, Nargis, Geeta Dutt, Guru Dutt, Raaj Kumar and Rajendra Kumar being included in it. It became one of the arguments of the film.

His next film was Tere Ghar Ke Saamne (1963), a rom-com. It’s said Goldie loved Nutan as, a said entertainer to have the ideal visually appealing face. He shot probably the best melody of the entertainer, Dil ka bhanwar kare pukar in the film. The tune was supposed to be shot on the winding flight of stairs of Qutub Minar and is a wonder of tune picturisation. Nutan and Dev Anand move up the pinnacle as companions however descended as sweethearts, the entire romance being worked out in the midst of the excursion.

Surely, shooting tunes tastefully and utilizing them as expansions of the account became something of a brand name for Vijay Anand. In the Tere simple sapne melody from Guide (1965), for example, the morning sun turns into an illustration for the newly discovered love among Raju and Rosie. The light Goldie needed was accessible just for 15 minutes of the day early morning so he coordinated it flawlessly and went for those 15 minutes every day till he was fulfilled. The tune Hothon mein aisi baat from Jewel Thief (1967) was taken shots at the imperial castle of Gangtok, Sikkim and showed the champion in a problem as she has taken in a decisive mystery. The quick tune looked practically like a whole take. Buddy bhar ke liye koi hame pyar kar le from Johny Mera Naam (1970) was shot on a set addressing a house with different entryways and windows. You can see Dev Anand in a ceaseless movement entertaining Hema Malni from different little hiding spots. Buddy dil ke paas from Blackmail (1973) was planned like a fantasy. The courageous woman, Raakhee, peruses the letters kept in touch with her by the saint, Dharmendra, and envisions he’s there close by her. It rates as being quite possibly the most sincerely picturised melodies ever. In Akela gaya tha fundamental (Rajput, 1982), the fantasy theme is again used, this time on Rajesh Khanna, who is shown riding a pony and contemplating Hema Malini. The film might have floundered yet the excellence of the tune hasn’t reduced. Authors Laxmikant-Pyarelal too astutely joined the tick-tock sound made by the hooves of the pony into the soundtrack.


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