For Nasir Husain, entertainment was never spelt with just a capital ’E’, but every letter was spelt in capitals. Nasir Husain was the ultimate dream merchant, that monumental talent who made candyfloss movies the way no one else could, the man who not only defined screen entertainment but redefined it. He was a filmmaker who set rather than followed trends, a genius writer-producer-director whose films, as fluffy as a well-made cream cake, were delightful celluloid confections that one could savour again and again. Nasir did not merely influence trends and set the box-office on fire, within the fifteen entertainers that he produced and directed, or only produced or only directed, the man gave us a whopping array of some of our greatest talents, some discovered by him, others propelled by a Nasir Husain film into the orbit of success or stardom.

The famous ‘formula’ of the ‘60s was never exploited by anyone as successfully as it was by Nasir Husain. A hero, an (initially) incandescent heroine, a villain and some fabulous music all created on the foundation of a simple plot added up to a bonanza that made distributors smile non-stop from the 1958 Tumsa Nahin Dekha to the 1977 Hum Kisise Kum Naheen. So much so that in 1973, after the release of his blockbuster Yaadon Ki Baaraat, he had said in an interview, “Wait! I will give you a flop!” In 1982, and again in 1984 and 1985, Nasir fulfilled that promise too with the only three directorial mishaps of his entire career Zamaane Ko Dikhaana Hai, Manzil Manzil and Zabardast! He knew that trends had changed, and it was time to take a sabbatical from direction. He introduced his son, Mansoor Khan, and Nasir Husain Films changed the very flow of mainstream cinema with the path-breaking Qayamat Se Qayamat Tak. Later in the early ’90s, when this writer met him for an interview, Nasir was planning a “typically Nasir Husain entertainer” (his quote) which would also have marked the return of R.D.Burman to the banner. But it was not destined to be.

Essentially a writer, Nasir saw to it that his writing was chaste, and never cheap, coarse or colloquial. His dialogues, even when downright hilarious in the plentiful comic scenes that adorned his films, had that perfect tightrope balance between the literary and the commercial. The Bhopal-born, Lucknow-educated Nasir made his entry into films as a writer, and it was as dialogue writer (Akele Hum Akele Tum, 1995) that he also had his swan song.

“I came up on my own steam, so I have never been able to take nonsense from anyone,” he said then. He revered his guru S.Mukerji, and was the brightest of the filmmakers from that school where Entertainment was so all-important that it was almost sacred.

Nasir was a talented writer right from his college days. With the active encouragement of his teacher, Professor Ahtisham Hussain, he entered the inter-University writing competition and his stories – far removed from the kind of films that he is now famous for – won the First Prizes in two consecutive years.

He moved to Mumbai in the late ’40s and his first assignment was writing a few scenes for the Shyam-Naseem film Chandni Raat (1949). “The writer had fallen sick, so I got a chance,” he explained. He then co-wrote some films like Filmistan’s Munimji (1955) and got his solo writer break with Paying Guest (1957).

During this stint, Nasir would get involved with every department of filmmaking, learning how sets were made, how shot divisions were done, absorbing camera techniques, sitting in on the music and picking up the rudiments of editing and direction. “S.Mukerji would always insist on one scene written in various ways, on many tunes for a single situation, or various methods of shooting the same scene, and I followed this from day one of my career,”he recalled.

When Paying Guest became a big hit, S.Mukerji wanted a story from him. Audaciously, Nasir told him that he would sell him the story only if he let him direct it himself ! And thus began the story of Nasir Husain, filmmaker extraordinary.

THE NASIR HUSAIN DREAM FACTORY:

TUMSA NAHIN DEKHA (1957)

“I told S.Mukerji that he could let me direct a few scenes as a test and only if he did not like my work he could entrust the film to someone else. He liked my work, though I confess that I was unhappy with the stars that he gave me — Shammi Kapoor, a six-flop actor and Ameeta, who never fitted into my concept of a heroine. Also Sahir Ludhianvi, who was to do all the lyrics, was on a high horse and kept comparing me to Guru Dutt and Pyaasa. I told him that I had no intention of becoming a Guru Dutt or of making a Pyaasa. After the title song I replaced him with Majrooh Sultanpuri.”

Tumsa Nahin Dekha proved a blockbuster bigger than Paying Guest in the same year. Nasir Husain changed the very concept of a screen hero forever from a chaste, vegetarian romantic to a physically aggressive wooer who belted out zingy songs. As for O.P.Nayyar, he spun an all-hit score with the three names who were to become the pillars of Nasir’s music – Majrooh, Asha Bhosle and Mohammed Rafi in the mellifluous strains of Jawaniyaan yeh mast mast bin piye, “Tumsa nahin dekha”, “Chhupne wale saamne aa”, ‘Dekho kasam se”, “Sar pe topi laal” and “Aayi hai door se.

DIL DEKE DEKHO (1959)

“After Tumsa Nahin Dekha, Shammi Kapoor was a hit star. And during the making of this film, I had decided to work with him again – I had already realised that he is the best all-rounder we ever had in the industry. He was the complete actor, the total star, the man who had no limitations, whether in emotional, romantic or comic scenes - and he was unparalleled at songs.”

With DDD, Nasir Husain clinched his standing as a man with a finger soundly on the audience pulse. He introduced two bright talents, composer Usha Khanna and actress Asha Parekh, and though he never worked with the former again (despite a score that boasted of hits like the title-song, “Bolo bolo”, “Hum aur tum aur yeh samaa”, “Bade hai dil ke kale” and “Yaar chulbula hai”), he went on to form an association with Asha that lasted all the way till Caravan in 1971.”

JAB PYAR KISISE HOTA HAI (1961)

“I decided to branch out and launch my banner, Nasir Husain Films. I signed Shanker Jaikishan as they were the top names then, and they refused to work with Majrooh as they had Hasrat Jaipuri and Shailendra. Jai was amazing, though Shanker did only one dance number.”

The Dev Anand-Asha Parekh film was a massive hit again, it’s title-track proving a benchmark number that was visually emulated in the future super-hit from Aradhana, “Mere sapnon ki rani”. To this day Rajendranath, the comedian in the film, is remembered as the Popatlal of the film. The songs “Sau saal pahele”, “Teri zulfon se judaai”, and “Yeh aankhen uff yumma” were chartbusters. The formula was ensconced firmly and with this hat-trick, Nasir emerged as the King Midas of the box-ofice and a star in his own right.

PHIR WOHI DIL LAYA HOON (1963)

“I wanted S.D.Burman for this film, as he was one of our greatest composers. S-J were very good, but I felt that I should not spend Rs 1.5 lakhs on their music when I could get the same calibre for less. But O.P. Nayyar said he would like to work with me again, and I had not repeated him only because of his attitude and his penchant for swear words. So I gave him the film.”

The Joy Mukerji-Asha Parekh entertainer was masala unlimited against a backdrop of a family raaz. One of the many films that catapulted Joy Mukerji to short-lived but dizzy stardom, the jubilee hit is also remembered for its fabulous Nayyar hits like the title-song, “Aanchal mein sajaa lena kaliyan”, “Ankhon se jo utri hai dil mein”, “Dekho bijli dole”, “Laakhon hai nigaah mein” and “Aji qiblaa mohtarmaa.

TEESRI MANZIL (1966)

“I decided to make two films simultaneously, and since Baharon Ke Sapne was one of my prize-winning stories, I chose that one to direct. I entrusted Teesri Manzil to Vijay Anand though it was my own script. Dev Anand arbitrarily cancelled two shooting schedules and I told Goldie that we could not wait. At a party, I told Shammi to do the film. We were both high when he agreed. I had promised R.D.Burman two films as I had watched him at work with his father and thought that he was extraordinary. Shammi wanted RD out and Shanker Jaikishan in, and had even told Jai to slash his fees for me. I persuaded him to listen to Pancham first. The nervous Pancham played out his tunes, and Shammi was hooked.”

Teesri Manzil remains one of the most-loved suspense thrillers to this day, a cult film with cult music, and Vijay’s only success as director without his brother. It was also the first manzil of popularity for R.D.Burman, and in 1966-1967, it almost vied with Milan on the pop charts. Pancham had made his first dent in the S-J-domain, and his score for this film led to his signing Manoranjan, Shammi’s directorial debut , even when Shanker was alive!

The music was the truly standout feature of the film, even as Helen and Premnath made an impact. To date, Shammi rates “Dekhiye saahibo” as one of the finest songs ever filmed on him, though at that time it just could not match the endemic popular sweep of the innovative “Aaja aaja main hoon pyar tera” or of “Deewana mujhsa nahin”, “O mere sona re” (the film’s most popular and enduring song which is top remix fodder today), “O haseena zulfonwali” and “Tumne mujhe dekha”.

BAHARON KE SAPNE (1967)

“ The film was realistic, a complete departure from the films that I had made till then, and remains my only film where I did not offer pure entertainment. G.P. Sippy and I were the first to sign Rajesh Khanna, who had won the Filmfare-United Producers’ Talent Contest. Rajesh as he looked then fitted my concept of a young man with the lean kind of look!”

But even with this stark social saga, Nasir never tasted failure – the film did average business, though the original sad ending of the story was changed to a happy, optimistic one. The outstanding music helped, with Pancham packing a wallop with some of his finest creations ever –the popular “Aaja piya tohe pyar doon” and “Chunri sambhaal gori” (Manna Dey’s sole hit for the banner) and the not-so-popular Kya jaanu sajan” and “Zamane ne mare jawaan kaise kaise.”

PYAR KA MAUSAM (1969)

“My trust in R.D.Burman proved justified. I chose a simple subject now –it was back to entertainment. Shashi was a very professional star, but his lucky phase had not begun. The film was quite successful, but the music was a rage.”

Pyar Ka Mausam was the lost-and-found story of Bharat Bhushan and Nirupa Roy, and their long-lost son, who grows up as Shashi Kapoor. Shot extensively in Kashmir like Phir Wohi Dil Laya Hoon, the romantic musical was speckled with timeless RD beauties like “Tum bin jaaoon kahaan” (the best known double-version ever of Rafi and Kishore), “Nisultana re”, “Na jaa o mere humdum” and some of RD’s most innovative compositions, “Chekhush nazarein”, “Aap[ se miliye”,”Main na miloongi”and “Aap chahe mujhko”. Pyar Ka Mausam also remains Nasir Husain’s only directorial venture without Asha Bhosle.

CARAVAN (1971)

“I helped my brother Tahir launch his banner, TV Films as a producer. The story was developed jointly by Sachin Bhaumick and me.”

Arguably, Caravan remains Hindi cinema’s most successful road movie. Jeetendra’s trade mark jhatkas, a milestone cabaret number from Helen, a stunning and award-winning performance by second lead Aruna Irani, and some absolutely superb songs made Caravan a major blockbuster in 1971. The unforgettable score (I would rate it among high on his top ten) consolidated Pancham as the fourth pillar of Nasir Husain’s music. “Monica o my darling”, “Dilbar dil se pyaare”, “Chadti jawaani”, “Goriya kahaan tera des”, “Kitna pyara waada” and “Daiyyan yeh main kahaan aa phansi” remain as alluring after 31 years.

YAADON KI BAARAAT (1973)

“ It was too late when I realised that Salim-Javed had palmed off the same basic plot to me and Prakash Mehra. But our characters and treatment were completely different, and so both Zanjeer and my film were major hits in the same year!”

Bowing down to the call of time, Nasir replaced favourite Asha Parekh with the pop icon Zeenat Aman in a youthful, swinging film with music to match. A vendetta film once again set against the lost-and-found plot, YKB remains Nasir’s only Kishore-concession to RD – this was Kishore’s peak and the film needed hep numbers. Kishore thus got four tracks to Rafi’s two, though one was a duet between them, and Rafi annexed the score’s crowning triumph, “Chura liya hai tumne” from the guitar-strumming Vijay Arora. And Nasir insisted on writing the dialogues despite Salim-Javed’s presence. For Dharamendra, it was nature’s consolation prize – Salim-Javed had offered Zanjeer to Dharamendra as producer!

And while Nasir’s maternal nephew Tariq played one of the leads, there were four other talents in the film that few know about then but were to hit big time later, paternal nephew Aamir Khan played Tariq as a kid, Padmini Kolhapure and sister Shivangi introduced as featured child singers in the title-track, and music directors Jatin-Lalit in the chorus!

HUM KISISE KUM NAHEEN (1977)

“I enjoyed working with Rishi Kapoor and I did one more film with him. I was also to do a multistarrer with him, but that never took off.””

The last hit from the veteran as a director was another lost-and-found musical, with a childhood lovers angle added! Nasir’s new discovery Kajal Kiran was no Asha Parekh, but HKKN was a Rishi Kapoor-Zeenat Aman-Tariq showcase all the way, Rishi probably laying the foundation for his Karz role with his swinging dance numbers and Zeenat stealing the show with her special appearance in one of the finest qawwalis heard in the ‘70s – the title – track. This time, Nasir insisted on a Rafi-Kishore balance, but Rafi was always destined to have that edge in Nasir’s films – he not only won the National award for “Kya hua tera waada” but staged a triumphant comeback with this film, Dharam-Veer and Amar Akbar Anthony, winning back ground that he had lost primarily because of the Burman-Kishore alliance!

The music marked the final moment of glory of Nasir with RD – and the musical competition in the film is still cherished even for its visual punch.

ZAMAANE KO DIKHAANA HAI (1982), MANZIL MANZIL (1984) AND ZABARDAST (1985)

“Despite the arrival of video, I cannot escape responsibility for the debacles of these films. I did feel that Zamaane.. deserved a better deal. Manzil Manzil yet again proved that a movie on amnesia could never run. I was not really keen on the overdone subject of Zabardast which I was to originally make with Dilip Kumar, Dharmendra and Rishi Kapoor for my own banner but finally made with Sanjeev Kumar, Sunny Deol and Rajiv Kapoor for Mushir-Riaz. I disagree that RD gave weak music in the first two films. He was passing through a lean phase during Zabardast.””

Three flops in a row undermined Husain’s standing in an increasingly commercial milleu. It was time to hand over the reigns to Mansoor Khan, who had already proved his flair for cinema with the short film Umberto. As for RD’s music, the sole high points were “Pooncho na yaar kya hua”and “Hoga tumse pyaara kaun”(ZKDH) and “O meri jaan”(Manzil Manzil). Rafi’s exit in 1980 did not help either.

QAYAMAT SE QAYAMAT TAK (1988)

“Mansoor made it a precondition that he would choose his team himself as soon as it was decided that he and not I would direct this film. We did not ‘drop’ Pancham – Mansoor felt that he could not possibly tell Pancham Uncle to change his style for him. Pancham will come back the day I direct again, which I plan to do soon.”

If ever there was a single film that revolutionised in Hindi cinema after Raja Harishchandra, Alam Ara, Kismet (1943) and Bobby, it was this teenage love story set against a backdrop of hate. It broke all the rules in the era of violence and video – it boasted of clean romance, soft, melodious music and intense emotions. Mansoor Khan proved a chip off the old block but broke the Nasir Husain tradition of a happy ending. Aamir Khan, Juhi Chawla, Anand-Milind, Udit Narayan and Alka Yagnik stormed into the reckoning. Raj Zuthsi (later to marry Nasir’s daughter Nusrat) made his sparkling debut and the trendsetting film cocked a snook at the video menace, notching up a genuine 50 weeks’ run in the halls and winning a slew of awards, including for debut-making cinematographer Kiran Deohans.

JO JEETA WOHI SIKANDER (1992)

“My son has acquired my ear for melody, I think. He was impressed by Jatin-Lalit’s tunes and we had a tough time explaining to Anand-Milind why we were not taking them despite QSQT!”
Nasir basked in the glory of son Mansoor’s success as the guy once again broke free from the shackles of any genre with a film that talked - most inappropriately for its times - of moral, ethical and family values. Aamir Khan’s lead role had powerful negative undertones, and Mansoor wrote the script himself, getting father Nasir to write the crisp, very youthful and yet incisive dialogues when he was a sprightly 67! The colour of Pancham apart, the music was soothing and melodious and did extremnely well. JJWS also introduced Farah Khan as choreographer. This film was thus destined to be the parting gift of Nasir under a banner that was synonymous with excellent entertainment – Nasir Husain Films.

Nasir has gone, but his films will live on as long as his legacy as long as Hindi cinema exists. The man who in life made us smile, chortle, laugh and hum has finally managed to bring a nostalgic lump in the throats of cine buffs.Tumsa nahin dekha, Nasir-saab!

—Rajiv Vijayakar