How Jewel Thief stole our hearts

The iconic film turns 50 this year. Here's looking at why it was Bollywood at its best. And yes, why can't we have more such gems?

Here's travelling back half-a-century in time. Top actors of the era showed up in some of their most well-remembered entertainers in the year 1967. Dilip Kumar in his unforgettable double whammy  in Ram Aur Shyam, Shammi Kapoor in the ooh-la-la An Evening In Paris, Manoj Kumar in his patriotic epic Upkar, and Dev Anand in the heist caper Jewel Thief.
And believe me, it's not simply nostalgia which makes me sigh that chestnut of a line, "They don't make 'em like those anymore." There was something magical about the technical wizardry, imperishable music scores, directors with distinctive styles, and actors who exuded oodles of charisma. I must have seen the aforementioned films scores of times down the years, and truth be told,  unlike the other  1967 mega-hits, Jewel Thief is the one which has survived the test of time: it hasn't dated at all.
Take the timeless image of Dev Anand in a checked cap, flashing a catty smile. That cap, incidentally, is a piece of Bollywood memorabilia which is no longer traceable. Bought from a Copenhagen boutique, the stalwart actor-producer-director subsequently misplaced the iconic cap.
Around 1985, when I'd requested him for a photo-shoot for a cover story of a magazine, he had rued, "The original cap's lost in the godowns somewhere. Still, I can get an exact copy made for the shoot, if you like." It wouldn't have been the same thing, so we went with a photograph showing him in his trademark fire-engine red sweater plus a canary yellow scarf. The legend had a penchant for bright colours.
He also had this habit of never dwelling on the past.
On being asked whether he rated Jewel Thief or Guide higher - both directed by his inventive brother Vijay Anand - he'd be evasive, mumbling, "I can't play favourites. I never revel in the yesterdays, it's the tomorrows which matter for me." Fair enough.
Kid brother Vijay had directed Dev Anand earlier in Kala Bazar, Tere Ghar Ke Samne and Guide. Following Jewel Thief, the sibling collaboration continued with Kahin Aur Chal, Johny Mera Naam, Chhupa Rustam, Tere Mere Sapne and Bullet. As it turned out, the brothers couldn't work together on Teesri Manzil due to a fallout between Dev saab and producer Nasir Hussain. Shammi Kapoor was inducted instead. Also, the fraternal collaboration was abbreviated since Dev Anand initiated his career as a director himself. Vijay Anand gave in to his histrionic instincts and began acting sporadically.
Be that as it may, Vijay Anand behind the camera and Dev Anand in front of it arguably created the zingiest thriller known to mainstream cinema. Lore has it that there were some casting snafus with Jewel Thief. Saira Banu had been firmed as the leading lady but backed out after her marriage to Dilip Kumar. Vyjayanthimala, an outstanding dancer, stepped in. In fact, it's impossible to think of any other artiste doing equal justice to the dance number Honthon pe aisi baat. How she twirled and whirled to the super song composed by SD Burman with lyrics by Majrooh Sultanpuri!
A glitch can be noticed in the otherwise expertly choreographed dance setpiece. Dev Anand and Vyjayanthimala performed the number with their backs turned to the royal couple in a durbar, although it was royalty they were performing for.  
That boo-boo was pointed out in the 'Readers Don't Digest' column, devoted to gaffes in Filmfare, but the audience had no issues. On the contrary, the dance picturisation became a favourite at Film and Television Institute of India workshops. Its zest, vigour and the focus on the swirling ghagras bear repeat viewing.
Spoiler ahead, in case you haven't seen Jewel Thief already. The late Ashok Kumar once told me in an interview that he wasn't keen to participate in the film at all. "I thought the audience wouldn't accept me in the role of a duplicitous bad guy. Then Dev harassed me, saying, 'Dadamoni, that's exactly the point. We want you to be the surprise element.' He was so persuasive that I gave in. And the audience appreciated my performance. Just goes to prove that actors shouldn't harbour any preconceived notions."
In fact, the script, co-written by KA Narayan and Vijay Anand, was a game-changer. A tangy teaser of a story, the plot revolved around a police commissioner's son who is mistaken for a jewel thief. Now, could a hero dare to be immoral and resort to thefts? The suspense simmered right till the finale. Moreover, the glamour quotient was enhanced by a bevy of James Bond-ish femmes fatales - enacted by Tanuja, Helen, Faryal and Anju Mahendru. And the  designer costumes for the ladies, including Vyjayanthimala's array of saris, became a fashion statement.
Above all, what a music fiesta! The Majrooh-SD Burman combo yielded such unforgettables - some melodious, some rambunctious - as Aasman ke neeche, Yeh dil na hota bechara, Baithe hain kya uske paas, Raat akeli hai and Dil pukare aa re. Lyricist-poet Shailendra penned the melancholic Rula ke gaya sapna mera. Right to this day, the songs pack in a wow effect.
Fifty years later, Jewel Thief is still gush-worthy. Be it viewers from yesteryears or the now generation, I'm sure most, if not all, would agree that here's Bollywood at its sparkling best.
wknd@khaleejtimes.com