When it comes to cinema, Vijay, like his brothers, was also influenced by Hollywood neo-noir films. This was very evident in his directorial debut Nau Do Gyarah (1957), where a truck driver (Dev Anand) and a runaway bride (Kalpana Kartik) fall in love, leading to many misadventures. His next directorial adventure, Kala Bazar (1960), had the three brothers acting together for the first time. Dev Anand played a black merchant who starts by selling black movie tickets but is later reformed out of love. It is said that Vijay’s childhood memories of seeing movie tickets from Dev Anand’s films sold in black gave him the idea for this film. The film used footage from the movie premiere of Mother India (1957) to great advantage and with actors like Dilip Kumar, Nargis, Geeta Dutt, Guru Dutt, Raaj Kumar and Rajendra Kumar. It became one of the talking points of the film.
His next film was Tere Ghar Ke Saamne (1963), a romantic comedy. Goldie is said to love Nutan as an actress, who would have the perfect photogenic face. He shot one of the best songs of the actress, Dil ka bhanwar kare pukar in the movie. The song is said to have been shot in the spiral staircase of Qutub Minar and is a marvel of performance of the song. Nutan and Dev Anand go up in the tower as friends but go down in love, all the courtship being played out during the trip.
Indeed, filming songs in an aesthetic way and using them as extensions of the narrative has become a trademark for Vijay Anand. In Guide’s song Tere mere sapne (1965), for example, the morning sun becomes a metaphor for the love found between Raju and Rosie. The light Goldie wanted was only available for 15 minutes a day early in the morning, so he timed it perfectly and filmed for those 15 minutes each day until he was satisfied. Jewel Thief’s song Hothon mein aisi baat (1967) was filmed at the Royal Palace in Gangtok, Sikkim and showed the heroine a dilemma as she learned a fateful secret. The fast song almost sounded like an uncut take. Pal bhar ke liye koi hame pyar kar le by Johny Mera Naam (1970) was filmed on a set of a house with multiple doors and windows. You can see Dev Anand in continuous motion serenading Hema Malni from various nooks and crannies. Pal pal dil ke paas by Blackmail (1973) was conceived as a daydream. The heroine, Raakhee, reads the letters written to her by the hero, Dharmendra, and imagines that he is there by her side. It is considered one of the most romantic songs ever imagined. In Akela gaya tha main (Rajput, 1982), the reverie motif is used again, this time on Rajesh Khanna, who is shown on horseback and thinking of Hema Malini. The film may have failed, but the beauty of the song has not diminished. The Laxmikant-Pyarelal composers too cleverly incorporated the ticking sound produced by the horse’s hooves into the soundtrack.
He is said to have a keen ear for music, as can be seen in his various associations with musical directors like SD Burman, RD Burman, Jaidev, Laxmikant-Pyarelal and lyricists Shailendra and Hasrat Jaipuri. It is said that his songs often resembled a dialogue between the hero and the heroine.
He is said to have also directed Hum Dono (1961), although the film’s credits say Amarjeet. Even Dev Anand, who played the dual role of two army guys, had said it in his interviews. It contains one of the best songs ever made on Dev Anand – Main zindagi ka saath nibhata chala gaya. The song has all the cues of Vijay Anand’s magic. During the song, you get to know the mental landscape of the protagonist. Jaidev’s music and Sahir Ludhianvi’s lyrics were the soul of the film. The bhajan, Allah tero naam, sung by Lata Mangeshkar, is still worshiped today. The highlight of the film was the confrontation scenes between Major Manohar Lal Verma and Captain Anand. Shot long before the computer graphics came into the picture, they nevertheless managed to give the illusion that we are looking at two characters, despite only one actor playing them.
Some credit Vijay Anand as one of the most prolific Hindi commercial directors. Well, come to think of it, Nau Do Gyrah was a road movie, Kala Bazar was a neo-realist cinema, Tere Ghar Ke Saamne a romcom, Guide a book adaptation, Teesri Manzil a murder mystery, Jewel Thief was black, Johny Mera Naam used the lost and found formula, while Hum Dono explored how war and PTSD (post-traumatic stress disorder) have changed the human psyche. He was ahead of his time to do this.
Vijay Anand reportedly lost interest in directing after three consecutive films, Blackmail (1973), Chhupa Rustam (1973) and Bullet (1976) did not fare well at the box office. To overcome the depression, perhaps, he became a disciple of godman Rajneesh and would have belonged to the inner circle of Rajneesh. He married his niece Sushma Kohli in 1978, while he was directing Ram Balram (1980). This decision led to a huge scandal within the conservative Punjabi community. Following films like Rajput (1982), Hum Rahe Na Hum (1984) and Main Tere Liye (1988), too flopped. Her last film was Jaana Na Dil Se Door (2001), which was not released.
He died on February 23, 2004 from a heart attack and was 70 years old at the time of his death.
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