Starcast :- Sanjeev Kumar, Leena Chandravarkar, Danny Denzongpa, Bindu, Asrani and Kamini Kaushal Direction :- Ravi Tandon Music...
Starcast :- Sanjeev Kumar, Leena Chandravarkar, Danny Denzongpa, Bindu,
Asrani and Kamini Kaushal
Direction :- Ravi Tandon
Music :- Laxmikant Pyarelal
Storyline:
The film revolves around Sunil (Sanjeev Kumar), a wealthy but reckless playboy
who inherits his uncle Kailash Kapoor’s fortune. Sunil’s carefree lifestyle,
marked by womanizing and extravagance, draws suspicion from Inspector Dinesh,
who believes Kailash’s death was no accident. Sunil’s life takes a turn when he
meets Rita (Leena Chandavarkar), a charming woman he falls for, and Vicky
(Danny Denzongpa), a mysterious figure who saves him from an attack and becomes
his close friend. Meanwhile, at a party, Sunil encounters Malti, a village
belle introduced as the daughter of his driver, Ram Charan. Sunil’s mother,
eager to see him settle down, transforms Malti into a modern woman, but Sunil
despises her initially. As the narrative unfolds, Sunil discovers shocking
truths: Malti is not Ram Charan’s daughter, and Rita and Vicky are not who they
claim to be. The plot thickens with betrayals, hidden identities, and a murder
investigation, echoing the psychological tension of Strangers on a Train, where
chance encounters lead to dangerous entanglements. While the film Indianizes
the Hitchcockian premise by emphasizing family dynamics and societal
expectations, it occasionally stumbles with convoluted subplots, diluting the
suspense.
Direction and Other Technical Departments:
Ravi Tandon’s direction in Apne Rang Hazaar showcases his knack for crafting
engaging commercial cinema, as seen in his earlier work like Anhonee (1973).
Tandon adeptly blends thriller elements with Bollywood’s penchant for drama and
romance, though the pacing falters in parts due to the inclusion of extraneous
comedic and romantic tracks. His adaptation of the Strangers on a Train concept
is ambitious, reimagining the murder-swap idea within a distinctly Indian framework,
complete with familial pressures and moral dilemmas. However, the film lacks
the taut precision of Hitchcock’s masterpiece, as Tandon prioritizes emotional
spectacle over narrative economy.
Technically, the film is competent for its time. The cinematography
captures the opulence of Sunil’s world and the contrasting simplicity of
Malti’s rural origins, though it lacks the visual inventiveness of Hitchcock’s
work, such as the iconic carnival scenes in Strangers on a Train. The editing
is functional but occasionally choppy, particularly in transitions between the
thriller and romantic segments. The production design, from lavish party scenes
to gritty confrontations, effectively supports the film’s tone. However, the
action sequences, including the goon attack on Sunil, feel dated and lack
choreography finesse. Overall, Tandon’s technical execution is solid but
doesn’t push the boundaries of the genre, making Apne Rang Hazaar a product
Reflective of 1970s Bollywood’s strengths and limitations.
Music:
The soundtrack, composed by Laxmikant-Pyarelal, is a highlight, featuring
playback legends Lata Mangeshkar and Kishore Kumar. Songs like “Meri Kali
Kaluti Ke Nakhre Bade” and " is kadaar aap humko " add a playful
charm, though their placement sometimes disrupts the thriller’s momentum. The
music aligns with the film’s emotional beats, with romantic and comedic tracks
catering to Bollywood’s multi-genre expectations. Notably, the film reuses
songs from Tandon’s Anhonee (1973) in a dance sequence, a creative but slightly
jarring choice. While the score doesn’t reach the iconic status of
Laxmikant-Pyarelal’s other works, it complements the film’s mood and remains a
nostalgic draw for fans of 1970s Hindi cinema.
Performances:
Sanjeev Kumar delivers a nuanced performance as Sunil, capturing the
character’s evolution from a carefree playboy to a man grappling with betrayal
and suspicion. His chemistry with Leena Chandavarkar, who plays Rita with grace
and mystique, adds depth to their romantic arc. Chandavarkar balances
vulnerability and enigma, though her role is underwritten compared to Kumar’s.
Danny Denzongpa, as Vicky, brings a menacing yet charismatic edge,
foreshadowing his later iconic villainous roles. Bindu, as a glamorous figure
in Sunil’s orbit, injects energy, particularly in her scenes with Kumar, such
as the memorable dialogue about a 10:30 PM phone call. The supporting cast,
including Asrani as the comedic Pitamber Shastri and Kamini Kaushal as Sunil’s
mother, delivers reliable performances, though Asrani’s comic track feels out
of place in the thriller context. Overall, the ensemble elevates the material,
with Kumar and Denzongpa standing out.
Conclusion:
Apne Rang Hazaar is a compelling, if flawed, thriller that showcases
Bollywood’s ability to adapt Hollywood classics like Strangers on a Train into
a culturally resonant narrative. Ravi Tandon’s direction, bolstered by strong
performances from Sanjeev Kumar and Danny Denzongpa, crafts an engaging tale of
deception and romance, even if it occasionally succumbs to the excesses of
1970s commercial cinema. The Laxmikant-Pyarelal soundtrack adds charm, though
the film’s pacing and narrative detours prevent it from matching the
suspenseful precision of Hitchcock’s original or even the later Soch (2002),
which also drew from the same source. For fans of Bollywood thrillers and
Sanjeev Kumar’s versatile artistry, Apne Rang Hazaar remains a worthwhile watch,
offering a nostalgic glimpse into an era when Indian cinema boldly experimented
with global influences. Its legacy lies in its ambition to merge suspense with
melodrama, making it a colorful, if not flawless, addition to Hindi cinema’s
thriller canon.
-Ayushman Mitra
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