On The Giant Wheel Of Love – Dekhiye Sahibon Woh Koi – Teesri Manzil

Murder mysteries/suspense thrillers have no repeat read/watch value. Once the murderer is revealed or the suspense is resolved the thrill of reading the book or watching a thriller ends then and there. But it can be done so repeatedly depending upon how the story reaches its crescendo. Many characters are re-found, the story takes new colour and dimension and the mystery and suspense in the end have newer meaning and strangely surprise more and afresh.
Teesri Manzil (1966), the teamwork of Vijay Anand and Nasir Hussain is one such example. Even 50 years down the history, it looks fresh. Vijay Anand is as crisp and precise in his direction and without elaborating much on the flashback, Nasir Hussain, as the producer – writer manages a strong storyline. It makes your heart skip a beat even post 50 years!! An entertainer where romance and style is served in dollops. A fantasy world of dim lit nightclubs and cabarets, refreshing and zealous soundtrack by Pancham make it a screen extravaganza.

The euphoria of O haseena zulfon waali, the depth of love in Tumne mujhe dekha, the impishness of O mere Sona re, the first flush of love in Deewana mujh sa nahin, the playfulness of Aaja aaja main hun pyar tera and the Brand Pancham opening credits theme music give that spooky tingle. Did I forget any song? Dekhiye sahibon woh koi aur thi…..People often tend to forget the song in this musical rhapsody. Hats off to Vijay Anand for thinking of such a song and picturising it in the way he did (on the giant wheel and merry- go- round)!! Ably supported by Pancham’s music and the on screen banter of Asha Parekh & Shammi Kapoor. Asha Parekh plays a prank on him prior to this song. Poor Shammi mistakes some other girl to be Asha and starts romancing her, only to be hammered and thumped by the crowd around for eve teasing.
We have some lovely guitar strums creating the atmosphere as Shammi is seen scuffling with the crowd. Shammi Kapoor is an epitome of naughtiness in the song (look at way he sticks out his tongue) and with an amazing camera angle showing the mob around him as he looks up to them with all monkey faces. With the melodrama of innocence he starts –

Dekhiye sahibon woh koi aur thi
Aur ye nazneen hai meri
Main inpe marta hun
Samjha tha main ye hain khadi
Lekin wahan koi aur thi
(that innocent face now shows he’s so scared)
Inke liye ae mohtaram
Chheda kisi aur ko tha khuda ki qasam

This is absolutely so well rendered by Rafi. That last line in one breath…..Chheda kisi aur ko tha khuda ki qasam!!! And the lines are repeated even as Shammi is being pushed by the mob.
Majrooh Sultanpuri sets his lyrics as if he’s narrating a story. The entire song is in prose pattern (which must have been a challenge for an Urdu poet who was used to singing in mushairas) But Majrooh has done an unbeatable job here. And Pancham’s musical story runs parallel with these lyrics. Guitar strums in the beginning tell you how Shammi Kapoor encounters the crowd, another guitar during the interlude has the story of his mischief, while the trumpet tells how Shammi Kapoor is actually enjoying the charade as he sits on the small ferris wheel. Watching all this from the top of a huge giant wheel is Asha Parekh. Adding fuel to the fire she refuses to even know him.

Logon kehne do isko
Ye hai koi deewana
Main na jaanu kisi ko
Itna mera fasana
O ho ekdum galat fasana hai
Inse toh purana hai apna silsila
Dekho toh pyar inko bhi hai
Mera khumar inko bhi hai
Inke liye ae mohtaram chheda kisi aur tha khuda ki qasam

See how beautifully Rafi’s voice goes into softer tones when he says….Main inpe marta hun. Pancham has decorated the entire song with those ha ho inserts by the chorus for the crowd. The picturisation is so in tune with song…..Shammi’s antics are supported by the instruments going into a jazzy mode while they tone down and go into a quieter mode while Asha sings (double Asha). Likewise are her girly nakhras, her side of the song is somewhat dragged to add to her cool quotient.
Hear her sing coolly –

Maine kab isko chaha
Kehdo itna na phenke
Aashiq banane se pehle
Apni soorat toh dekhe

And Rafi counters with –

Aha ha soorat bhali buri kya hai
Sauda toh nazar ka hai
Sauda pyar kaa
Inko kahan gham doston
Rusva hue hum doston
Inke liye ae mohtaram chheda kisi aur ko tha khuda ki qasam

Shammi Kapoor is a picture of total merriment on that merry-go-round. Pancham’s music becomes pacey, whirling around our ears like the whirls of that merry-go-round.
The giant wheel now takes another round with Asha Bhonsle going lazily….
Arre o oo oo la la la la aa aa aa in tune with the speed of the giant wheel, the mischief on her face now showing her love for Shammi Kapoor. And yet teasing him more she goes on –

Haay haay dekho toh isko
Boley hee jaa raha hai
Haay haay haay
Uljhi baaton mein zaalim
Sabko uljha raha hai

Shammi is unstoppable –

O o sach ban gaya agar uljhan
The trumpet supporting him all the way
Phir kahiye janaab-e-mann
Meri kya khata
Mujhpar yakeen ab kam sahi
Main saadaa dil mujrim sahi
Inke liye ae mohtaram chheda kisi aur ko tha khuda ki qasam

With Asha Parekh smiling now, the crowd knows who the actual culprit is. They also come to know that this was a part of a small mischief in their love story.
A story of love which was unfolded in a funny and captivating manner by Vijay Anand and unwound in a elixirating way by Pancham. Two people in love, pulling each other’s legs, teasing each other, taking rounds one after the other. Making listeners heady and giddy just like experiencing a ride on a giant wheel.

https://youtu.be/CjXeF7C569U