Nutan was coaxed out of early retirement to star in Bimal Royīs enthralling classic "Bandini". In the same year that the movie released, Nutan also acted in another film that was completely different to "Bandini", "Tere Ghar Ke Samne". The decade of the 1960īs saw change and this change was reflected in Hindi films. Gone were the socially relevant and downbeat films of the 1950īs and in came more lighthearted romantic musicals. Shammi Kapoor and O.P. Nayyar were partly responsible for the change with the super success of "Tumsa Nahin Dekha". "Tere Ghar Ke Samne" is a jolly romantic musical vehicle for Nutan and
Dev Anand. And it is not just any jolly musical, the film captures the irreverent mood of the decade by being a satire on class and wealth in society. For a frothy musical to be good, it has to have great music and SD Burman certainly delivers on that front.
Asha Bhosle lends her seductive vocals to only one song in the album, "Dil Ki Manzil". It is perhaps the least remembered song in the album particularly because it seems like it was composed just to fill a gap. Thatīs not to say that it is not a good number. The enthusiasm of the track is infectious especially when Asha hums "ha ha ha ho ho ho hey hey hey".
"Dil Ka Bhanwar Kare Pukar, Pyar Ka Raag Suno, Pyar Ka Raag Suno Re, Mmmmm" Mohd. Rafi excels in this lilting track. The image associated with this song is iconic. Dev pursues Nutan from the top of the tower and follows her down the stairs to the bottom. It is lovely to listen to the flute sound that prevails throughout the song particularly after each time Rafi hums "mmmmm". Hasrat Jaipuri has penned some wonderful but situational lines such as "Chahe tum mitaana par na tum giraana, Ansoo ki tarah nigaah se, Pyar ki oochayi ishq ki gehrai, Pooch lo hamari aah se, Aasman choo liya re!"
Lata Mangeshkar does not disappoint in the song "Yeh Tanhai Haye Re Haye Jaane Phir Na Aayi Re, Thaamlo Bahen, Thaamlo Bahen". The song exudes a certain freshness and gives a pleasant feeling that a new season is about to begin. What better way to begin a new era of life than to link arms and erase all feelings of loneliness? Lataīs sweet vocals and Burmanīs melodious composition create magic.
"Ek Ghar Banaunga... Tere Ghar Ke Samne" (rendered by Mohd. Rafi and Lata Mangeshkar) is one of the best ever title songs. Jaipuriīs lyrics cleverly incorporate the plotline of the film into the song, which also makes the love duet rather original. Here, the hero is not talking about how she makes him feel or how he would die for her. He is being romantic in a unique way by suggesting that he will build a house in front of her house where she can live with him and create a new world for themselves. Nutan tries to bring Dev back down to earth by reminding him that "Ghar ka banana koi aasaan kaam nahin, Duniya basaana koi aasaan kaam nahin". The picturization is a delight to watch. The moment where Dev imagines that Nutan is in his glass of wine is the most famous scene from the film.
Rafi croons "Tu Kahan Yeh Bataa Is Nashili Raat Main...". He has a way of making his voice sound so lonely and forlorn, which is appropriate for a song like this. I suspect Burman may have made musical arrangements to make sound Rafiīs voice as if it is echoing. The result is a perfect romantic number that will strike a chord with people who have ever felt lonely being without the person they love.
"Dekho Rootha Na Karo" is as, you may have guessed, a roothna-manana song. Once again, the team of Rafi, Lata, Burman and Jaipuri create another diamond to treasure. The heroine promises "Ham na bolenge kabhi, Tum sataya na karo" but you just know that everything will all work out in the end. And with Jaipuriīs sweet lines, how can they not? "Teri khushboo ne mere hosh bhi cheen liye, Hai khushi aaj hame tere pehloo main gire".
"Sunle Tu Dil Ki Sada Pyar Pe Pyar Saja" has two versions, one happy and one sad (both sung by Mohd. Rafi). Both the versions have different lyrics. These two songs are the most serious romantic tracks in the album ("Dil Ka Bhanwar" and "Tu Kahan Yeh Bataa" are more playful). Rafiīs singing will move even the most hard-hearted (especially in the sad version). Itīs lovely to listen to Burmanīs imaginative use of the violins in the compositions.
All these gems in one package makes "Tere Ghar Ke Samne" a classic album that many will want to revisit again and again.