Film : Do Chor.

Singers : Lata Mangeshkar, Kishore Kumar.

Music : Rahul Dev Burman.

Lyrics : Majrooh Sultanpuri. 

Hrishis from Upanishads (later in advait vedant) tried to define/discover what is 'Brahman'. They chanted on and on.. and finally they ended up with "Neti.. Neti.. "!!!! This is neither it, nor that. Or this (-what has been said) is not  enough...!!  

This is not complete. 

Same thing happens when you try to write about a Pancham melody. No matter how much you keep writing, something will be left for sure! Yes!! No matter how many times you listen, you will discover something newer than your previous listenings. There are still some layers to be opened up... still there's some quench to get more.. 

And ultimately you too would end up with "Neti.. Neti..". 

Too much heavy things for this pretty little song from a romantic drama Named 'Do Chor'... 😁 simply sweet entertainer like most of the 70s films tend to be. 

Burglars, thieves too are lovable characters if they are in lead roles in Hindi films. (And lemme add, in classic Gujarati literature. To name, the collection of stories based on real characters of Kathiavaad, Saurashtra - 'Sorthi Bahaarvatiya' by Zaverchand Meghani.) 

They are even more likable if they are Tanuja and Dharmendra - one of the cutest and impish most pairs on silver screen. Do Chor was their second film together after Baharen Phir Bhi Aayengi (1966). After 6 years and in next decade, Dharmendra was changing his image from an optimistic youth with moralistic approach to the He-Man of Hindi cinema and he was equally loved in this new avatar. Tanuja looked as winsome, pretty and delightful as she was in Mem Didi aur Chand Aur Suraj in 60s. 

As the storyline goes, a series of burglaries takes place in town. The wired and common thing about all these thefts was, the thief had stolen just one piece of jewellery from 4 different rich persons' vaults, leaving there a placard of Swastikas. Police was perplexed by this pattern. Tony (Dharmendra) was the prime suspect considering his stealing skills and notorious nature. But he claims to be innocent saying he was watching 'Mera Gaon Mera Desh' at the time of jugglery. (Such a cute way to promote his own previous film😁) In fact he too was foxed by that, wondering who could be the culprit. And finally he discovers that the thief is a sensuously beautiful Sandhya (Tanuja). Motive of crime was not greed but the revenge. Do Chor - Tony (Dharmendra) and Sandhya (Tanuja) meet and starts the saga of romance. Rahul Dev Burman and Majrooh Sultanpuri had conceived 5 utterly beautiful melodies for the film but this Lata-Kishor duet is a personal favourite. A lot has been already written and also discussed about the same. But still, for a listener like me, something will remain unattainable for the next time! It amazes me more and more everytime. 

Since 3rd sentury BCE, for poets and writers, rain is an adept element which unmissiably evokes the fire inside any sentinent being. Here too, Director B. Padmanabhan sets this song in showery climate to ignite the flame of love. A rainy night, two lovebirds, a dark lonely hut, fire inside and out and a drizzling love-lilt. As soon as the song starts, that honey-dropping notes of Santoor mesmerises like anything and when joins flute, it blows you away completely. 

"Hey hey.. ".. 

As if Kishore Kumar drags you back towards the visuals! Before you respond to his call, that hum(s) comes from Lata ji instead and you stay awestruck..

Again Kishor Kumar breaks in with beautiful lines..

काली पलक तेरी गोरी, खुलने लगी है थोड़ी-थोड़ी

एक चोरनी एक चोर के घर, करने चली है चोरी..

 

What a wonderful wordplay by Majrooh Sultanpuri! Also, that little break after "karne..." makes everything so pretty and playful. And how beautifully Lata ji ( for Tanuja on screen) confirms the crime with same notes! 

काली पलक पिया मोरी, खुलने लगी है थोड़ी-थोड़ी..

एक चोरनी एक चोर के घर, करने चली है चोरी हो चोरी..

For me Lata ji sounds her sweetest in 70s. (Though I can change my opinion anytime  : )

Again breezes in the pair of Santoor and flute. Pancham's favorite pair to take over you, specially when he composes for drizzles. One more thing I feel about most of his duets. He not only chooses instruments for setting the mood of the song but also for portraying the minds and moods of characters too. Santoor mostly stands for the playful partner and that soft and soothing flute is for the coyer one. Here too, he delivers impishness of Dharam Paaji through Santoor notes and the smooth yet intoxicating notes on flute (very SDish! Remember first interlude of aise to na dekho) work wonders for his shyer partner. Guitar fades in not just to invite KK here but also its intense strums so perfectly depict rising heartbeats of Tanuja. 

Majrooh's pen dipped in rainbowish hues picks this love-drenched couple from that dark hut and puts them on a inebriating dreamscape on that rain-drenched night.. 

Kishore Kumar so brilliantly sings 'Dharmendra' here. Check the visuals!! And also that khanjarrrr... 

आएगी बाँध के पायल तू, होंठ दबाए बदन को चुराए

नाज़ुक क़मर से लगाए, अदा की कटारी ज़ालिमाँ

फेरेगी धीरे-धीरे तू ,मेरे गले पर ये बाँहों के ख़ंज़र..

जाएगी दिल मेरा लेकर, समझ के अनाड़ी बालमा

रोज़ रात को यूँ ही बाँधेगी, लटों की डोरी हो डोरी....

Badan ko churaaye, adaa ki kataari, baahon ke khanjar, laton ki dori.. just look at the metaphors used by Majrooh here. Yeah, the hero is thief, a juggler. Lyricist was a Hakim once upon a time and he very well knew the pulse of every characters he used to write for. 

In second interlude, comes sensuous saxophone and stimulus sways of violins to add passion as the scene demands. Still, flute simultaneously keeps the innocence intact which is the soul of this song. Though blowing this time with higher notes as allure is now lifted up in the air. 

Second stanza is of Lata ji overall and I could never express how much I love that voice and that rendition.! Goosebumping everytime! 

न तो मैं डोर से बाँधूं, ना जाल बिछाऊँ, न तीर चलाऊँ..

नाज़ुक क़मर से लगाऊँ, छुरी न कटारी साजना..

ओ सजना,

मैं तो तेरा दिल लूँगी, तुझी से छुपा के नज़र को बचा के

यूँ ही ज़रा मुस्का के, कहूँगी अनाड़ी साजना...

रोज़ रात को तेरे घर होगी तेरी चोरी हो चोरी..

To me, Tanuja is an innocent beauty always even if she is clad in a bath towel, bikini or humming a damn inviting song like "raat akeli hai.."

Now the lovely prelude repeats itself for 2nd interlude. And in 3rd stanza, according to me, lyrics takes over. 

अच्छी हुई मेरी चोरी कि एक दिल खोया 

तो एक दिल पाया..

ऐसे कोई पास आया कि आ गया 

लुटने का मज़ा..

अच्छी तेरी मेरी जोडी कि लुट गए दोनों 

तो बस गए दोनों..

हँस के लिपट गए दोनों 

हुआ जब वादा प्यार का

रोज़ रात को मिलेंगे चंदा और चकोरी.. चकोरी...

Two thieves, enamored of each other, confess here that how their selves are stolen and how much they are loving it by all means! "Achchhi teri meri jodi ke loot gaye donon to bas gaye donon..." 

It can't be portrayed in a better way than Majrooh did.

Everything here is sweeter than sweet and prettier than pretty. I do know, I have missed a lot to mention. But let it stay as it is to rediscover it again and again and still end up with "Neti Neti" like any other Pancham song. Pancham says, don't try to decipher. Just sink in..