Bollywood

Nasir Hussain: The Visionary Behind Dev Anand and Shammi Kapoor’s Iconic Screen Persona

The history of Indian cinema is adorned with legendary filmmakers, but few have shaped the image of Bollywood’s leading men quite like Nasir Hussain. Despite his significant contributions, he remains one of the most underappreciated filmmakers in the industry. Known for his breezy musical entertainers, romance-infused narratives, and trendsetting storytelling, Hussain played a pivotal role in defining the onscreen personas of Dev Anand and Shammi Kapoor—two of Bollywood’s most beloved stars.

While Dev Anand and Shammi Kapoor were immensely talented, their careers skyrocketed after starring in Hussain’s films, which cemented their distinct styles—Dev Anand as the charming, fast-talking, stylish lover, and Shammi Kapoor as the rebellious, energetic, flamboyant heartthrob. The way we remember these stars today is largely because of how Nasir Hussain envisioned and presented them on screen.

Who Was Nasir Hussain?
Born in 1926 in Bhopal, Nasir Hussain grew up with a deep love for cinema and storytelling. After completing his education at Aligarh Muslim University, he moved to Mumbai and began his career in the film industry. Starting as a writer for Filmistan Studios, Hussain quickly gained recognition for his knack for crafting lighthearted, engaging stories that resonated with audiences.

His first major breakthrough came as a writer for Anarkali (1953) and Munimji (1955), both of which were major hits. However, it was his directorial debut, Tumsa Nahin Dekha (1957), that cemented his reputation as a filmmaker who understood youth, romance, and music better than most. From there, he went on to shape the landscape of Bollywood’s musical entertainers, directing and producing some of the most iconic films of the 1950s, 60s, and 70s.

His career spanned multiple decades, and while he eventually transitioned to mentoring the next generation of filmmakers—including his nephew Mansoor Khan, who directed Qayamat Se Qayamat Tak (1988)—his early work continues to be his most influential.

Nasir Hussain and Dev Anand: The Birth of the Suave Romantic Hero
Dev Anand was already an established actor, but it was Nasir Hussain who honed his image into the quintessential smooth-talking, debonair lover with impeccable style and effortless charm. The two worked together on:

Tumsa Nahin Dekha (1957)
While the film ultimately starred Shammi Kapoor, it was initially written for Dev Anand. The stylish, Westernized hero—a trope later popularized by Hussain—was meant to be Dev’s role, but he couldn’t commit due to scheduling conflicts.

Jab Pyar Kisi Se Hota Hai (1961)
This film was a defining moment for Dev Anand, showcasing him as the modern, flirtatious, yet sincere romantic hero. Paired opposite Asha Parekh, Dev’s character was lighthearted yet deeply emotional, a balance that became a staple in Nasir Hussain’s storytelling. The film’s music by Shankar-Jaikishan, including the evergreen hit “Jiya O Jiya O Jiya Kuch Bol Do”, further established his charming, carefree image.

Hussain’s style of filmmaking, which blended humor, romance, and catchy music, fit perfectly with Dev Anand’s persona. He reinforced Dev’s signature mannerisms—his rapid-fire dialogue delivery, stylish hair flips, and effortless charm—traits that became synonymous with the superstar.

Nasir Hussain and Shammi Kapoor: The Birth of the Rebellious Rockstar
Shammi Kapoor’s transformation from a struggling actor into Bollywood’s ultimate rock-n-roll hero is largely credited to Nasir Hussain. Before Tumsa Nahin Dekha (1957), Shammi was trying to establish himself but had yet to find his signature style. Hussain changed that forever.

Tumsa Nahin Dekha (1957)
Originally written for Dev Anand, Shammi Kapoor took the role and completely reinvented himself. With a slicked-back hairstyle, stylish Western clothes, and boundless energy, Shammi became India’s answer to Elvis Presley. His energetic dance moves, over-the-top romantic gestures, and playful dialogue delivery made the film a massive hit and gave birth to the Shammi Kapoor persona we know today. The song “Sar Par Topi Laal”, composed by O.P. Nayyar, further reinforced his vibrant, youthful image.

Dil Deke Dekho (1959)
If Tumsa Nahin Dekha introduced Shammi Kapoor’s new image, Dil Deke Dekho solidified it. Pairing him with Asha Parekh in her debut, Nasir Hussain fine-tuned Shammi’s musical, flamboyant lover-boy image. The film’s peppy songs by Usha Khanna, including “Dil Deke Dekho Dil Deke Dekho”, made it clear that Shammi Kapoor was now Bollywood’s new-age romantic hero.

Teesri Manzil (1966)
Perhaps the most iconic film in Nasir Hussain’s filmography, Teesri Manzil elevated Shammi Kapoor’s persona to a cult level. Blending mystery, romance, and music, the film was an absolute game-changer. Shammi’s stylish swagger, his intense yet playful chemistry with Asha Parekh, and R.D. Burman’s electrifying soundtrack (including “O Haseena Zulfon Wali” and “Tumne Mujhe Dekha”) turned him into the ultimate rock-n-roll star.

By this time, Shammi Kapoor was no longer just an actor—he was a phenomenon, and much of that success can be traced back to Nasir Hussain’s vision.

Nasir Hussain: The Architect of Bollywood’s Musical Blockbusters
Beyond shaping Dev Anand and Shammi Kapoor’s screen personas, Nasir Hussain revolutionized Bollywood’s musical romance genre. His films were the blueprint for what we now recognize as the quintessential Bollywood masala movie—a trend that influenced filmmakers for generations.

His ability to combine catchy music, romance, and youthful rebellion gave Indian cinema a fresh identity in the 1950s and 60s. His collaborations with music composers like O.P. Nayyar, Shankar-Jaikishan, and R.D. Burman created some of the most memorable soundtracks in Bollywood history.

Why Nasir Hussain Deserves More Recognition
Despite being one of the most influential filmmakers in Indian cinema, Nasir Hussain remains underappreciated. His films set trends, launched careers, and defined eras, yet his contributions are often overshadowed by the stars he helped create.

Without Hussain’s vision, we might not remember Dev Anand as the effortlessly cool, stylish lover or Shammi Kapoor as the wild, rebellious rockstar. He didn’t just make films—he built legends.

In an industry where directors are often remembered for their grand, artistic storytelling, Hussain’s fun, musical, and trendsetting approach to filmmaking is often overlooked. However, his impact on Bollywood is undeniable. His ability to shape the personas of two of India’s biggest stars is proof of his genius.

It’s time we celebrate Nasir Hussain for what he truly was—a pioneer, a visionary, and the man who redefined Bollywood’s leading men.

JPS Nagi
March 23, 2025

Is “Kalki 2898 AD” a Game Changer for Indian Cinema?

First of all, let me address the fact that I love Pan-Indian Movies and thoroughly enjoyed Kalki 2898 AD. The film’s release has sparked a lively debate: Is it a game changer for Indian cinema?

The discussion reminds me of the transformative impact of Bahubali (1), which marked a significant shift towards Pan-India movies. With each new release, there’s a surge of excitement with phrases like “India’s answer to Hollywood,” “Indian cinema on the global stage,” and “transformative for the Indian film industry” being thrown around.

India boasts a rich history and mythology, providing a wealth of stories to tell. However, the question remains: “Is the world ready to embrace these narratives?” In my view, the answer is not straightforward, and we face several challenges:

  1. Domestic vs. International Appeal: Indian films primarily cater to a domestic audience of 1.3 billion, with international appeal being a secondary consideration. This focus often results in films that may not resonate with global audiences.
  2. Song and Dance Sequences: While beloved by Indian audiences, the ubiquitous song and dance sequences can be off-putting to international viewers. These elements are often seen as interruptions to the storyline. For instance, the dreamy sequence at the Complex in Kalki 2898 AD felt like a diversion designed to showcase some skin rather than advance the plot.
  3. Writing Quality: There is a pressing need for stronger writing talent. Language barriers and cultural nuances impact how jokes and narratives translate across regions. As someone who does not understand or speak Telugu, Tamil, or Malayalam, I hoped that Prabhas’s jokes in the first half of Kalki 2898 AD were better in the original Telugu. In Hindi, they were disappointing. India is full of talented writers; we need to tap into this potential to enhance our storytelling.
  4. Originality and Copyright Issues: Concerns persist about copyright issues, with instances of scenes resembling those from Hollywood films. This can detract from original storytelling. There is a cartoon circulating in WhatsApp groups suggesting that Kalki 2898 AD copies elements from Star Wars, Dune, Mad Max, Transformers, Avengers, and The Matrix. The first comment my American friends made was, “Are those light sabers from Star Wars?” or “Wasn’t the Shambala sequence a copy of Zion from The Matrix?” We must find our unique way of depicting our stories.
  5. Music Composition: Music in films also faces scrutiny for originality and global appeal. While Indian music has a unique charm, it needs to evolve to meet global tastes without losing its essence.

While films like Kalki 2898 AD create spikes of interest and contribute positively to the Indian film industry, they fall short of being true game changers. They highlight the potential and creativity within Indian cinema but do not fundamentally alter the landscape of global cinema.

In conclusion, while Kalki 2898 AD is a step in the right direction and a testament to the potential of Indian cinema, it is not yet the definitive game changer. The journey towards global cinematic dominance requires addressing these challenges and consistently delivering content that resonates universally while retaining our unique cultural essence.

JPS Nagi
July 2024

Punjab 1984 – Ballewood Arrives !!!

Finally, punjab-1984I watched Punjab 1984. And here is what I think of it. This is an intense movie. The performances were good. There is a triangular conflict in the movie; Diljit shows great potential as an actor in the new generation. Pawan Malhotra, who is main antagonist in the movie, fits the role like a glove; his grins, smiles and expressions makes you hate the character, which shows how good job he is doing with the role. And the third apex of the triangle is played by Kiron Kher as a mother; she pretty much carries the movie on her shoulders. She is relatable as a mother, and portrays a very complex role with ease of an experienced actress (which she is). Diljit and Kiron’s scenes of a other-son bond are a treat to watch. The dialogues are very well written – they work at the surface level and also at a deeper emotional level. I also loved how the writers treated the story; the topic is extremely sensitive, and the treatment is excellent – instead of targeting a group, religion, or pointing fingers, it is a human story – rising above the limits and boundaries. It is a story of a mother looking for her son, who because of circumstances ends up at odds with the then prevalent law of the land. The story moves back and forth in time with flashback, which are very well edited.  It is a coming of age story of a son, who makes some choices under circumstances, and traces his path to redemption. It is the story of a man cornered, and how he stand against the ones who cornered him. If you are one of those folks who do not like the fact that Indian movies have music where the whole casts stops and start lip syncing to the song and dance to the tune, then you are in for a treat. Music of this movie adds layers to this movie. The songs are playing in the background, and they take the story forward. They are all situational, and most of the time, you will not even realize that you a song just started. They are essential and compliment the progression of the story. Watch out the lyrics for Swaah Ban ke, Lori and Ammi Udeek Di – they bring the sensitivity of poetry to this movie. they will bring a year or two to your eyes. The lighter songs Channo, Rangrut keep the happier parts of the story happy. Kudos to the music directors; yes there are few. And then there is Anurag Singh, the director. I have to say, I am impressed. He has proven to be one of the better directors in Punjabi Film Industry and deserves all the laurels to get the kind of performances he got out of the actors, and to keep the heart of the movie alive throughout on such a subject. With this movie he proves his range from being able to handle movies like Jatt & Juliet series (which were OK, I think) to a serious drama like Punjab 1984; and he does not misses a beat. This is his crowning glory so far. The movie is intense, emotional, and a tear jerker. Get ready with those tissues, and think about the questions raised by this movie, which are many. Lastly, story, scenes, and cinematography reminded me of Maachis (another well rounded director Gulzar) throughout the movie. It feels like either a homage in style or deeply inspired by it. I had to go look for the Maachis DVD after watching Punjab 1984. All in all it is good movie. I would call it 9/10 on the scale of good dramas. Go watch it ! JPS Nagi July 2, 2014

Mughal-e-Azam completes 50 years

K.Asif’s Magnum Opus … Mughal-e-Azam. The movie that took more than 20 years in making.
A milestone for Indian Film Industry, with production costs Rs 15 million (this was when a normal film would cost around Rs 1-1.5 million), it broke all records. The tickets sold for 100 rupees, back when the cost of a single ticket was 1.50 rupees. Today, the movie of this value will cost more than Rs 150 Crores ($33M).

The music, the story, the cast, the dialogues – every aspect of the movie was giant. Bollywood’s biggest period extravaganza. Although the orginal movie was black & white (with some colored parts), the movie was colorized recently with the sound converted and re-recorded in Dolby Digital. The new producers brought together the new crew who worked to make it happen, with some of the original cast and crew.

It brought back memories for many movie-goers, and they flocked back to theaters.  Also introduced the next generation to the movie that was, and the movie that is.

Recently, NDTV did a special on the movie as it completed 50 years on August 5, 2010. Here is the special (you would need Adobe Flash to play).

August 14. 2010

JPS Nagi