Initially, Hrishikesh Mukherjee wanted Raj Kapoor himself to play Anand. Later Shashi Kapoor and Kishore Kumar were also considered for this role, which finally went to Rajesh Khanna. Anand was released in 1970, an year after Rajesh Khanna was declared a superstar with his Aradhana breaking through the roof of box office. Rajesh Khanna easily got into the soul of Anand and brought it alive for us to see, have fun with, fret over and mourn. There is not a momentary lapse in his portrayal of the eternal goner. This was his show all through the way. Incidentally, this was Rajesh Khanna’s second ‘cancer patient’ role in the year. The audience had already shed loads of tears watching him die in Asit Sen’s Safar (co-starring Sharmila Tagore) the same year. Amitabh had a big break with Anand, whose roles in Saat Hindustani and Reshma aur Shera went without much success. The initial embers of the Angry young man were very much visible in Anand. Lalita Pawar as Ms. Desa made yet another memorable mark in her career playing the hard-faced but soft-hearted matron. The similarities in her role in Mukherjee’s Anari (1959) could not be missed out, however.
Anand is a Salil Chowdhary gem. Every song is like a beautiful painting, the image of which refuses to fade away. Whether it is the dulcet Main ne tere liye, the melancholic Kahin door jab din dhal jaye, the philosophical Zindagi kaisi hai paheli or the romantic Jiya Lage na Salil da struck the right chord each time. The screenplay was finely paced and the situations were handled with care, without letting the drama go overboard. Which other movie had a hero joking about his own fatal disease with such genuine ease? “Lymphosarcoma of the intestine! Wah! Beemari ho toh aisi ho… nahi toh na ho! “It helped that the dialogues were written by Gulzar, whose lines were simple and yet powerful. He walked away with the Filmfare award that year for Best Dialogue. Some of them stand out for their sheer magic.
Maut ek pal hai Babumoshai! Us ek pal ke darr se main lakhon pal jeena kyun chod doon? (Death is just a moment. Why should I stop living the lakhs of moments in between fearing that one moment)
Babumoshai! Zindagi aur maut toh uparwale ke haath mein hai jahaanpanah. Hum sab rang manch ki kathpuliyan hai jinki dor uparwale ke haath mein bandhi hai. (Death lies in the hands of God, for we are all puppets in this stage called world, where out threads are strung to his hands)
In an age when rock n roll and hippie culture was setting in, Anand made kurta-pyjamas cool and trendy. Rajesh Khanna single-handedly made this attire sexy and its sales grew by leaps and bounds overnight. In another three years, Hrishi da came up with the Rajesh-Amitabh duo in Namak Haram. But by then, Lady fortune had changed her preference. Amitabh had become the reigning star and Rajesh Khanna had become a fading star. Anand formed the pinnacle of Rajesh Khanna’s career. In 1971, he well-deservedly won the Filmfare trophy for Best Actor and Amitabh won the award for the Best Supporting actor. Hrishikesh Mukherjee won the award for Best Editing and Best Story. In a matter of irony, Anand won the award for the Best Film and Raj Kapoor, to whom this film was dedicated to, won the Best Director award for Mera Naam Joker.
Anand was a tribute to the city of Bombay, to its open-heartedness and its cosmopolitan culture, which gives space to everyone. Anand is a tale of human relationships; a story of putting up a strong and joyous face in the wrost of adversities. Anand leaves a trail of bliss in the lives of all he touches and a lump in throat of all those who see him die. It was only a genius like Hrishikesh Mukherjee who could have pulled off this work with such elacrity for he knew to tell simple matters in a simple way, which is not so simple! 33 years later, this character inspired Karan Johar’s Kal Ho Na Ho. As Amitabh said towards the end “Anand mara nahi, Anand marte nahi”