Absence not only makes the heart grow fonder but also makes people realise the immense talent, ability and virtues of a missing person. Viewing “Baharen Phir Bhi Aayengi” (BPBA) does exactly the same as it compels you to admire the precocious genius of the great Guru Dutt in a film which he started but couldn't finish due to his death ! The multi-faceted artiste died when the film was not even half way through and it was completely re-shot with a new hero (Dharmendra) by a new director (Shahid Lateef) whereby its frames bore no resemblance to the brilliance of the maestro despite being billed as his last offering.
In the absence of the ‘Guru', the film failed to blossom and reaffirmed the maxim that only an effective director can turn around a placid script into resounding success. Though the principle contributors were old disciples of Guru, their inputs lacked the finishing sparkle of the master's baton and if one could compare the earlier reels shot by Guru Dutt with Shahid Lateef's version, it could make for an excellent analysis of do's and don'ts for film students.
Remember, Shahid Lateef was no novice and he had a long lineage of films including Dev Anand's debut “Ziddi” and Dilip Kumar's “Arzoo,” but his creation wasn't quite the jewel that normally came from a Guru Dutt banner. Thus, despite pleasing compositions by O.P. Nayyar, the film proved a damp squib since the script meandered listlessly and Lateef seemed confused and petrified about what to do next!
Possibly, Guru's followers were burdened and paralysed by the tragic suicide of their team captain. What else could explain Johnny Walker seeming out of touch in most scenes and old warhorse Rehman had nothing to do in a nondescript role though they always sparkled under Guru Dutt. No wonder Mala Sinha and Dharmendra too looked lost and forlorn in the melodrama and the only saving grace in the film is the bubbly infectiousness of Tanuja that makes her look attractive though not necessarily endearing. And if despite their best efforts, the stalwarts failed to deliver, it is clear that the fault lay in poor writing and clumsy direction.
The movie revolves around a romantic triangle whereby a young, honest news reporter Jiten (Dharmendra) of a daily newspaper is unknowingly sandwiched between two sisters Amita (Mala Sinha) and Sunita (Tanuja). While he respects the elder sister Amita as she is the newspaper baron, he is in love with Sunita without being aware of their relationship. Smitten by Jiten's manly charms, upright behaviour and honest reporting, Amita is about to confess her love when she learns the truth and decides to step aside for her sister.
Meanwhile, a corporate battle in the boardroom results in major shareholders demanding Jiten's ouster for his role in exposing their misdeeds in their own newspaper. Amita refuses to wilt under pressure but the power struggle leads to her sad demise, but not before she has united the two lovers with a promise to launch their own paper!
K G. Prabhakar's photography is pleasing in patches but can't improve Abrar Alvi's lame screenplay that is made worse by Chowhan's shoddy editing. The film's only ‘note' of lasting value is the haunting Rafi melody “Aap Ke Haseen Rukh Pe Aaj Naya Noor Hai” (penned by Anjaan) which inspires lovers till this day. Other numbers like Asha Bhosle's “Woh Hans Ke Mile Humse” and “Koi Kehde Zamane Se Jaakey” and Rafi's “Suno Suno Miss Chatterji” are also vintage Nayyar stuff but they do not resurrect the fortunes of the film. What a pity that the motion picture which promised “return of the blooming seasons” (Baharen Phir Bhi Aayengi) actually became the swansong of a great banner — an unworthy farewell to a legendary director by his closest disciples. Come to think of it, in a strange paradox, the “Pyaasa” (thirsty) artiste was given a send off with “Kaagaz ke Phool” (Paper Flowers)!
