Recently, an ad is being aired on television channels, features featuring an ageing gentleman in a dark suit who professes something to the effect that his fans never forget him. Gen-next might only identify him when told he is the father-in-law of Akshay ‘Khiladi' Kumar, but the same ad shown to their moms would still set many a heart aflutter and many a memory to come tumbling out of naphthalene ballsMemories of ‘pilgrimages' to his bungalow, ‘Aashirwad', in Bombay, and men aping his body language, his gestures and his rakish hairstyle.
“Sachaa Jhutha”, in which Rajesh Khanna, the first superstar of Hindi cinema, was directed by none other than Manmohan Desai, was destined to hit the bull's eye at the marquee, and win Khanna the Best Actor Award from Filmfare. It was written by Desai's wife Jeevanprabha.
Some viewers might feel that the film has inspired (in a broader sense) the latter-day blockbuster, “Don”, as “Sachaa Jhutha” is essentially about Bhola (Rajesh Khanna), a naive band master. He resides with his physically challenged sister, Belu (Naaz) in a village, with their acerbic stepmother. Due to her disability, Belu is mocked by friends; Bhola is unable to find a suitable match for her, a condition exacerbated by crippling financial constraints. To earn money, Bhola ventures to Bombay — which is hit by a string of diamond heists — leaving behind a sobbing sister and a pet dog, Moti.
In Bombay, a clueless police is facing the heat to crack the case, which is handed to Inspector Pradhan (a young, dashing Vinod Khanna, in dapper tight suits). Pradhan suspects the involvement of Ranjit (Rajesh Khanna in a double whammy), an izzatdar diamond merchant considered above suspicion. Thus, the probe is hampered by lack of evidence, for which Pradhan lays a trap through CID officer Rita (Mumtaz, who, with her oomph factor, perfect make-up and pout hardly looks a policewoman)
On his arrival in Bombay, Bhola stumbles into a fancy dress party, where he is mistaken for Ranjit, who sees the similarity in their visage. He lures Bhola into a web of conspiracy by feigning cancer. Bhola, expectedly, takes the bait. Therein follows rigmarole of fast paced action as Ranjit uses Bhola as a pawn, while he continues with his nefarious deeds.
Meanwhile, Rita gets romantically involved with Bhola, mistaking him for Ranjit, which is reciprocated by Bhola. In the midst of all this, Bhola's village is ravaged by floods, forcing Belu to land in Bombay, with Moti in tow, where she is rescued by Pradhan. Ranjit, posing as Bhola, whisks her away.
Finally, Bhola unravels Ranjit's evil designs and threatens exposure, but is restrained by Belu's captivity. After a series of gun fights, fisticuffs, helicopter landings, dog chases (animal rights activists will feel tormented at the plight of Moti) both Bhola and Ranjit are arrested. The denouement, after a court battle, is a typical Desai ace.
The film confirmed the elevation of Mumtaz, who did “Do Raaste” with Khanna a few years earlier, from a C-grade actress in stunt films to the top league, although she failed to generate the magic of “Do Raaste” or later films — “Roti”, “Khilona”, “Tere Mere Sapne”. She is not credible as an undercover agent and though songs are filmed on her forte — including “Karle Pyar Karle Aankhen Char” (Asha Bhonsle) and “Yunhi Tum Mujhse Baat Karti Ho” (Lata Mangeshkar) — these are overshadowed by more popular numbers, “Meri Pyari Behaniya” and “Dil Sachaa Aur Chehra Jhutha”, which cemented Kishore Kumar as Rajesh Khanna's voice.
Vinod Khanna, who was yet to graduate from being supporting cast to a leading man (which happened with “Mere Apne”), looks dapper, although a bit stiff.
Unfortunately, the only challenger to the suzerainty of Amitabh Bachchan was to leave the arc lights for a spiritual quest just nine years later, for a prolonged hiatus.
Music, composed by Kalyanji-Anandji, on lyrics by Indivar, Gulshan Bawra and Qamar Jalabadi, is a strong point of the film, as is the editing by Kamlakar Kamkhanis, which keeps the narrative fast paced. Several character actors, including Dina Pathak and Yunus Pervez, can be spotted in inconsequential roles.
