Contrary to the popular perception that Rajesh Khanna was at the peak of his super stardom when Ittefaq happened, he had in fact hit a depressing low. His first five films, made by some of the best known filmmakers in the industry — Chetan Anand ( Aakhri Khat , 1966), G.P. Sippy, ( Raaz , 1967), Nasir Husain ( Baharon ke Sapne , 1967), S.S. Vasan ( Aurat , 1967) and Adhurti Subba Rao ( Doli , 1969) — had crashed.
The only redeeming factor, if there was one, was that Anand’s Aakhri Khat had been chosen as the Indian entry for the Best Foreign Language Film category at the Academy Awards in 1967. But then again, it was not accepted as a nomination. Rao’s Doli (1969) had looked promising in the beginning, but couldn’t go very far.
In 1968, Khanna didn’t have a single film. In fact, the vacuum had stretched into the tenth month of 1969, prompting his doting but disturbed father to ask him to rethink his career plans. “To pursue a career that keeps rejecting you persistently is foolishness,” he told him. “In life, one should learn to read the writing on the wall early. Maybe a career in films is not for you. Give it serious thought.”
The big one
Fortunately for Khanna, a ‘small’ unassuming film saved him from further ignominy. Ittefaq — directed by a man with a Midas touch, Yash Chopra, produced under the BR Films banner on a shoe-string budget and shot in 28 days without frills — turned the tide. The film, a thriller, had no songs, no dance, no big stars.
It might have had a better initial draw than any other Khanna-starrer based on the reputation of the B.R. Chopra banner, but the movie’s popularity really owed to Khanna — who was about to rewrite the rules of stardom.
Ittefaq was followed by Aradhana , another stop-gap venture produced and directed by a stalwart, Shakti Samanta. Released in November 1969, it took off on a whirlwind run. Khanna had earned just a month’s salary of ₹2,000, plus ₹500 as allowance, for Ittefaq — but Aradhana more than made up for it. It was followed by Do Raaste , another blockbuster, and a string of hits through 1970 and 1971.
Ittefaq was actually triggered by an emergency of sorts. Chopra was directing Aadmi Aur Insaan at the time when the heroine, Saira Banu, fell ill and had to be rushed to England for treatment. The unit was left waiting.
Luck by chance
“That was when we decided to make a quick low-budget film to offset the huge losses we were incurring by keeping a big production unit idle,” the late Chopra reminisced in an interview. “ Bhai saab (older brother B.R. Chopra) and I had seen a Gujarati play called Dhumas , adapted from a French play. The original play had already been made into a Hollywood film, Signpost to Murder . I thought it would make for an interesting Hindi film, only if we could wrap it up as a quickie within a month.”
Nanda was actually the third actress Chopra approached for the female lead. “Actually, she should have been our first choice,” he said. “She was one heroine the audience would never suspect of being a killer.”
Quick with his lines
For the male lead, they first pursued Shashi Kapoor, but he was busy with Abhinetri . Khanna had just then been discovered by United Producers, where B.R. Chopra was a prominent member of the selection panel. Having access to Khanna’s dates on priority, Chopra picked him.
“After meticulous homework, we plunged into the film and managed to shoot it in 28 days at Rajkamal Studio.,” Chopra said. Khanna, he noted, was “a great choice”. “He was a very passionate actor... and was very quick with his lines.”
Ittefaq hit the screens on October 4, 1969. And it was a winner. It was followed by Aradhana, Do Raaste, Dushman … and a superstar was born.
A veteran journalist, the writer is former editor of Filmfare and Screen.
