Raj Khosla and Manoj Kumar shared a chemistry unknown to today's generation of filmmakers and actors. In fact, the former affectionately nicknamed Manoj Kumar his “half guru half chela” in an interview to All India Radio in the mid-'60s. After Manoj Kumar took an active role in rewriting some portions of the script of “Woh Kaun Thi” earlier written by Dhruv Chatterjee, Khosla started depending on Manoj Kumar like he did on no other actor. Not even his mentor, Dev Anand.
In 1965, Manoj Kumar insisted that he and Khosla watch “Deedar” once again on its second re-run. Khosla smiled and said, “ Panditji Maharaj (Manoj Kumar) bina matlab ke film to dekhenge nahin (Panditji Maharaj will not watch a film a second time without definite reason)”. His prediction was true, as on their way back to Bandra, Manoj Kumar requested Khosla to direct a modern-day “Deedar” with subtle changes in the story for him.
Thus, “Do Badan” was born. The story is a simple, emotional one with a love triangle and a final touch of tragedy. Vikash (Manoj Kumar) is a brilliant college student who falls in love with Asha (Asha Parekh), his classmate, after an altercation. Though Vikash belongs to the lower middle class and Asha is truly rich, their love transcends all class barriers. Asha's father (Avasthi), is not willing to hand over his only daughter to a pauper. He wants her to be married to Ashwini (Pran) a rich friend's son. Asha is supported in her cause of love by her bachelor uncle (Manmohan Krishan).
Jealous at the love between Vikash and Asha, Ashwini plans an accident in which Vikash loses his eyesight. He is healed by a caring and affectionate optician, Dr. Anjali (Simi Grewal). Though married forcibly, Asha and Ashwini never share a conjugal married life. Asha falls sick and Ashwini admits his fault and personally brings back Vikash but it is too late. As the departed lovers unite, both die in a dramatic climax.
Backed by a well-written screenplay by seasoned writer G.R. Kamat, Khosla excelled in this love story as a director. “Do Badan” still has repeat value after its glorious silver jubilee in 1966. It beat “Guide” in terms of sheer box office collections. Khosla proved that after Guru Dutt he was the one excellent in handling emotional scenes and song picturisation. After “Shaheed” this is Manoj Kumar's most brilliant and intense performance. In the scene where Pran slaps him immediately after the song “Naseeb Mein Jiske Jo”, he shouts, “Anjali, usse kuchh mat kehna”, stumbles into a chair as he is blind and falls down, delivering an expression which has influenced even the likes of Shah Rukh Khan. He translated a line from a famous poem of Tagore's “Gitanjali” and made it his line to Asha Parekh in a scene in a boat, which remains the most touching one in “Do Badan”.
For the first time Asha Parekh proves she can be good at playing emotional characters. Pran is as usual brilliant, but the real show stealer is Simi Grewal with her commendable performance. In fact she openly confessed that it is only in “Do Badan” did the real Simi come out, thanks to the co-operation of Khosla and Manoj Kumar. No wonder she requested Manoj Kumar to hand her the Filmfare trophy for best supporting actress at the awards event. The comic interludes between Dhumal and Mohan Chotti are unnecessary and mar the flow of an otherwise gripping film.
The cinematography by C.H. Kapadia is simple with perfect usage of close-ups of the main actors, natural panorama and the bluish tinge in the climax shot. “Do Badan” is incomplete without a mention of music director Ravi, who with the incomparable Rafi, made it immortal with his haunting melodies, “Jab Chali Thandi Hawa”, “Bhari Duniya Mein Akhir”, “Is Bhari Duniya Mein” and “Lo Aa Gayee” — songs which are hummed by countless millions even today.
