NAYA DAUR – Nostalgia Revived.
By Vishal Verma

Timeless, seamless are the words which come to my mind after watching the color version of master filmmaker Mr. BR. Chopra’s evergreen classic ‘ Naya Daur’.

Quite synonymous to its theme, the color version of " ‘Naya Daur ‘ is also a triumph of the spirit.
 
Apart from the amazing color tone done by Westwing studios at U.S.A. and the restoration by Prasad EFX, what makes ‘Naya Daur’ stand out as an unique film is it’s simplicity personified in every department.

If  K.Asif’s ‘Mughal –e-Azam’ was all grandeurs, which made Madhubala the most gorgeous women ever seen on the silver screen then B.R. Chopra’s soul-stirring saga of man and machine during the nehruvian era stands out in its simplicity, reality and the relevance of the issue which stills echoes in this e-world of slick wheels , palm tops and designer phones.

‘Naya Daur’ is a complete Indian film by body, heart and soul. This evergreen classic which won 3 Filmfare awards in 1958 for best actor, story and music is enjoyable for its thought –provoking screenplay by Akhtar Mirza, great music by O.P. Nayyar, and some outstanding performances by the lead cast.    

Based on Mahatma Gandhi’s philosophy of  labor and machine, that both man and machine should work hand in hand in order for the betterment of the society without interfering and hampering each other’s progress and interest. 

B.R. Chopra’s narration of this timeless conflict between the man and the machine is simply superb. The veteran successfully drives you through all the emotions and in the end you cheer for the ultimate triumph of the human spirit.

‘Naya Daur’ has thespian Dilip Kumar in one of his most memorable performance, it is a pleasure to watch the legend getting into the skin of the character with such ease and deliver a stand out performance with all the method acting and naturalistic self-expression which are exemplary and unbelievable. Making him a patent performer of his times.

‘Vyjayanthimala’ as the Rajjo is all coy and oozes the village charm to perfection; she looks stunningly graceful in color and shares a remarkable chemistry with Dilip Kumar on screen which blossoms frame by frame. Here expressions and body language are amazing.      

If Madhubala as ‘Anarkali’ was all flamboyance, then Vayajantimala as the village belly ‘Rajjo’ is all coy and elegance. Simply attractive.

Late Ajeet as Kisna has delivered a power packed performance and the late Johny Walker in a cameo as a press photographer is ‘Wonderful’.

The late master of fusion O.P. Nayyar has churn out some rare gems blended with Punjabi flavour  in ‘Naya Daur’ which are still hummed by music lovers and remixed by upcoming music directors. Gems like ‘ Uden Jab Jab Zulfen Teri’, Mang Ke Saath Tumhara , Reshmi Salwar Kurta Jali Ka, and the inspiring ‘Saathi Haath Badana’ and ‘Yeh Desh Hai Veer Jawanon Ka’  penned by Sahir Ludhiyanvi and rendered by Asha Bhonsle, Mohd. Rafi and Shamshad Begum (Reshmi Salwar).

To hear these rare gems is a treat no doubt but to watch the color versions of these songs on big screen featuring Vyjayanthimala’s gracious dance moves is an experience not to be missed.

All said and done, ‘Naya Daur’ color version is certainly an experienced never to be missed by anyone, those who have already seen it will enjoy the big screen experience in color and those who where born after 20, 25 years or later of its release should see it to feel the beauty of Indian cinema in simplicity personified.