Yaadon ki Baaraat stormed the Box Office way back in 1973 establishing its key star Dharmendra’s credentials as a major star with enviable staying power. The film came from the reputed banner of Nasir Husain productions and the man himself directed as well as produced this effort which went on to become on of their biggest money spinners of all.

Though Yaadon ki Baraat offers a plot that is utterly formulaic and as stale as mildewed socks, somehow the different ingredients that make up the whole seem to click together and the resulting chemistry more than saves the day…it in fact elevates a potentially humdrum, mundane masala film into a film that has earned a lasting reputation and had a lasting effect.

The rather unimaginative plot involves a saintly family of 3 young boys and their parents living blissful lives without a care in the world. Fate intervenes cruelly when the artist father crosses paths with the heinous villain Shakal (Ajit). Shakal is seen fleeing the scene of a murder by the self righteous artist one night and later when Shakal spies the artist approaching the police, he is compelled to act. The vicious Shakal brutally murders the artist that night – a grisly crime that is witnessed by the eldest child Shanker before all three sons scamper for cover from the murderous Shakal. In this frenzy the boys are tragically separated.

Shanker the eldest son grows up traumatized by his memories – the loss of his younger brother on the rail tracks and the brutal murder of his beloved father – he also remembers the songs that whole family would sing each anniversary on December the 15th! Vijay Arora, the second son is fortunate to be adopted by an earnest middle class man who is not desperately poor but is hardly rich either. The youngest son grown up to become Monto, a fantastically talented and nattily dressed pop star who thrills trendy swinging audiences at a fab local joint The Blue Heaven Hotel.

After the dramatic opening, the middle half of the film is devoted to the frothy, light hearted romance between the rather charming and dapper if slightly greasy Vijay Arora and Zeenat Aman fresh from the success of Hare Rama Hare Krishna. Never has Zeenie looked as good as in any film before or after this one. The romance is reasonably engaging with the usual pranks and misunderstandings eventually leading to true love.

Perhaps the most significant factor in elevating the rather ordinary and predictable proceedings to something extraordinary were the sublime tunes composed by R.D. Burman who was given the opportunity to indulge in his passion for a more “westernized” sound. The songs he composed for this film have become icons of an era and one of them “Chura Liya Hai” is virtually an anthem thirty years after it was first released and must rank as one of the twenty most popular Bollywood songs of all time. Asha Bhonsle never sounded more sensuous and Zeenat Aman in that pseudo white dress, rocking gently while strumming her guitar is absolutely alluring and a memorable moment of classic 70’s Bollywood cinema. Another number “O Meri Soni” crackles with energy and once again finds Asha in supreme form singing circles around a fairly impressive Kishore Kumar. If that wasn’t enough, the films second song is the glorious Aap ke kamre mein, another westernized poppy number by Asha and co and finally even the family theme song is perfectly tuneful and acceptable.

Dharmendra scowls and growls typically in his role as the vengeance obsessed Shanker, flaring his nostrils and looking suitably angry and pained in equal measure. Vijay Arora who never really made it to the A league is likeable as the frivolous, romantic middle brother but it is the amazing Tariq as Monto the pop star who steals the show with his gorgeous smouldering looks and the sheer charm and raw animal magnetism that he exudes. How Aamir Khan became a superstar while the far more handsome and immeasurably more talented Tariq has been largely sidelined just goes to show how unjust life can be! Among the strong supporting cast are Jalal Agha, Imtiaz Khan and Satyen Kappu in a pivotal role. However, easily upstaging and outclassing everyone on the rostrum is seasoned super-villain Ajit as the deadly Shakal.

Oozing suaveness, charm, sliminess and menace in perfect proportions Ajit once again proves himself to be in the master class of Bollywood villains – second to none – especially when the role required a silky touch of class to camouflage the deadly killer intent! In his traditional blond wig, impeccable white suit and matching shoes, black felt gloves spouting some deadly couplets in English, Ajit is at his brilliant best. The only problem with his role is that perhaps it isn’t long enough!

So, R. D. Burman takes top honours, but Ajit, Zeenat Aman, Dharmendra, Vijay Arora and the magnificent Geek-god (no spelling mistake) all play their parts to near perfection. The staleness of the plot proves less of a liability then it should have as the film is rescued by the strong cast, the chemistry between the players and the memorable tunes of R.D. Like most films of the era of this kind, its about a quarter of an hour too long – one or two fights and a comedy scene or two could easily have been trimmed.

On the whole Yaadon ki Baraat may not have won too many awards but it was a big people’s favourite in its day and its songs are as popular 30 years on. Yaadon ki Baraat is certainly not a great film by any stretch of the imagination but a memorable one none the less and certainly qualifying as vintage 70’s Bollywood.