Movie Title: – ‘Hifaazat-1973‘
Director: – K.S.R. Dass (or Doss)
Producer/s: – R.V. Venkateswarulu and B. Susheela Devi.
Genre: – Social
Date of Passing by Censor Board: – 30.05.1973
Editing: – K.S.R. Das, Kandaswamy
Associate Editor: – Sivam
Dialogues: – Prem Kapur
No of Songs:- 04
Lyricist – Majrooh Sultanpuri
Music – Rahul Dev Burman
Playback Singers – Kishore Kumar, Asha Bhonsle
Kishore (Vinod Mehra) and Asha (Asha Sachdev) love each other and want to marry.
Their fathers Kanhaiyalal (Kapur but liked to be called as Camphor) and Ashok Kumar (Judge Ram Prasad) respectively are friends.
However, Kishore’s father is initially reluctant and do not agree for this marriage but later on surrenders to what his son wants. So he gives his nod for the marriage to Judge Ram Prasad.
But, at the same time the ‘family priest’ of Kishore’s father discloses upon him that Asha is not the real daughter of Judge Ram Prasad and she is an adopted one. Also Asha’s family is suffering from some ‘curse’ and they are ‘cursed’ family where except Asha is the surviving member and others are no more.
Asha got to listen to this conversation and judge Ram Prasad has to tell her truth about her real father (played by Iftekhar).
Knowing this Kishore’s father now cancels the marriage of Kishore and Asha. Judge Ram Prasad tries to convince Camphor but he is adamant. Kishore is present upstairs and secretly listening what his father has said to the judge.
Kishore and Asha decide to go to the parental house ‘Sona Mansion (haveli) of Asha which is in Kashipur village and which is known to be a ‘haunted place’.
On the way they meet a Saw Mill owner (Madan Puri), and Sewak Singh (Narendranath).
No body helps Kishore with the address of ‘Sona Mansion’ but Sewak helps him and he Sewak is actually ‘eyeing’ on Asha.
Sewak’s mother (Lalita Pawar) wants her son to do some good work and earnings. But he wants the property to be transferred on his name by his mother.
Kishore and Asha reach the ‘Sona mansion’ and stay there to unearth the ‘suspense’ in the ‘haveli’.
Meanwhile Sewak tries to molest Asha and later on tries to rape her.
Lajjo (Kumud Chhugani) loves Sewak but Sewak doesn’t like her now. Lajjo knows about Sewak’s intentions and she informs Kishore when Sewak and his friends corner Asha in the Jungle.
Sewak’s mother is in between visiting the ‘haveli’ and one such time Kishore notices this. Lajjo is murdered in the haveli but her body disappears.
Finally the goons are settled by Kishore and by the time he reaches the ‘haveli’ Sewak is killed. But who kills him?
Asha is saved by Kishore but somebody attacks Kishore and is trying to finish him. Who is this?
At the same time Sewak’s mother also reaches the ‘haveli’ and finds her son’s body there. She knows who has killed her son. Who is that person?
How Kishore and Asha get to know the truth and what is the ‘curse’ over Asha’s parents?
All that is what this movie is all about …
Why the movie was titled as ‘Hifaazat’ and what was ‘protected’ can be get to know by watching this movie which is available on ‘YouTube’.
An interesting watch, but you will have tolerate the ‘hinglish’ of ‘Hinglish’ by Camphor (Kanhaiyalal) till the first half of this movie like … ‘ham tumko nahin bataaying ant mein kya hoyiing in thi film’ J ….
In between we have four songs in this movie the first two are ‘roothhna manaana’ songs first by the heroine and second by the hero for each other. Third song is a ‘gypsy’ song which is by the ‘khaanabadosh’s in their camp on the jungle route of the ‘haveli’ where Kishore and Asha had to halt in the night.
The fourth song is a ‘joy de vivre’ song when Asha sets out of the ‘haveli’ as Kishore is out for some ‘shopping’ and Asha takes this opportunity to roam freely in the ‘haseen waadiyaan’.
Majrooh Sultanpuri is the lyricist who wrote all the four songs. R.D. Burman is the music director and the songs are nice to listen to. But none of the songs from this movie are popular songs and all the songs are lesser known or never heard type songs.
However, Pancham’s musical score is nice and enjoyable.
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