Although ignored by 'The Encyclopedia of Indian Film' (1995), this psychedelic escapist fantasy (whose title translates into English as 'I've Come Back With the Same Heart') was not surprisingly a big hit in its day.
The plot is typical Bollywood nonsense in which Mohan, an army officer's son, is abducted as a child at the behest of his mother. He grows up to fall in love with his haughty foster sister (who happens to be a professional dancer), and pursues her and her entourage on a trip to Srinagar, thus providing the pretext for a succession of boisterous musical numbers shot on location in various tourist spots in Kashmir. Most of this is played for laughs until director Nasir Hussain decides about two-thirds of the way into the film that it's now time for a bit of melodrama, with the introduction of an imposter (played by Pran) passing himself off as the long-lost Mohan.
Much of the staging and acting resembles an old Mack Sennett two-reeler, as does the climactic pursuit of a jeep by a speed boat. It was Hussain's first film in colour, and he responds to the occasion with a frenzy of zooms and whip pans. Marshal Braganza's Eastmancolor photography, luxurious interior sets that look as if they're made of icing sugar, extremely phony-looking studio exteriors and the vigour with which the musical numbers are staged combine to create the sensation of watching a live action cartoon in which even a compromising photograph used for the purpose of blackmail is in colour!
The plot is typical Bollywood nonsense in which Mohan, an army officer's son, is abducted as a child at the behest of his mother. He grows up to fall in love with his haughty foster sister (who happens to be a professional dancer), and pursues her and her entourage on a trip to Srinagar, thus providing the pretext for a succession of boisterous musical numbers shot on location in various tourist spots in Kashmir. Most of this is played for laughs until director Nasir Hussain decides about two-thirds of the way into the film that it's now time for a bit of melodrama, with the introduction of an imposter (played by Pran) passing himself off as the long-lost Mohan.
Much of the staging and acting resembles an old Mack Sennett two-reeler, as does the climactic pursuit of a jeep by a speed boat. It was Hussain's first film in colour, and he responds to the occasion with a frenzy of zooms and whip pans. Marshal Braganza's Eastmancolor photography, luxurious interior sets that look as if they're made of icing sugar, extremely phony-looking studio exteriors and the vigour with which the musical numbers are staged combine to create the sensation of watching a live action cartoon in which even a compromising photograph used for the purpose of blackmail is in colour!