The filmmaker is pacing around the set, thinking of the upcoming song sequence. The choreographer stands beside him. For the most part, they have figured it out. Except for the dancer. The song is based on gypsy music with a bunch of gypsies dancing with the lead actor. One of those songs where the dancer is in the film just for that one song. The choreographer knows someone who could potentially do this. Coincidentally, she is also playing a supporting actress role in the film. He is not sure if the filmmaker will agree.
He faintly suggests. “Mujhe ek dancer pata hai. Woh film mein ek chhota sa role bhi kar rahi hai. Struggle kar rahi hai industry mein, par uss mein dum hai.” I know of a dancer. By the way, she is also playing a small role in the same film. She has been struggling for a while, but I feel she has potential.
The filmmaker nods. “Accha, mujhe pata nahin tha woh dance bhi karti hai. Theek hai, bulao. Dekhta hoon uss se baat karke.” Oh, really, I didn’t know she was a dancer too. Call her. I will talk to her.
The dancer is trying to break into the film industry with better roles. Having dancing as a skill set always helps. So far, she has been doing side artist gigs, but nothing impactful. She knows the choreographer through her network. Both are Gujarati, and that doesn’t hurt either. The conversations are quite casual between the two.
“Kal tum jaa kar director sahib se mil lo. Dancer ka final selection wohi karenge. Mein wahan par nahi aa sakoonga. Mujhe Madras jaana hai.” Tomorrow, go and meet the director. He will make the final decision on the dancer. I won’t be able to make it. I have to be in Madras. The choreographer calls and informs the dancer.
As instructed, the dancer arrives nervously at the studio. The filmmaker asks, “Ek gaane ki situation hai jisme hum lead dancer dhoond rahe hain. Kya tum woh kar sakti ho?” We are looking for a dancer for a song situation. Will you be able to do it?
She replies earnestly, “Agar koi mujhe steps samjha de aur thoda rehearsal kara de, to kyon nahin. Mein kar loongi.” If someone shows me the steps and does a few rehearsals, then I can do it.
He gestures to her. “Accha, kal set pe aa jao. Dekhenge.” Ok, come to the set tomorrow. We will see.
The next day, the dancer steps into the set. What she sees makes her eyes widen. Everyone in the dance troupe is moving with expertise, and their bodies are in perfect rhythm.
The choreographer walks in. He looks a bit tired after his long flight from Madras. She rushes to him, almost panicking. “Main kya karoon? Mujhe kuch samajh mein nahin aa raha hai. Na steps pata hai aur gaana bhi nahin suna ab tak.” What should I do? I don’t know anything. I don’t know the steps and haven’t listened to the song yet.
The choreographer signals sharply. “Masterji!”
Masterji appears, calm and confident. He tacitly indicates that he has got this under control. “Chalo ye steps try karte hain.” Let’s try these steps.
The dancer looks at him, confused. “Par gaana nahin hai. Gaane ke bina kaise dance karoon?” But the song is not playing. How can I dance without a song?
Masterji puts his foot down. “Gaana nahin lag sakta abhi. Music technician busy hai. Sirf steps pe dhyan do.” We cannot play the song. The music technician is busy. Just focus on the steps.
The dancer can’t believe she is being put through this. Grudgingly, the dancer tries to follow Masterji. His feet are tapping in neat precision. The dancer imitates, but her version is quite shaky. The rest of the troupe watches her from a distance. You can see some of the eyes rolling.
“Ab rehearsal kar lete hain?” Let’s rehearse now. The dancer hopes her steps will improve further with a rehearsal.
Masterji smiles, “Yehi rehearsal thi. Abhi actual shot karte hain.” This was the rehearsal. Now we will do a live shoot.
The camera rolls. The song comes on in the background. The entire troupe appears flawless as they go through the steps. The dancer not so much. She repeats the same uneven moves. The rest of the troupe is watching her in dismay, even while they are on the move.
Suddenly, there is a loud noise. “Cut!!!” The rest of the crew is expecting the choreographer to go ballistic and scold the new dancer.
The choreographer claps lightly, “bahut accha, very good.” Very nice, very good. Masterji joins in, adding, “Bilkul, very good.” Yes, very good. The crew around them is shocked. This is so blatant. How can they not see this?
The choreographer and Masterji have other plans. They first exchange glances with each other and then look towards the cameraman.
The cameraman has also perfected his art over the years. He can sense what’s happening on both sides of the camera. The said and the unsaid. He steps forward, scratching his head, “Light sahi nahin hai. Mein kuch aur lights lagwata hoon. Ek aur take karna hoga.” The light conditions weren’t good. I will have them put in some more lights. We will have to do another take.
The dancer hears this and takes a deep breath. She says to herself, “baal baal bach gayi.” Thank goodness, nobody complained.
The next take begins. This time, when the music blasts and the camera moves, her body aligns, her steps sharpen, and her face glows with rhythm. She is in the zone. The crew breaks into genuine applause.
The choreographer, masterji, and cameraman all look at each other and share a smile.
Aruna Irani was the main dancer in the song Dilbar Dil Se Pyare in the film Caravan. The song was choreographed by Suresh Bhatt, and the film was directed by Nasir Hussain. The playback of the song was provided by Lata Mangeshkar. The music was composed by RD Burman, and the lyrics were penned by Majrooh Sultanpuri.
Aruna Irani’s father ran a drama troupe, and her mother was an actress. She entered the world of Hindi film cinema as a child artist in films like Ganga Jumna and Anpadh. Eventually, as she grew up, she took on small roles through the 1960s. She didn’t get the opportunity to learn dance formally, but she picked up those skills on the set as those opportunities came by. She quickly became known for her vamp roles in Hindi films before her breakthrough in Caravan.
Suresh Bhatt and cinematographer Munir Khan, both seasoned professionals, understood the pressure faced by a newcomer like Aruna Irani. Instead of putting her on the spot, they agreed tacitly to have Munir Khan offer an excuse about reshooting due to the lighting. This allowed Aruna Irani to regain her confidence and deliver a much-improved performance.
Caravan was a massive success due to its perfect blend of catchy music, vibrant dance numbers, and engaging entertainment that resonated widely with audiences. The film’s unique appeal, especially the captivating dance sequences by Aruna Irani and the iconic cabaret performance by Helen, added a distinct charm that drew audiences into theaters. Its success was not only domestic but also international, particularly in China, where it became the highest-grossing foreign film for decades.
The year 1971 was truly unique for Hindi cinema, highlighted by films with memorable music and strong performances that earned top Filmfare nominations. Alongside Caravan, films like Anand, Mera Naam Joker, Andaz, Kati Patang, and Guddi competed for awards. Caravan was nominated in several categories, with Aruna Irani getting her first nomination for Filmfare Best Supporting Actress, marking an important milestone in her career.
Here is Lata Mangeshkar singing this song at a concert.
Singer: Lata Mangeshkar
Composer: RD Burman
Lyricist: Majrooh Sultanpuri
Choreographer: Suresh Bhatt
*ing: Aruna Irani
Director: Nasir Hussain
Cinematographer: Munir Khan
Film: Caravan (1971)