In Anitaa Padhye’s biography excerpt, Dev Anand gives 22-year-old Vijay “Goldie” Anand the directing assignment for Navketan’s ninth production, Nau Do Gyarah, after reading his detailed script. The excerpt traces how Goldie shaped the film around story-driven songs, location work and a deliberately extended suspense climax.
How Goldie got his first Navketan directing assignment
Scroll published this translated excerpt from Anitaa Padhye’s Goldie – The Man and His Movies on February 17, 2021. In the account, Vijay Anand had not worked as an assistant director and had no formal training. Dev Anand read his detailed script and chose him to direct Navketan’s ninth film, Nau Do Gyarah.
Goldie approached the assignment by experimenting. He worked out camera positions and asked for a doorway on the set to be altered so a trolley could pass through it. The excerpt also recalls that dialogue was performed without a soundtrack before dubbing. These details present a young director learning through practical decisions rather than following a conventional apprenticeship.
Why the songs had to belong to the story
Goldie told S.D. Burman that the songs should work as conversations between the lead characters and move the plot forward. As rendered in Scroll’s translation, he said: “The songs I am looking for should be a part of the storyline, and if they are removed the story would be affected.” The excerpt names Majrooh Sultanpuri as lyricist and says Meera Dev Burman suggested the tune for “Aajaa panchhi akela hai.”
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The account also recalls Goldie discussing the wording of a song with Majrooh. Because he planned to film it in moonlight, he objected to the word “sunehra,” saying, “I am going to shoot the song in moonlight, so sunehra won’t be suitable.” The exchange illustrates how he treated lyrics, performance and visual setting as connected parts of a scene.
From highway locations to a technical setback
The excerpt describes filming on the Delhi-Mumbai highway, building interior scenes at Kardar Studios in Mumbai and shooting outdoors in Mahabaleshwar. During “Hum hain rahi pyaar ke,” a technical problem disrupted the work, but Goldie continued filming the song.
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After the first shot, the excerpt quotes Lalita Pawar as telling him: “This is the first time I am working with a director after V. Shantaram. There are very few directors like him.” The line is presented in the biography’s recollection, not as an independently documented transcript.
A five-minute climax stretched to nearly eight
Goldie conceived the climax to make five minutes of story time feel much longer. Repeated images of watches and events unfolding in parallel were meant to heighten the audience’s sense of suspense. The excerpt says the idea was partly prompted by Goldie reading Yoga Vasistha, where time is described as subjective.
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Editor Dharamveer worried that the extended sequence would test the audience’s patience and argued for cutting it down. In Punjabi transliteration, as reproduced in the translation, he warned: “Goldie ji, aisa nahin honda. Log uth jayenge, cigarette pe chale jayenge…” Goldie preferred to keep the sequence and see how viewers responded. It ran nearly eight minutes, and the excerpt reports that the premiere audience reacted enthusiastically.
Production figures reported in the biography
Padhye’s excerpt says shooting took nine months and that editing continued for thirteen days. It separately says Goldie slept in the editing room and did not leave for eleven days at a stretch. The account reports a budget of Rs 5 lakhs and calls the film a hit; it does not define the budget basis or supply independent box-office evidence. These figures and descriptions should therefore be understood as the biography excerpt’s account, rather than verified production or commercial records.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.About the book excerpt
Scroll identifies the passage as an excerpt from Anitaa Padhye’s Goldie – The Man and His Movies, translated from Marathi by Vikrant Pande and published by Amaryllis. Read the excerpt on Scroll.
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