Dev Anands best-known proletarian performance as a taxi driver in a story inspired by film noir. Mangal, alias Hero (Anand), resuces Mala (Kartik) from some hoodlums. This act of chivalry leads to a series of encounters with a violent criminal gang who, later in the film, steal Mangals cab to commit a bank robbery. Mala, who has ambitions of becoming a singer in the movies, finds shelter in Mangals room, which also forces her, in the most dramatic part of the film involving a mysterious sister-in-law who appears and equally suddenly exits from the story, to cut her hair and to masquerade as a man. Mangal teaches her the foul-mouthed habits of the citys proletariat, their swaggeing gait and thier way of lighting a cigerate. Much of the films action takes place in a nightclub where an Anglo-Indian cabaret dancer, Sylvie (Ramani), works and who is in love with Mangal. The film climaxes with a shoot-out in the club between the gang, aided by a bunch of film-industry types, and Mangals friends. The films explict invocation of Hollywood is particularly well ralised in the character of the flaxen-haired Anglo-Indian drummer in Sylvias band, Tony (Corke). He also washes cabs, helps to save Mangals life and , in a remarkable shot, lies resplendent on the roof of Mangals taxi in the background during a drunken chat between Mangal and his comic sidekick (Walker). Most of the songs were Ramanis cabaret numbers with a few additons: the upbeat socialist-realist taxi drivers number Chahe koi khush ho chahe galiyam hazaar de sung by Kishore Kumar and the tragic Jaye to jaye sung by Talat Mahmood. *.* Manglu, a Taxi-Driver was known to his friends as `Hero. He was a gay devil-may-care young man, who neither regretted his yesterdays, nor planned for his tomaorrows. Life was a hard struggle, and it had taught him to develop a crust of cynicism in his attitude to his fellow - beings. . They say, however, that there is Good in every man, it needs but the magic touchstone of circumstances, or love, or the right human being to bring it out. Hero never dreamt that the young frigthened village girl (so obviously being exploited by her two males companiouns, whom Hero judged correctly as being typical Bombay sharks) would completely change his whole way of life. At first he refused to take any notice of her predicament, but later, when the two rogues attacked her brutally on the Juhu Beach, Hero could not maintain his attitude of detachment. He fought off the men, and having rescued the girl, found that he had a real problem on his hands. . Mala, the village girl, had run away from her home after her parents had died, leaving her at the mercy of cruel relations. She had come to Bombay to find a certain musician named Ratanlal, who had long ago promised to train her as a singer after having heard her sing while he was passing through her village. But Hero Mala could not find Ratanlal In the end Hero had to offer her his room. . Gradually Mala became his inseparable companion. When his Bhabi came to visit him, Hero, to hide identity, cut off Malas hair, and transformed her into a boy `Rajpur, and made her his cleaner. He grew to be ashamed of his life of drinking and gambling and of his crude affair with Sylvie an Anglo-Indian cabaret girl, who sang and danced at the "Doston Ka Adda", the favourite rondevous of Hero and his friends. . How Mala ran away from Hero on discovering his relationship with Sylvie how they were re-united only to be torn apart by gangsters how Mala became a singing `Star and how Hero took his revenge on the villains who tried to kill her, all make for a suspense-laden adventure which you will enjoy in Nav-Ketans latest film `Taxi Driyer

Director:Chetan Anand
Producer:Dev Anand
Music:S. D. Burman
Main Cast:Dev Anand, Kalpana Kartik, Sheila Ramani, Johnny Walker, Rashid Khan, Parveen Kaul, Ratan Gaurang, Hameed, Vernon Corke
Genre:Social
Banner:Navketan

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Statutory Declaration: Contents of this Film,Scene,Song which was released, as per available sources now are in the public domain since the term of copyright has expired,under the copyright act 1957.

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