When SD Burman called Hare Rama Hare Krishna 'disgusting' and asked Dev Anand not to make it, Zeenat Aman was NOT the first choice

When SD Burman called Hare Rama Hare Krishna 'disgusting' and asked Dev Anand not to make it, Zeenat Aman was NOT the first choice

• Zeenat Aman was not the first choice for Hare Rama Hare Krishna's Janice role
• Dev Anand revised the film's controversial plot following SD Burman's advice.
• R. D. Burman composed the film's music, shaping its modern sound and legacy

Did our AI summary help?

Released in 1972, Hare Rama Hare Krishna remains one of the most daring and culturally defining films of Dev Anand’s long career. Decades later, the film still resonates for its unflinching look at youth rebellion, the hippie movement, and a generation searching for meaning. It also launched Zeenat Aman into stardom, immortalised by the iconic song Dum Maro Dum. But the film’s journey from idea to screen was far more complex and controversial than audiences ever imagined.

In a recent conversation with journalist Vickey Lalwani, Dev Anand’s close friend Mohan Churiwala revisited several lesser-known anecdotes from the film’s making. One of the biggest revelations was that Zeenat Aman was not the first choice for the role of Janice. Actress Zaheeda, who had earlier worked with Dev Anand in Gambler and was reportedly close to him at the time, was initially considered.

“Dev saab had cast Zaheeda ji in Gambler. In fact, Zaheeda ji was supposed to play the role in Hare Rama Hare Krishna that Zeenat Aman eventually did,” Mohan recalled. “But since Zaheeda ji was the heroine in Gambler, the director and producer of that film, Amarjeet, told her, ‘If you play the sister in another film while being a heroine here, it might negatively affect the picture.’ That’s why Zaheeda ji refused the film because she thought, ‘How can I be your sister when I just played your heroine?’”

Also Read: Salman Khan flaunts inked finger after casting his vote in Mumbai BMC Election 2026

Perhaps even more startling was Mohan’s account of the film’s original storyline, which reportedly disturbed legendary composer S. D. Burman, who was Dev Anand’s first choice for music. According to Mohan, Dev Anand had a habit of narrating the story to Burman Dada before finalising a project, so the music could be shaped around the narrative.

“When he narrated the original story, which was about Dev Saab’s character searching for his sister but eventually falling in love with a girl and deciding to marry her, only to discover she was his sister all along, SD Burman was shocked,” Mohan said. He recalled Burman Dada’s blunt reaction: “Don’t make this film, this is a disgusting story. What is wrong with you to plan such a story?”

Realising he had pushed the idea too far, Dev Anand reworked the script by introducing an additional character and a clear romantic track to remove any inappropriate undertones. Even then, SD Burman refused to be associated with the project. “You don’t make this film. I don’t want to do it, and you shouldn’t either,” he reportedly told Dev Anand.

However, Burman Dada did offer one crucial suggestion. Recognising that the film dealt with modern themes and youth culture, he advised Dev Anand to approach his son, R. D. Burman. “This is a modern film, and it needs a modern tune. For this, Pancham will be better for you,” Mohan recalled. That decision would go on to define the film’s soundscape and legacy.

Mohan also spoke about the challenges of shooting at the sacred Pashupatinath Temple in Nepal, where non-Hindus were traditionally barred entry. “There was a board at the temple that said, ‘No admission to any caste or creed except Hindus,’” he said. Despite this, special permission was granted for three Muslim crew members, including Zeenat Aman, Mumtaz, and cinematographer Fali Mistry.

“The most significant scene to be shot there was the marriage with Mumtaz. But King Mahendra personally allowed the shoot to happen. The temple was closed for the occasion, and we were allowed to shoot. Who can do that now?”

The conversation ended with a touching memory involving Raj Kapoor, who reportedly called Dev Anand after watching Guide. “At around 6 a.m., after finishing the film, Raj Kapoor reportedly called Dev Anand, praising both the film and Vijay Anand. He said, ‘You are so lucky to have such a talented brother.’ He was crying on the phone.”

Taken together, these stories paint a vivid picture of a fearless filmmaker willing to walk uncomfortable edges, guided by instinct, conviction, and an unwavering belief in cinema as a mirror to society.