One of the classic masala films of the 1970s, Don is a magnificent showcase for the lanky charm of Amitabh Bachchan in his prime.
The title character is a powerful lieutenant in an international smuggling ring. Early in the film the body count mounts - and so does Don's arrogance, as he utters the film's famous line, Don ko pakadna mushkil hi nahin - namumkin hai: "It's not just difficult to catch Don - it's impossible." Soon, though, Don is not just caught but killed, and the police official who is the only witness to his death hatches the cunning plan of hiring a doppleganger to infiltrate Don's gang and collect intelligence. Enter Vijay, a rough, uneducated, paan-chewing Bombay street performer who just happens to be a dead ringer for the departed Don. Vijay must now convince the gang that he is Don - and, after his patron's death, convince the police that he isn't.
Improbable? Sure. But never mind - Don is a thoroughly fun ride. Throw in the beautiful Zeenat Aman as the tough-as-nails, steely Roma, who infiltrates Don's gang to avenge her brother's death, and one of the funkiest, best soundtracks of the era, and it's no wonder this film is a classic. The wheels come off a bit in the film's final third as the plot holes stretch a little wider than they should and the action scenes strain the suspension of disbelief. Still, Don is precisely the kind of escapist fantasy that Bollywood excels at, especially in that era, and Amitabh has plenty of irresistable charm to make up for whatever shortcomings may exist in the script. And it's all in good fun - with its tightrope escapes from tall buildings, improbable urban car-chases, and exploding suitcases, Don never takes itself too seriously.
Amitabh has a challenge here, playing not just two roles but three: suave and menacing as Don, goofy and energetic as Vijay, and something more complex as Vijay-playing-Don. He falters a bit in this third role, but has enough shining moments to sustain the film. Zeenat Aman, too, has enough presence to stand up to Amitabh, who could easily overwhelm a lesser heroine. She's a real treat in Don, rocking the short hair and pantsuits, kicking ass and taking names.
Don's soundtrack is packed with great tunes and classic picturizations, like "Khaike paan banaraswala," in which Vijay, exhausted from playing Don and then trying to clear his name, finally gets to cut loose in his own element. Zeenat struts in "Jiska mujhe tha intezaar," Roma's declaration of vengeful intent. I love Kishore Kumar's triumphant vocals on the energetic "Main hoon Don," the melody of which provides the film's pulsating theme. And, like all great films of the era, there is even a Helen item number.
Don is bumpy and unpolished compared to its slick, modern revival, Don: The Chase Begins Again. But in many ways it is a lot more fun than Farhan Akhtar's dark retelling of his father's tale, and the plot holes, inconsistencies, and downright "WTF?" moments are more easily forgivable in the tongue-in-cheek, low-budget context of a 1970s classic than they are in a high-tech, high-tone modern production in which no expense was spared. That double standard may be unfair, but it's impossible to avoid. If I found this original version a shade more enjoyable, it is as much a function of my own biases - my general preference for oldies - as it is a reflection of anything about the two films. I will always take Amitabh over Shah Rukh Khan, Zeenat over Priyanka Chopra, Kishore over Udit Narayan - and Akhtar baap over Akhtar beta. It's just not a fair fight.
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