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It was 1946 when Dev Anand’s elder brother and filmmaker Chetan Anand made his directorial debut with Neecha Nagar—a film that would go on to create history, even as it remained largely unseen in its own country. The film was presented at the inaugural Cannes Film Festival and emerged as the only Asian film to win the Grand Prix (now known as the Palme d’Or), sharing the honour with 11 other films out of 18 in competition. Neecha Nagar also marked the debut of actor Kamini Kaushal and legendary music director Ravi Shankar, received praise from Lord Mountbatten, and earned international acclaim. Yet, despite all this, the film never found an audience in India. The reason was startlingly simple: it had no songs.
Speaking on the Unheard Tales Podcast, Chetan Anand’s son Ketan Anand reflected on the film’s extraordinary yet bittersweet journey.
“That film became an award-winning landmark—the first Asian film to win the Grand Prix at the very first Cannes Film Festival. My father became known internationally, but not as much in India. Still, he was always deeply revered. He was a great filmmaker. Satyajit Ray was influenced by him and even wrote that after watching Neecha Nagar, he wanted to leave his job and become a filmmaker.”
Ketan added that while the film struggled commercially in India, its political undertones struck a chord abroad. “He was an intellectual who had won Cannes, but the film didn’t work in his own country. India was preoccupied with the freedom struggle at the time. France, however, was fascinated, and that’s why they honoured it.”
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He also recalled how the British administration was stunned by the recognition Neecha Nagar received. Unable to believe that a French jury had awarded such a prestigious prize to an Indian film, they arranged a special screening.
“Jawaharlal Nehru was still struggling and was close to Mountbatten. Mountbatten called him, and they watched the film together because the British simply couldn’t accept that France had given such a major award to it,” Ketan said.
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According to him, the British surprisingly appreciated the film’s nuanced storytelling. “They liked it because it reinforced their belief that they were fair in allowing criticism. The film spoke allegorically. They said, ‘Young Chetan has made a very lovely film—release it all over India.’”
Yet, that release never truly happened.
“The distributors refused to pick it up, saying the film had no songs,” Ketan Anand recalled.
A Hindi adaptation of Maxim Gorky’s The Lower Depths (1902), Neecha Nagar reimagined the story within an Indian socio-political framework. The film portrayed stark economic and social inequalities, with the oppressed residents of Neecha Nagar (the low city) subjected to calculated exploitation by the wealthy elite living in Ooncha Nagar (the high city).
It was a bold metaphor for British colonial rule—courageous, intellectual, and far ahead of its time.
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Despite its international recognition, Neecha Nagar received only a token release in a single theatre in India. Distributors saw no commercial value in a film devoid of songs, dance, or romance—elements that defined mainstream cinema of the era.
History, however, would remember it differently: as a pioneering Indian film that conquered the world before its own country was ready to embrace it.
