“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. 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?’”

Mohan didn’t stop there. He revealed another interesting piece of trivia: initially, S.D. Burman was supposed to compose the music for Hare Rama Hare Krishna. However, he refused after hearing the original story, which hinted at a potentially incestuous relationship between Dev Anand’s and Zeenat Aman’s characters. “This is a very interesting anecdote that Dev Saab used to tell laughingly. He always had a knack for picking bold subjects, and whenever he planned a film, he first narrated the story to Burman Dada so that the music could be composed accordingly. 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 recalled SD Burman’s reaction: “When Burman Dada heard the story, he stood up and said, ‘Don’t make this film, this is a disgusting story. What is wrong with you to plan such a story?’ Listening to this, Dev Saab realized he might be going too far, so he added another character to introduce a romantic subplot, ensuring there would be no inappropriate connection with the sister. But SD Burman still refused: ‘You don’t make this film. I don’t want to do it, and you shouldn’t either.’ Yet Dev Saab was determined to make it.”

The original story of Hare Rama Hare Krishna hinted at a potentially incestuous relationship between Dev Anand’s and Zeenat Aman’s characters. (Photo: Express Archives)

Mohan further narrated how, after realizing the story also touched on the decadence of the hippie culture, SD Burman suggested Dev Anand approach his son RD Burman for the music. “This is a modern film, and it needs a modern tune. For this, Pancham (RD Burman) will be better for you.” Speaking about other behind-the-scenes stories, Mohan recounted the challenges of shooting at Pashupatinath Temple in Nepal, which only allowed Hindus to enter. An exception was made for Dev Anand’s crew, allowing three Muslim artists — Mumtaz, Zeenat Aman, Fali Mistry) working on the film to participate.

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“There was a board at the temple that said, ‘No admission to any caste or creed except Hindus.’ But in Dev Saab’s film, three Muslims, Zeenat Aman, Mumtaz, and Fali Mistry, were part of the shoot. 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?”

In the same conversation, Mohan also shared how Raj Kapoor, a contemporary of Dev Anand and a legendary filmmaker, praised Dev Anand after watching the classic 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.”