Safar (1970) Review: Rajesh Khanna The Actor Excels In This Romantic Drama, Which Feels Like A Meeting Point Of Andaz (1949) & Anand (1971)

RATING - ⭐ ⭐ ⭐ 3/5*

Safar Review Movie Talkies:

Hrishikesh Mukherjee’s Anand had not been made when Safar released, yet it is still fair to use it as a reference today because of its lasting popularity. Safar carries a strong Andaz (1949) flavour, blended with a central theme similar to Anand — that of a man slowly dying of cancer. Interestingly, both films feature Rajesh Khanna in the lead.

Safar Movie Story:

Here, Khanna delivers a performance that highlights his strength as an actor rather than merely a charming superstar. He plays Avinash, a painter who refuses to emotionally surrender before death actually claims him. After learning about his cancer, he chooses to live happily, determined to enjoy the remaining days of his life. Sharmila Tagore plays Dr. Neela, a medical student who falls in love with Avinash. Aware of his fate, he asks her to marry Shekhar, a businessman who is deeply in love with her. The narrative template borrows from Andaz, involving love triangles, sacrifice, and eventually a crime and courtroom drama in the climax.

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Safar Cast:

The film lacks the emotional depth and inner trauma that made Anand so impactful. While Anand’s character brimmed with joy, optimism, and philosophical humour, Avinash spends much of the film bedridden, which somewhat limits the emotional range. Still, Khanna’s performance elevates the film into a respectable romantic drama. Sharmila Tagore’s beauty and natural screen presence are commendable, while Feroz Khan makes his role relatable and restrained. Ashok Kumar contributes effectively, relying on his experience and understated grace.

Safar Movie Review:

Kalyanji–Anandji’s music is soothing and melodious, though largely devoid of chartbusters. Zindagi Ka Safar remains timeless, remembered even today as a reflection of life’s journey. Ashutosh Mukherjee’s story contains enough drama to engage for two hours, but it misses that one extraordinary conflict that could have made the film truly memorable. Asit Sen’s direction is steady, sincere, and meaningful, though it feels dated in parts.

One of the film’s most striking philosophical dialogues remains: “Main Mangal hoon. Woh roshni ke liye na chaand se bheekh maangta hai, na sooraj se. Woh khud roshan hota hai aur jalta hai." In astrology, Mangal is often considered an unholy planet, yet this dialogue beautifully reinterprets it through a scientific and philosophical lens.

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