A key factor that separates Chashme Buddoor from other comedies is its depth of comic detail. Several brief, sublime gags unfold on second viewing, like the hollowed-out coconut that serves as an ashtray; a romantic song sequence on a boat that’s rescued from cliché by the cross-cutting between the couple and a herd of water buffaloes; “Maafi” being pronounced, ’30s style, as “maufi”; the camera zooming in after a character puts his hands to his eyes like a pair of binoculars; the line “kali ghodi pe gora saiyya chamake” that accompanies a fair-skinned Shaikh riding in on a black motorcycle.
Baswani, debuting here, and Bedi, just three films old, work hard for their laughs but are upstaged by Shaikh’s appealing reticence and the jovial shtick of Saeed Jaffrey as Lallan Mian, their paan and cigarette supplier. Naval walks away with the movie; she’s pretty enough for each of the three to fall in love with at first sight, and grounded enough not to let this go to her head. Paranjpye has directed several features since then, and while some of these have been critical successes (Katha, Disha), it is Chashme Buddoor that has proved her most enduring, and endearing, work to date.