Three days after Dharmendra’s death, his long-time co-star and friend Mumtaz reached for memories rather than words for her tribute to the veteran actor. She posted stills from their 1973 hit Loafer — a film that captured the pair at the height of their chemistry — and added a brief note: “Dharam Ji, you were and you are always with us! May you rest in peace.”
Throughout the late ’60s and early ’70s, Dharmendra and Mumtaz delivered some of the most beloved entertainers of that era, including Kaajal (1965), Aadmi Aur Insaan (1969), and Mere Hamdam Mere Dost (1968). Loafer was released in a year when Dharmendra was everywhere. He had a string of hits that year with starring roles in Yaadon Ki Baaraat, Kahani Kismat Ki, Keemat, Jwar Bhata and, Jheel Ke Us Paar — also with Mumtaz.
Loafer was the more commercial, crowd-pleasing entry among all his releases. Five decades on, the A Bhimsingh directorial remains one of those quintessential early-70s entertainers. After all, it was Bollywood’s comfort food, a predictable masala entertainer.
The film’s appeal rests on three pillars: Dharmendra’s magnetism, Mumtaz’s glamour, and Laxmikant-Pyarelal’s evergreen score. Loafer and Jheel Ke Us Paar cemented Dharmendra-Mumtaz as one of the most recognised pairings on screen.
Dharmendra slips into a full “mass hero” mode in the film. He is flamboyant, rakish, and irresistibly charming.
And, much like Dharmendra‘s on-screen persona at the time, the film isn’t chasing subtlety either.
A Bhimsingh directed Loafer with a clear understanding of what the audience wanted: drama, humour, romance, and a steady dose of action.
But, at its heart, Loafer is a tale of morality.
Also read: ‘Two Sinners’ is about vigilante justice. It asks tough questions in a 12-minute runtime
The familiar redemption arc
Dharmendra plays Ranjit, a small-time crook with a golden heart. The film follows the familiar redemption arc: the “loafer” who wants to become respectable, a villainous network that refuses to let him, and a romance that gives him something worth fighting for.
One of the film’s biggest strengths is Dharmendra himself. By 1973, he was already a fully-formed superstar, equally comfortable as an action figure, romantic lead, or dramatic powerhouse.
Dharmendra’s comic timing, often under-appreciated, is on full display in Loafer. It is said that the year 1973 showcased Dharmendra’s range, and within that span, Loafer highlighted his ease.
On the other hand, Mumtaz is radiant in the film. She brings glamour, mischief, and emotions. Her chemistry with Dharmendra is electric, and she lights up the screen in the songs.
She plays Kiran, who brings both fun and softness to Ranjit’s rough edges. Their chemistry, yet again, proved to be one of the effortless joys of the film.
Mumtaz, with her energy and sharp comic timing, keeps pace with Dharmendra in every frame.
Even her wardrobe deserves applause. It shifts subtly with her character’s journey. She is introduced in a traditional saree, the picture of a “good girl”, but once Pratap (Prem Nath) enlists her to trap Ranjit, her outfits transition to mini skirts and chic dresses, reflecting her new personality. Her redemption arc also comes with the saree back on display.
Laxmikant-Pyarelal’s soundtrack is an essential ingredient in the film’s masala mix. Songs like Koi Shehri Babu, Aaj Mausam Bada Beimaan Hai, Motiyon Ki Ladi Hu Main became huge hits and have been remixed multiple times over the years. Anand Bakshi wrote the lyrics.
The music amplifies everything, from the romance to the mischief, giving Loafer a melodic backbone typical of the era’s commercial cinema.
Watching Loafer today is like opening a time capsule from Bollywood’s most unapologetically masala era. It certainly feels outdated yet entertaining.
For the fans of 70s Hindi cinema, Loafer remains a fun and delightful watch. For Dharmendra lovers, it’s a reminder of his unmatched versatility in a year when he was firing on all cylinders.
But the film’s real charm lies in its very predictability. Loafer isn’t out to reinvent the wheel; it’s content to play the classics, and play them well.
Views are personal.
(Edited by Aamaan Alam Khan)