Divya Delhi: B.R. Chopra's Naya Daur romance triangle and rural industrialization critique come alive with Dilip Kumar and Vyjayanthimala's chemistry. The concept is obsolete, but the emotions and performances are ageless. I'd colorize Sadhana, a prostitute rehabilitation film that questioned society, for B.R. Chopra's unique style. Daur follows... The funny songs, dances, and questioning of Nayyar are old. In 1968, Naya Daur questioned rural industrialization. Reformative theater depicts a moral utopia. As the camera traverses the stunning landscape, the storytelling drive enhances the theme's rawness. Every story B.R. Chopra told was great. Society values his character.You think Chopra's major issue is not social change but the romantic triangle of thankless urbanization. Hard Dilip-Vyjayanthimala-Ajit triangle. Ajit smiles with every Vyjayanthimala lip purse and Dilip Kumar eyebrow raise. Same love. Principal pair chemistry lasts. Love conceals pain, making selflessness hard. I love Akhtar Mirza and dialogue writer Kamil Rashid's timeless symbolic arguments. The best tonga rider and dhoti wearer was Dilip Kumar. Final bus racing will make anyone giggle. Dilip Kumar, no. Emotions soar, thoughts swim. This actor's 'light' performance thunders. Wonderful dances and dramatic and humorous love, hate, and other emotions complement her sweet touch. Backslaps and disagreements between leaders during love's tough path will intrigue you. Despite its complexity, the plot uses open areas well. The heart always knows. Non-Naya daur. Old stories and emotions are true.