Filmi Girl reviews Jewel Thief (1967)- sees it as the ‘conflict of values’ being ‘worked out on the stage of East and West’:

The locations have a similar coding. Everything associated with Amar is modern, glitzy, and Western while the things Vinay is eventually drawn to are traditional. Interiors associated with Amar like Helen’s apartment, the high-roller club where “Amar” pulls a caper, and Amar’s lair, are filled with designs evoking commercial art of the West from the early to mid-20th century. For example, the jeweler, who was working with Arjun the jewel thief, has a wet bar in his living room shaped like a champagne flute next to a martini glass. It looks like something from a Henry Mancini album cover. Helen’s apartment has a large stained-glass light sculpture resembling the work of Piet Mondrian. To contrast, when Vinay and Shalini are shown together in song picturizations the locations used are very traditional. They are shown in a lush garden (“Aasmaan Ke Neeche”) – a background often used to evoke the mythic love story of Ram and Sita; in the beautiful mountain-top scenery of Nepal (“Dil Pukare Aare Aare”); on an island in the middle of a lake (“Rula ke Gaya Sapna Mera”); and at the court of the King of Nepal (“Hoton me Aisi Baat”), which may be both glitzy and exotic, but is certainly neither modern nor Western.

Interesting.