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Hindustan Times
12-07-2025
- Entertainment
- Hindustan Times
Guru Dutt's tragic affair with life, and Bollywood
In the Hindi film world, Deepika is not the only famous Padukone. Many decades earlier there was another Padukone, arguably far more iconic. His name was Gurudutta Padukone, known to the world as Guru Dutt. July 9 marked his 100th birth anniversary. Starting life as a telephone operator, Guru Dutt achieved, even before he was 30, unprecedented success in Hindi cinema. Making his directorial debut with the hit film Baazi in 1951 starring Dev Anand, he acted in/directed or produced four blockbusters between 1954 and 1956 — Aar Paar (1954), Mr & Mrs 1955 (1995), and CID and Sailaab in 1956. In 1960, he played the lead role in the unforgettable commercial hit, Chaudhvin ka Chand. But apart from these successes, Guru Dutt will always be remembered for three of his films, Pyaasa (1957), Kaagaz Ke Phool (1959), and Sahib Bibi Aur Ghulam (1962). In an era where most films were mythological dramas, the usual song and dance routines, or tales of simplistic morality, Dutt had the courage to create these celluloid indictments of a society that rewards mediocrity, punishes idealism, and fears introspection. To understand Guru Dutt's genius, one must first understand Pyaasa, arguably his magnum opus. At its heart is Vijay, a penniless poet in a materialistic world, whose verses, suffused with anguish and truth, find no takers. In crafting Vijay, Dutt gave us a character who was as much a reflection of his own inner torment as he was a symbol of the artist in any era — ignored, misunderstood, and ultimately commodified. Dutt employed Sahir Ludhianvi's searing poetry — Jinhe naaz hai Hind par woh kahan hain? — to strip away the false pieties of a newly independent nation that had begun to forget its promises. Pyaasa will be remembered too for the role of Gulabo, the courtesan played by Waheeda Rehman, who becomes the sole repository of compassion in a cruel world. Dutt subverts societal norms by investing dignity in the most marginalised. That, in essence, was his moral vision: the courage to see worth where others saw waste. In its stunning compositions, Dutt introduced a visual grammar rarely seen in Indian cinema at that time — deep shadows, noir-inspired frames, long tracking shots that mirrored the protagonist's emotional descent. In short, he turned cinema into poetry. If Pyaasa — which was listed in the top 100 films ever by Time magazine — was Guru Dutt's lament for a callous society, Kaagaz Ke Phool was his bitter elegy to fame, failure, and the crushing loneliness of the creative spirit. Rarely has any filmmaker so nakedly exposed his inner disillusionment on screen. The film is an autobiographical confessional, cloaked in fictional narrative. Ironically, while regarded now as a cult classic, it was a commercial disaster. The film's protagonist, Suresh Sinha, is a celebrated film director who falls from grace, destroyed by a society that first deifies and then discards him. It is a scathing commentary on the fickle nature of fame, on the voyeurism of a public that consumes the artist but offers him no solace. That iconic shot of light streaming through the studio roof onto a forlorn Sinha remains one of the most powerful visual metaphors in Indian film history. In Sahib Bibi Aur Ghulam, Guru Dutt turned his gaze towards the declining feudal order and, in doing so, offered one of Indian cinema's most nuanced portrayals of female suffering and resilience. While the film was directed by Abrar Alvi, its visual style, thematic undertones, and emotional palette bear the unmistakable stamp of Dutt. Meena Kumari's haunting performance as Chhoti Bahu, the lonely wife who turns to alcohol to win her husband's love, is arguably the most tragic character in Dutt's oeuvre. Guru Dutt's personal life was tormented. He drank and smoked excessively. His marriage to singer-artist Geeta Dutt was a failure. His rumoured infatuation with Waheeda Rehman also led nowhere. On October 10, 1964, at the age of 39, he was found dead, possibly due to an accidental overdose of alcohol and sleeping pills, but more likely suicide, which he had attempted twice before. What sets Guru Dutt apart is his profound aesthetic solitude. He did not pander. He did not flatter. He did not conform. In today's age of algorithm-driven content, he insisted that art must have soul. Pavan K Varma is author, diplomat, and former Member of Parliament (Rajya Sabha). The views expressed are personal.
The Hindu
09-07-2025
- Entertainment
- The Hindu
Guru Dutt's restored classics to return to big screens as part of nationwide retrospective
As part of the centenary celebrations of legendary filmmaker Guru Dutt, a special retrospective of his iconic films will be held across the country from August 8 to 10, Ultra Media and Entertainment has announced. The retrospective will feature restored versions of some of Dutt's most celebrated films, including Pyaasa, Aar Paar, Chaudhvin Ka Chand, Mr. & Mrs. 55 and Baaz. The restoration of Pyaasa and other titles has been undertaken by the National Film Development Corporation (NFDC) and the National Film Archive of India (NFAI), under the central government's National Film Heritage Mission. Sushilkumar Agrawal, MD & CEO, Ultra Media and Entertainment Pvt Ltd, which holds the rights to these films, said they are honoured to present the timeless movies of the late filmmaker-actor for his fans and cinema lovers. 'Guru Dutt's films are timeless masterpieces that have influenced generations of filmmakers and audiences alike. We are honoured to present his classics in restored versions so that both devoted fans and new audiences can relive the magic on the big screen,' Agrawal said in a statement. Rajat Agrawal, Chief Operating Officer at Ultra Media, said August is the opportune time for the re-release of Guru Dutt films in theatres. Ahead of the festival, he also said they are planning to have a round-table discussion with industry veterans. 'We wanted to do it in a good way, and wanted a clearer window in terms of what movies are there in theatres. We thought August 8 to 10 would be a good time, and it's closer to Independence Day, besides the weekend window is also there,' Agrawal told PTI, adding that they're aiming to release it in 250 to 500 screens across the country. He also said they are also deliberating on the idea of re-releasing the movies in some international territories. 'Besides, we are also planning international releases. We are targeting a few countries like France, the UK, and Australia, with whom we are in discussions right now. We do a lot of sales of his films for digital and satellite rights. ALSO READ:Daily Quiz | On films directed by Guru Dutt "We know there's an audience abroad for his movies. We've done screening rights of his films in the past at the festival where his movies are screened,' Agrawal added. Prakash Magdum, Managing Director at NFDC, said, "Restoring Guru Dutt's films goes far beyond reviving old reels. It's about safeguarding a priceless legacy that defines the soul of Indian cinema."
The Hindu
09-07-2025
- Entertainment
- The Hindu
On films directed by Guru Dutt
Q: Visual question: Name this Dadasaheb Phalke awardee and what is his connection to Dutt's career as a director A: V.K. Murthy who was the cinematographer for all the films Q: Dutt's directorial debut was the 1951 'Baazi', a crime thriller which was produced by Dev Anand's Navketan Films. Which famous Indian cinematic legend wrote the screenplay? A: Balraj Sahni Q: Which flick, made in 1953, which had Guru Dutt debut as an actor under his own direction, is a period piece set in the 16th century depicting an uprising against the Portuguese? A: 'Baaz' Q: In 'Aar Paar' made in 1954, what is Guru Dutt's profession and which sibling of his assisted him in the direction? A: Taxi driver and Atmaram Q: Which popular star is said to have rejected a role in the romantic comedy 'Mr. & Mrs'. 55 due to her hectic schedule, later lamenting it as her 'worst decision ever'? A: Vyjayanthimala Bali Q: Dutt's not-so-successful 'Sailaab', made in 1956, was produced by his brother-in-law, who also gave the music for the film. Name him. A: Mukul Roy Q: In 'Pyaasa', who were supposed to play the roles that Mala Sinha and Waheeda Rehman eventually enacted ? A: Nargis and Madhubala Q: Name the Oscar-winner who designed the costumes for 'Kaagaz Ke Phool'. A: Bhanu Athaiya
Hindustan Times
09-07-2025
- Entertainment
- Hindustan Times
Guru Dutt@100: Devi Dutt remembers his brother and mentor
Mumbai, Guru Dutt was famous for his quicksilver temper on the movie sets but he was equally good at winning over people, says Devi Dutt while remembering his elder brother on the filmmaker's 100th birth anniversary. Guru Dutt@100: Devi Dutt remembers his brother and mentor Devi Dutt witnessed every shade of his brother's temperament the man who gifted Indian cinema timeless classics like "Pyaasa", "Kaagaz Ke Phool", and "Sahib Bibi Aur Ghulam". 'He was lovely. He would get angry a lot. He would speak his heart out, but within some time, he would make the other person feel as if nothing had gone wrong. He would win over a person's heart,' Devi Dutt told PTI, recalling how he has still kept the wrist watch that his brother gifted him on his wedding day. "I still have the watch with me. But I don't wear it anymore," he added. Guru Dutt, who died at the age of 39 in 1964, was 13 years elder to Devi Dutt. 'He would treat me like a child. He was 13 years older than me. I would cry a lot as he would insult me in front of everyone. I would tell my mother, 'What kind of a brother is he?' "My mother would confront him, and he would say, 'I do so because he is my brother, and he should become a good producer',' Devi Dutt, who worked as production manager on movies like 'Aar Paar', 'Mr and Mrs 55', 'CID', 'Sailaab', 'Kaagaz Ke Phool', 'Chaudhvin Ka Chand', 'Sahib Bibi Aur Ghulam', and 'Baharen Phir Bhi Aayengi', said. Asked if Guru Dutt was receptive to ideas and suggestions from others, Devi Dutt said he never mustered the courage to speak up in front of his brother. 'I would stay away from him because I would fear he would shout at me. Whenever he would not see me around, he would yell, 'Where is Devi?' He taught me almost everything about the making of a film. Initially, he put me in the sound department, then he shifted me to production, and then I was in charge of the studio. He had a lot of trust in me,' he said. One remarkable anecdote that stands out in Devi Dutt's memory is related to the climax of Guru Dutt's seminal movie 'Pyaasa'. The film, which Guru Dutt wrote, directed, produced and starred in, was initially supposed to star Dilip Kumar but the actor instead opted to work on B R Chopra's "Naya Daur". It was their mother, Vasanthi, who suggested Guru Dutt to star in the movie. Devi Dutt recounted that 'Pyaasa' was met with scepticism as both Kumar and Chopra expressed doubts about its commercial viability at a trial screening. 'After the film got released, we learnt after four shows that the movie is a flop. The movie was playing in Minerva cinema and Guru Dutt ji would often go to watch 3 pm and 6 pm shows regularly at this theatre, right from 'Aar Paar' days. Minerva was his favourite cinema. "The theatre was close to the red-light area, and most women used to come to see the film. One day, a lady, who was a prostitute, told Guru Dutt ji, 'Show a happy ending, and your film will run in theatres'. So, we reshot the portion with Waheeda Rehman and then it ran for 25 weeks," Devi Dutt said. The new ending worked wonders for the film, which became a box office hit and is today considered one of the greatest films in Indian cinema. While 'Pyaasa' and 'Kaagaz Ke Phool' dominate conversations about his brother's legacy, Devi Dutt believes people often overlooks films such as 'Baaz', 'Aar Paar', and 'Mr. and Mrs. 55'. "He was not just 'Kaagaz Ke Phool' and 'Pyaasa', director,' he said. The thematic elements of Guru Dutt's films often led many to view them through an autobiographical lens, particularly 'Pyaasa' and 'Kaagaz Ke Phool', and Devi Dutt acknowledges this. ''Pyaasa' was in parts, but 'Kaagaz Ke Phool' was kind of that , but he made certain changes to the story. SD Burman had told Guru Dutt ji not to make a film on his life, and if he still wanted to make it, then 'Kaagaz Ke Phool' would be his last movie with him. "'Kaagaz Ke Phool' flopped miserably; the songs were so good, but the film did not do well. SD Burman never gave music to Guru Dutt ji's movies after this and we went with OP Nayyar.' Guru Dutt loved his children Tarun, Arun and Nina. 'He was fond of kids, especially his daughter. He was fond of Nina a lot. Besides, he loved animals,' Devi said, adding that Guru Dutt was also a sports enthusiast. 'He would back the Kolkata football team. He would watch football matches often, and even Tennis matches; he would watch a lot,' he said. A day before his demise in 1964, Guru Dutt was discussing his new film 'Baharen Phir Aayengi' with writer Abrar Alvi. Guru Dutt had produced the movie and was set to headline it as well. 'While we were working on 'Baharen Phir Bhi Aayengi', it happened . It was almost complete, only the climax was left. We took Dharmendra for this film; he charged only ₹1.50,' he said. What if Guru Dutt was alive today? Devi Dutt said his brother would have continued to champion stories about a 'struggling' protagonists. 'He liked portraying his protagonist as a struggling man; if you look in most of his films, the hero struggles. He was a struggler in the beginning, and after a lot of hard work, he reached where he did. Today, if he were alive, he would've narrated the story of a struggling protagonist,' Devi Dutt said. This article was generated from an automated news agency feed without modifications to text.
Time of India
09-07-2025
- Entertainment
- Time of India
Exclusive: Guru Dutt's granddaughters open up about Pyaasa's re-release
Pyaasa poster and Karuna Dutt A nationwide retrospective showcasing Dutt's timeless classics, meticulously restored in 4K by National Film Development Corporation Ltd. (NFDC) and National Film Archive of India (NFAI), will be screened at theatres from August 8 to 10. The centrepiece of this tribute is the premiere of the 4K restored version of Dutt's iconic film Pyaasa, to be held on August 6, commemorating the maestro's 100th birth anniversary. Set against the backdrop of Kolkata, Pyaasa tells the tale of Vijay (played by Guru Dutt), a disillusioned Urdu poet whose literary work is overlooked by publishers. Speaking about the film that held a special place in Dutt's heart, his granddaughter Gouri Dutt tells us, 'Pyaasa was a very special film for him. It was something he had written earlier on but waited till he could make it. In fact, the film was written under the title Kashmakash. ' His other granddaughter Karuna adds, 'We've grown up hearing stories about Pyaasa – like how Guru Dutt was initially reluctant to act in it, having approached Dilip Kumar for the role before ultimately casting himself. There's also the widely shared account of Gulabo's character, portrayed by Waheeda Rehman, being inspired by a real person.' In addition to Pyaasa, audiences will also get to watch the restored versions of Aar Paar, Chaudhvin Ka Chand, Mr & Mrs 55, and Baaz. Reflecting on the re-release of these films, the two emphasise the enduring relevance of his work as a vital aspect of his legacy. Karuna explains, 'Because so many of his films delved into the human condition and so vividly portrayed the inner worlds and personalities of his characters, audiences have continued to connect with them across generations. Gouri adds, 'As a director, his characters were real and so were their struggles. That is why audiences have always connected with his films and that is what I think will continue to make even newer audiences appreciate his legacy as a filmmaker.' The restoration of Pyaasa has been carried out while ensuring that its lyrical charm and soulful narrative is preserved for future generations. Prakash Magdum, Managing Director of NFDC, said, 'Restoring Guru Dutt's films is not just about reviving old prints; it's about preserving the soul of Indian cinema. With this retrospective, we hope to celebrate his artistic genius and ensure his legacy continues to inspire future generations of filmmakers and audiences. These films are being restored as part of the National Film Heritage Mission, an initiative of the Ministry of Information and Broadcasting, Government of India.'
