Latest news with #SahibBibiAurGhulam
Hindustan Times
17 hours ago
- Entertainment
- Hindustan Times
Guru Dutt's voice missing in stories about him: biographer Yasser Usman
New Delhi, Guru Dutt lives on only in the memories of those who knew him personally or professionally, his own voice "completely absent", says his biographer Yasser Usman describing the actor-director as a "chronic introvert". Guru Dutt's voice missing in stories about him: biographer Yasser Usman As reams get written about the legendary filmmaker, who would have been 100 on Wednesday, Usman says he remains an enigma despite so many books and documentaries analysing his life and works. Usman, the author of the 2021 "Guru Dutt: An Unfinished Story", said he researched various archives, magazines and newspapers of Guru Dutt's time but couldn't find a single cover story on the filmmaker, one of the most influential cinema personalities of his time with a body of work that included "Pyaasa", "Kaagaz Ke Phool" and "Sahib Bibi Aur Ghulam". Guru Dutt was found dead on October 10, 1964 at his rented apartment in Mumbai's Peddar Road from a cocktail of alcohol and sleeping pills. He was just 39. "Everything we know about Guru Dutt, almost 98 per cent, is through the memories of people who knew him professionally or personally," Usman told PTI in an interview. "I think that is the major reason of him carrying this mystique throughout. Even on his 100th birthday, we are talking about him, and there is a major amount of mystery surrounding his life and even his death," he said. The writer-journalist said Guru Dutt's masterpiece "Pyaasa" was a great commercial success and one of the biggest hits of 1957. However, during his deep dive on the filmmaker, he couldn't find a cover story or interview of the director. "I interviewed a few people who were alive then, most importantly, his younger sister, Lalita Lajmi. She was a witness to Guru Dutt's life, his cinema, as well as his turmoil and his childhood. But you need a person's voice to understand them better... The books, magazine stories of those times, none of them include his voice. It is completely absent. "There were many magazines that were covering all other stars and filmmakers, including Mehboob Khan, Raj Kapoor, Dilip Kumar, everyone got a cover story, except Guru Dutt... He was a chronic introvert, and he did not want to speak." The writer, who has also penned biographies of Rajesh Khanna, Sanjay Dutt and Rekha as well as the fiction book "As Dark as Blood: A Roshan Rana Mystery", said his fascination with Guru Dutt began after he saw the filmmaker's movies at a retrospective in Delhi in 2004-2005. "I realised that these films don't feel dated though they were made in the 1950s and 1960s. They were entertaining. When we talk about the greatness of a filmmaker or a writer, we never use such words. He was mainstream but artistic." Usman said he became more intrigued when he realised that the filmmaker made some of his biggest classics while his personal life was going through great turmoil. "He was trying to end his life. There were multiple suicide attempts. This was fascinating to me that someone who, on the sets while shooting or making his cinema, is creating such free-flowing, excellent artistic films, but simultaneously his personal life is completely devastated. "When I collaborated with Lalita Lajmi for the book, she told me that he was really suffering from mental health issues, but there was really no awareness in those times. So they didn't contemplate getting psychiatric treatment. She regretted that Guru Dutt, in a way, was crying for help, but they couldn't get the help he wanted or needed in those times," he said. His films, particularly "Pyaasa" and "Kaagaz Ke Phool", were intensely personal, giving a glimpse into his life and thought process, Usman said. " 'Pyaasa', of course, was based on the struggles of his father. His father wanted to be a writer, a poet but he was a clerk and he was busy paying bills for his big family and could never become a creative artist that he wanted to be." Guru Dutt's own struggles when he came to Mumbai from Pune and went without a job for months are reflected in "Pyaasa", which he initially wrote as a story titled "Kashmakash". "Kaagaz Ke Phool" was a semi-autobiographical story about a filmmaker with a fractured relationship with his wife and a confused relationship with his muse and one that tragically ends in the death of the filmmaker. "It was really close to his own life story... He put his heart and soul into the movie. At that time it was a major disaster and it completely broke his heart so much so that he never directed a film again. You know it's strange to see that now the film is considered a classic. It is like 'Pyaasa' playing all over. After an artist is dead you're going to praise his film which you rejected completely when it was released," Usman said. In his view, Guru Dutt's life can be divided into pre and post "Kaagaz Ke Phool" phases. "Commercially, his biggest blockbuster came right after 'Kaagaz Ke Phool' which was 'Chaudhavin Ka Chand'. It remains his most successful film and he made a brilliant comeback like eight-nine months after the disaster of 'Kaagaz Ke Phool'. His mental health completely went berserk. His constant refrain to many people who were working with him or were personally close to him was, 'I'm going mad. I think I'll go crazy'. "His sister told me that they after his second suicide attempt, which was after 'Sahib Bibi Aur Ghulam', a year or two before his death, the family called a psychiatrist but they never followed it up. They regretted it because they said that they had no clue." Usman added that there was really little awareness in those times about such issues and Guru Dutt kept crying for help. He also reflected on the tumultuous marriage between Guru Dutt and Geeta Dutt, two very successful people who really could not come to terms with each other's creativity. When Guru Dutt married Geeta Dutt, she was the bigger star while he had just made his debut film, "Baazi". "Before they got married, he never said that you cannot sing outside my banner but after his marriage, he wanted Geeta Dutt to sing only for his films and he wanted her to take care of his house and kids. He had become a major star after 'Pyaasa' and she regretted the fact that she had lost her stardom and this kind of poisoned their bonding... But neither Guru Dutt nor Geeta Dutt ever talked about it. Their voices on the matter, and it's such a personal matter, are completely missing." The writer said he was so inspired by Guru Dutt's life that after writing the biography, he wrote his first crime fiction and modelled his lead protagonist as a brooding cop just like Guru Dutt." This article was generated from an automated news agency feed without modifications to text.
Indian Express
21 hours ago
- Entertainment
- Indian Express
Filmmaker Sudhir Mishra unpacks the brilliance of Guru Dutt and its enduring impact
Filmmaker Guru Dutt is like a poet who works with other poets such as Sahir Ludhianvi (he wrote lyrics for Baazi (1951), Jaal (1952) and Pyaasa (1957) among others) and creates enduring cinematic moments. I see his films as a series of moments which resonate with me at various points of my life. I tend to understand myself better in a weird way through those moments. I don't have an intellectual relationship with Guru Dutt but more of a subconscious relationship. Once his films entered my mind, they never left. I don't know whether that shows in my work. If it shows, I am glad. If it does not show, then I am not good enough. Because of him, I am also attracted to people on the margins. Chhoti Bahu in Sahib Bibi Aur Ghulam (1962), a character essayed by Meena Kumari, is a woman locked up but bursting with desire and sensuality. She wants to explore the world outside. The way Guru Dutt sees women is very interesting. He is not condescending. There is even a mischief there in Waheeda Rehman's character in this film. There is jealousy and all sorts of desire. Women are not ashamed to express their desire. They are not making any excuses. His women are capable of expressing their deeper desires. He treats them as he treats men. Of course, the experiences of men and women are different. It is remarkable how Guru Dutt almost rewrites a script while making a film. He creates an ambience that's beyond the written pages. Sometimes, it is even contrary to the dialogues. Handled by any ordinary filmmaker, the dialogues can be seen as mundane. A lament can be melodramatic but he makes it poetic. Chhoti Bahu becomes a metaphor for me — much more than just a character. The way he shoots the songs is outstanding. 'Waqt Ne Kiya Kya Haseen Sitam' in Kaagaz Ke Phool (1959) almost foretells the lead characters' parting and encapsulates the inevitability that their lives will go separate ways. It is kind of in the subconsciousness — he is not trying to intellectualise it. Because he was also a dancer and choreographer, he understood rhythm. The way he shoots 'Jinhe naaz hai hind par woh kahan hai' in Pyaasa — with VK Murthy behind the camera — transforms the song into something much more than a complaint. It is as if he completes the poem by Sahir. He rewrites it with the camera. My grandmother identified herself as Meena Kumari (who plays Chhoti Bahu) after my grandfather had walked away, into the arms of another woman. I was around five years old when I first watched Sahib Bibi Aur Ghulam with my grandmother. My father founded the film society in Lucknow. I saw Guru Dutt's films there again. I watched them on my own. Whenever there was a screening of a Guru Dutt film — Pyaasa, Chaudhvin Ka Chand, Aar Paar or Baazi — I would go. In hindsight, that was the trigger to my becoming a filmmaker. I am quite intrigued by the fact that he was a passionate man and that his first love was filmmaking. He was obsessed with taking the right shots. He has shot films and dumped them because he was not happy with them. He was trying to make sense of the world. He had certain ideas and it was difficult to replicate them. They are ephemeral. A lot of people can call it confusion. But he was searching as he shot. When he sees Meena Kumari singing 'Na Jao Saiyan Chhuda Ke Baiyan' and Murthy has lit the shot, that's when he realises what he has in his mind. Consciously, he has left those moments for us. He is a poet, painter, and filmmaker. Call it hyper realism, he takes a moment, fits into the art, and thereby creates a third moment. Look at the image he creates with Yeh duniya agar mil bhi jaaye in Pyaasa. He speaks for many. Guru Dutt exists in all my films. I am not claiming that kind of greatness but I am a product of so many things and my lineage. Then, there is something unique, something that I have — my filmmaking is a search for that. It is what Ghalib called 'andaz-e-bayan' (style of expression). That was what Guru Dutt was searching for. He was also trying to understand who he was. His death at the age of 39 was sad. When you die young, you either disappear or become a legend. The latter is justified in his case since his films created the impact that they did. He was discovering the medium through his early movies. He is exploring how to treat a character and how to take a shot. Then, he made Pyaasa. He was getting ready to make these kinds of films. Cinema is a commercial world. You can become independent and explore what you want if you are a producer too. He was a producer-director. The medium of cinema is unique. There are certain things that only cinema can express if you submit to the muse and the medium. Then you will become a filmmaker and express what only cinema can do. That's what he was trying to find. He was saying what can be said only through cinema. His muse was the medium itself. (As told to Alaka Sahani)
Hindustan Times
a day ago
- 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
a day ago
- Entertainment
- Time of India
100 years of Guru Dutt: Waheeda Rehman weighs in on biopic rumours—Says young actors lack the maturity for the role
There are a few films that transcend time, etching themselves into the very soul of Indian cinema — and only a rare few actors can boast of being part of not just one, but a dozen such cinematic masterpieces. Waheeda Rehman is undoubtedly among those select legends. With timeless classics like Pyaasa (1957), Kaagaz Ke Phool (1959), Chaudhvin Ka Chand (1960), and Sahib Bibi Aur Ghulam (1962) — all in collaboration with the maverick filmmaker Guru Dutt — Waheeda's contribution to cinema is both iconic and enduring. On the occasion of Guru Dutt's 100th birth anniversary today, Waheeda Rehman, who was still in her late teens when she rose to fame under his direction, opens up to HT City about the filmmaker's unparalleled legacy — one built on vision, aesthetics, and emotional depth. 'There's a beauty in the fact that people still remember it's been 100 years,' she reflects. 'When I began working with him, none of us — not even Guru Dutt himself — knew the kind of classics he was about to create. I feel truly fortunate to have been part of that journey. Even today, people speak about Pyaasa, which is also my personal favourite of his films.' Waheeda fondly recalls her early days, more than just a director, Guru Dutt was a mentor who helped shape her career and on-screen persona. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Đây có thể là thời điểm tốt nhất để giao dịch vàng trong 5 năm qua IC Markets Tìm hiểu thêm Undo As talk swirls around a potential biopic on the auteur, with reports hinting at Vicky Kaushal in the lead, Waheeda has her own thoughts on who could do justice to the role. 'Pankaj Tripathi, Naseeruddin Shah , or Pankaj Kapur — all three have maturity in their expressions and performances. Today's younger actors are very talented, but it takes a certain emotional depth and gravitas to portray Guru Dutt. The younger ones may not be able to bring that level of understanding yet,' she shares candidly. One of her most vivid memories of Guru Dutt's brilliance, she says, came during the success of Chaudhvin Ka Chand. The film was originally shot in black and white, but with colour cinema just emerging, Guru Dutt made a bold decision mid-run. 'He thought, 'What if we reshoot the title song in colour and add it to the already-running film?' He did exactly that — and it worked! People went back to the theatres again and again just to see that one colour sequence. That was his instinct — so ahead of his time.' Today, decades later, Guru Dutt's films continue to be studied in film schools across the globe, revered for their poetry, pathos, and cinematic genius. And Waheeda Rehman remains one of the most cherished witnesses and contributors to that golden chapter in Indian film history.
Hindustan Times
a day ago
- Entertainment
- Hindustan Times
Guru Dutt centenary: Revisiting 7 timeless films that defined his vision
On July 9, 2025, the centenary of his birth, we celebrate the legacy of actor and filmmaker Guru Dutt. He was born in 1925 and only produced a great deal of work over a single decade, yet that decade was unparalleled. With a distinctive combination of stylised images, sad poetry, and sharp narration, his films reflected on art, love, loneliness, societal hypocrisy, and the human condition, going beyond mere celluloid storytelling. Pyaasa, Sahib Bibi Aur Ghulam Stream timeless classics like Pyaasa, Sahib Bibi Aur Ghulam, and Kaagaz Ke Phool now on OTTplay Premium and experience Guru Dutt's brilliance. Even if some of his films were box office hits and others weren't appreciated until after he died, we should revisit them because they are timely, significant, and emotionally powerful. On the occasion of Guru Dutt's 100th birth anniversary, we take a deeper look at seven of his films that have forever altered Indian cinema and explain why you should watch them again and again. Guru Dutt classics to stream on OTT Vijay, the protagonist, is a poet who remains unrecognised by publishers and the general public until his death, when an unexpected turn of events propels his poetry back into the spotlight. Vijay's disappointment is reflected in the film, which criticises a society that prioritises celebrity over honesty and materialism over empathy. The story becomes emotionally charged through the melancholy melody by S.D. Burman, the lyrics by Sahir Ludhianvi, and Dutt's performance. Pyaasa is a watershed moment in Indian cinema and Guru Dutt's career. This film captures the essence of an artist fighting for recognition in a materialistic, status-obsessed culture. Bhootnath, a lowly servant in a decaying Bengali haveli in the nineteenth century, sees the suicide of Chhoti Bahu, a lonely wife whose loveless marriage has imprisoned her in an endless cycle of self-destruction. The film, which was headed by Abrar Alvi and produced by Guru Dutt, was India's official Oscar entry that year and went on to win the National Award. This film, with a depth uncommon for its era, explores gender relations during the decline of feudal India. The film's intricate plot and Meena Kumari's performance offer a melancholic commentary on loneliness and longing. Suresh Sinha, played by Dutt, is a director whose career takes a nosedive following a controversy. The film's agonising introspection is a reflection of Guru Dutt's personal life and professional solitude. Film experts have studied it extensively for its aesthetic qualities, such as its use of shadows and negative space. If you're intrigued by the price of fame and the transient nature of public adulation, you must watch Kaagaz Ke Phool, India's inaugural CinemaScope film. Over time, its grandeur has increased, and it is a profoundly personal work. Mr. & Mrs. '55 (1955) Anita, played by Madhubala, is a contemporary woman who receives an inheritance contingent upon her marriage. Then there's Preetam (Dutt), a cartoonist who was recruited to wed her. What follows is an ironic and humorous critique of societal norms. Because of the way it deals with issues faced by India's urban middle class after independence, it is still considered relevant today. This romantic comedy offers a welcome diversion from Dutt's more serious writing while simultaneously exploring weighty issues like tradition vs. modernisation and women's empowerment. In this story about mistaken identity and unrequited love, Dutt plays one of two friends who fall in love with the same woman. Within the context of Lucknow's nawabi tradition, the film depicts the majesty and lyrical agony of love. Even though Mohammed Sadiq was the director, Dutt's artistic input influenced the final product. This film was a smashing success, profitably showcasing Guru Dutt's skill in conventionally balancing love and sadness. There is no better example of Hindi romance than the title song. The protagonist, a male, pretends to lack education so he may show his backward family how they regard women and modern values. Dutt's performance gives the film more weight, as it subtly criticises patriarchy and blind tradition. Bahurani isn't as famous as Dutt's previous features, but its liberal perspective on reform and education amid conservative households makes it stand out. It further showcases the versatility of his acting. Kalu, a cab driver trapped in the middle of two feuding gangs in Bombay's criminal underworld, is the protagonist of the film. O.P. Nayyar's infectious score and eccentric characters helped launch Dutt's career as a mainstream storyteller. Aar Paar expertly blends crime, humour, and romance elements; showcases his mastery of narrative and visual language. Though he was only 39 years old when he died in 1964, Guru Dutt's films have resonated with audiences for decades. From the melancholy poetry of Pyaasa to the complex love story of Chaudhvin Ka Chand, these seven films showcase his lasting impact. They pay homage to him on his 100th birthday and serve as a reminder that great art is timeless.
