Pyaasa: (1957) A Film, A Life and An Era

The legendary filmmaker and actor Guru Dutt is a name that continues to touch the hearts of audiences with each of his films, even a century after his birth. His films, especially Pyaasa, still strike a chord with audiences with their profound and deep thought-provoking power. Even after so many years, his films prove how art survives and touches people's lives in a way that cannot be described in words. Though he has made many cult and history-marking films, Pyaasa is often seen as his most soulful work. The film was not just a movie on screen, but a reflection of Guru Dutt's own life. Behind the scenes, he was going through a storm of emotions, with rejection, loneliness and an endless desire to create a story full of emotions of a flesh and blood human being. The film became a way for him to say everything he wanted to say. It was as if he was baring his soul to the world. The story of Pyaasa was inspired by Guru Dutt's early days in Bombay, where he faced fierce struggles. His father also had the heart of a writer, but he ended up working only as a clerk. Young Guru Dutt always saw his father suppressing his desires. This desire for creativity in his father's mind and the disappointment of unfulfilled dreams shaped Guru Dutt's childhood. According to his sister Lalita Lajmi, the theme of the film Pyaasa was partly inspired by his father's frustration and his own difficulties. That is how , Guru Dutt inherited this emotional nature, which made him a sensitive and sharply intelligent person.

In those days, India had just gained independence. The country was torn by the tragedy of its partition. Guru Dutt and his family lived in a small rented flat and were struggling to make ends meet. When Guru Dutt first came to Bombay in the late 1940s, he was only 22 years old. He tried his luck everywhere to earn a living. He knocked on many doors but was constantly rejected. Finally, he found work in the film industry as a helper choreographer and a director's assistant . But success was hard to come by. During his family's challenges and those extremely difficult times, he also wrote a story called 'Kashmakash', about the pain and frustration of an artist. The story was a very personal work, full of his own feelings of frustration, and he promised himself that he would make a film on it one day.

Years later, that story became the blueprint for Pyaasa. By 1956, Guru Dutt had become a renowned filmmaker. He had made successful films like Baazi, Aar-Paar and Mr. and Mrs. 55. Success brought him fame, a beautiful bungalow in Pali Hill, a complete family with a talented wife, singer Geeta Roy. He had three beautiful children, Tarun, Arun and Neena.

But deep inside, Guru Dutt was desperate for a better life. There was a deep desire to make serious, meaningful films.

'Pyaasa' was a story he had seen in real life that he really wanted to tell. It was a film that explored unquenchable desires, unfulfilled dreams and the search for truth. Guru Dutt did not want to act in Pyaasa himself. He dreamed of casting Dilip Kumar, who was known for his dedication. When Guru Dutt met Dilip Kumar, he asked him to play the lead role. At first Dilip Kumar was reluctant as he was sinking into a world of sadness while doing tragedy films and his doctor had advised him to do light-hearted films. Finally, on Guru Dutt's insistence, he agreed on principle but fixed a high price. But then he did not come for the shoot on the first day. Guru Dutt did not wait any longer and decided to go ahead himself. He played the hero Vijay, a poet lost in his own world of dreams and pain. His brilliant performance made it difficult to imagine anyone else in that role. Casting the heroine of the film was also a difficult task. The film was a challenge. Several actresses were considered but finally Waheeda Rehman, who was making her debut at the time, was cast to play the prostitute named Gulabo. Guru Dutt saw Waheeda's potential and was confident that she could bring a lot to the role. Despite some initial doubts on the part of his team, Waheeda's confidence proved him right. All the songs of the film, composed by S. D. Burman and written by Sahir Ludhianvi, are still considered classics like, Aaj Sajan Mohe Ang Lagalo Janm Safal Ho Jaye, Jaane Kya Tune Kahi, Jaane Woh Kaise Log The Jinke, Ye Duniya Agar Mil Bhi Jaye To Kya Hai, Hum Aapki Aankhon Mein, Sar Jo Tera Chakraye, Jinhe Naaz Hai Hind Par Kahan Hai, Tang Aa Chuke Hain Kashme Kashe Zindagi Se Hum.

As the film took shape, Guru Dutt's personal life gradually became turbulent. His relationship with Geeta Roy became strained. Reportedly, Guru Dutt's growing friendship with Waheeda made Geeta feel overlooked and underappreciated, especially when Guru Dutt himself asked Geeta not to sing for any outside films and only sing in his films and focus on her family. Rumours of his closeness with Waheeda grew, which further increased the tension. Meanwhile, Guru Dutt was going through his own internal conflicts. He wanted perfection in every scene and would shoot scenes again and again, sometimes more than a hundred times. His obsession with getting every shot right took a toll on his mind and soul. He started drinking heavily, taking sleeping pills and became more reclusive. He separated from his wife and started living alone. On 10 October 1964, he was found lifeless on his bed in his Peddar Road flat. According to some reports it was a suicide case and according to some reports it was due to accidental overdose of sleeping pills. According to his family it was not suicide because he had an appointment with Raj Kapoor and Mala Sinha the next day for his film 'Bahare Phir Bhi Aayengi'. He was to make two more films, 'Picnic' with Sadhana and 'Love and God' with K Asif. Actually he had insomnia. First he must have drunk more than usual and then taken sleeping pills. It is a terrible and deadly combination.

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Film 'Picnic' remained incomplete and Love and God was made twenty years later in a different form, with Sanjeev Kumar. In 'Bahare Phir Bhi Aayengi' Guru Dutt himself was playing the hero, some reels were also shot. Two years after Guru Dutt's death, director Shahid Latif completed the film by replacing Guru Dutt with Dharmendra.

Behind Guru Dutt’s quiet persona, was a man who was deeply involved in his work, drawing inspiration from his childhood, his love of music and his own pain. His use of light and shadow, especially close-up shots, made his films visually distinct and special from other directors. He believed that the eye could express more than words, and his own eyes, behind thick glasses, expressed deep emotions of desire and sadness.

Pyaasa was a film made from his soul. It questioned society's obsession with money and success and celebrated art and truth. The film's powerful message and poetic beauty have made it a timeless classic, recognised worldwide. Even today, Pyaasa inspires countless filmmakers and audiences, reminding us of Guru Dutt's rare talent and heart-rending honest spirit.

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