May 16, 2010 12:39 PM
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One of the most vivid memories of my childhood was the scene from Pyaasa showing Guru Dutt standing at a door in an almost Christ like pose with light shining behind his persona. Thanks to Doordarshan, which frequently showed this clip as part of a collage for one of their programmes (cant recall which one), it got permanently itched in my mind.
I remember when I saw Pyaasa for the first time, I was completely speechless and bereft of all emotions. The only thought that came into my mind was how come the movie has no fight scenes :-P Over the years each repeat viewing has been accompanied by a gamut of emotions ranging from pure disdain (Guru Dutt khud ko messiah samajhta hai kya ?) through irritation (so many songs !) through boredom (So slow) through a sense of marvel (what a monster Dutt had created) to pure cinematic pleasure (I want to be a director too :-P)
If Ritwik Ghatak immortalised the strikingly painful lives of Bangladeshi refugees and if Satyajit Ray showcased the stories of the Bengali Gentry, Guru Dutt (GD) was the Fellini & Godard (rolled into one) of India, dealing with decay of the society and its moral bankruptcy. Released in 1957, Pyaasa was his biggest commercial success, though the semi-autobiographical "Kaagaz Ke Phool" is still held by a cult following to be his best critically.
I am left stunned by the opening clip (uploaded for reference) of the movie every time I see it. Vijay (Guru Dutt) lying on a bed of grass under a tree marveling at Nature - the sky, the clouds, the birds, the shrubs, etc. “Yeh hanste hue phool, Yeh mehka hua gulshan..." he remarks in fascination. This harmonious scene abruptly gives way to sudden despondency as he notices a passerby stamp upon an insect, instantly killing it. This creates a morbid atmosphere which never subsides throughout the length of the movie.
Vijay is a poet who isnt finding commercial success because Publishers are shy of printing his dark and disturbing poems. He is ill treated by his elder borthers who sell his poems for the papers worth. When he tries retrieving them from the 'Raddiwaala', the latter tells him that they had been bought by a lady. Later hearing Gulabo (Waheeda Rehman) recite these poems, he follows her with the intention of getting his lost poems, only to discover that she is a Prostitute. Meanwhile at a college reunion he runs into Meena (Mala Sinha), his lover who is now married to Mr Ghosh (Rehman), a Publisher. We learn that Meena had left him for the worldly comforts which he couldnt provide. Mr Ghosh hires Vijay with the intention of finding out the details of their affair. What follows is a sordid tale of jealousy, baseness and ever more baseness….
Like all great Directors, GD is in the Details. Notice in the uploaded clip how relevant parts of his face are highlighted as he lies under the tree shade. Not only does he surpass all standards in cinematography, he uses a lot symbolism in his scenes which leave a lasting impression. Like the scene in the elevator where Vijay runs into Meena and after a bit of flashback and chit chat when the elevator reaches the ground floor, Meena is almost awakened from her reverie and she remarks "Mujhe upar jaana hai". Vijay leaves her with a wry smile. Likewise the scene showing GD standing at the theatre door like a Christ like Messiah, even if offending to the sensibilities of many, underlines the theme of the movie brilliantly.
Most of the songs have been sung by Rafi in his inimitable voice. “Yeh Mahalon, Yeh Thakton Yeh Tajon ki Duniya” is outstanding, obviously because of its hardhitting lyrics and the superlative modulation of voice. “Jinhe Naaz Hai Hind Par Woh Kahaan Hain” is a poet's outcry with possibly covert allusions to Mehboob Khan (Mother India). “Hum Aapki Aankhon Main” (Rafi with Geeta Dutt) is perhaps the only light moment in the movie. “Sar Jo Tera Chakraye” is again part of folklore. “Jaane Kya Tune Kahi” and “Aaja Sajan Mohe Ang Laga Le” by Geeta Dutt highlight what the industry missed when Geeta went downhill. Hemant Kumar is just as fantastic in “Jaane Woh Kaise Log Thay”.
Though the movie officially boasts of only 7-8 songs, these are frequently interspersed with recitations of poems & couplets, making it almost a musical. Worthy of special mention is the poem "Hum Tang Aa Chuke Hain" which portrays the never-ending tribulations and setbacks received at the hands of Life. But if you dont like poems, the movie can be excruciatingly slow.
The theme of the movie itself is eons ahead of its time. Disillusionment with the world and its crass commercialisation was something very few could have identified with in the 50s. The uselessness of money, power and fame, ironically bought at the expense of one's own happiness is starkly brought out to the fore. "Yeh Duniya agar mil bhi jaaye to kya hai..." carries this message like no other song has since managed to. GD's visionary plots have to be seen to be believed.
In fact such was the golden run of Hindi cinema during this period that many Western movies heavily borrowed from Indian directors like Ray. And looking at the sub-plot on how Vijay is sent into an asylum and/or how inmates are brainwashed, I wouldnt be surprised if I'm told One Flew was 'inspired' by Pyaasa too.
Having watched it recently (especially the intro clip), and having read about Scorcese's impending visit to India to restore Mrinal Sen's work, the only thought that comes to my mind is "Kya Re, kab banaoge iska Blue Ray ?"
