Although he had passed away more than 60 years ago, yet Guru Dutt remains one of the greatest film makers of Indian cinema. “Pyaasa” a landmark movie produced and directed by him figured in the list of 100 best films released by the Time Magazine and the CNN rated him as amongst the top 25 actors of Asia. Had Guru Dutt been alive, he would have turned 100 on July 9th. However, his body of work continues to be both admired and appreciated by connoisseurs of cinema, and his grasp over the medium is visible in his movies even after so many years. The younger generation may not be fully acquainted with this legend, but there is no denying that some of the youngsters interested in film music are enthralled by both the picturization and the powerful musical score in his movies featuring some of the most celebrated composers of that time such as Sachin Dev Burman, O.P. Nayyar and Hemant Kumar.
Guru Dutt died prematurely at 39 and it was suspected that his death was because of overdose of sleeping pills and alcohol. The story which was narrated to me by Mohammad Shamim, my mentor in political journalism, and who was at that point of time a staffer with Filmfare reflects what had actually happened. Guru Dutt was in deep depression and his obsession for one of his leading ladies had driven him to a point where he was prepared to commit suicide. He had launched “Baharen Phir Bhi Aaayengi”, his new venture after “Sahib Bibi Aur Ghulam”, but was unable to concentrate on his work. A day before he actually died, both Shamim and writer, director Abrar Alvi, who was extremely close to him, had gone to meet him. They had a prolonged conversation and managed to convince the filmmaker that taking his life was never going to be the solution.
They left in the evening, satisfied that Guru Dutt stood convinced. However, the combination of sleeping pills and alcohol which he consumed to get some rest did not work and resulted in his death. Shamim would recall that the entire Bombay film industry was shattered by the news the following day and he was at the Filmfare office when Abrar Alvi called him up to inform him about Guru Dutt’s demise. He was in absolute shock but his editor, the late B.K. Karanjia beckoned him to his office. He said that the issue of Filmfare which was already in print was being scrapped and instead there would be a cover story on the iconic filmmaker. Before Shamim could protest in view of his own grief, Karanjia instructed him to write the report and barred him from going out. Shamim completed the report in a couple of hours and the first bundle of the special Guru Dutt issue comprising 2,000 copies which was flown to Calcutta was sold within minutes. His story was all over and Filmfare in terms of journalistic competition had outdone everyone.
The tragedy was unfathomable since his contribution to the world of celluloid had been phenomenal, and to lose this gifted genius at such a young age was unimaginable for everyone. The film which was on floor was completed with a new cast headed by Dharmendra and its music by OP Nayyar became a big hit. There are multiple tales about his passion for his work. Although he directed only eight films, he left his mark in the world of celluloid. Dev Anand, whom I had interviewed a few times, once told me that he and Guru Dutt shared a very special bond. He said that when both were struggling, they had vowed to help each other. If Guru Dutt ever needed an actor, it would be Dev Anand. It was therefore not surprising that when “CID” was launched, Dev Anand played the lead opposite Shakila and its music by O.P. Nayyar is remembered to this day with “Leh Ke Pehla Pehla Pyar” sung by Mohammad Rafi, Shamshad Begum and Asha Bhonsle being one of the greatest hits of all time.
Guru Dutt always wanted to give breaks to struggling actors and directors. Waheeda Rehman, Johnny Walker, Mehmood made it big only after they were groomed by him. Raj Khosla also rose to the top after being his assistant for many years. His films also featured songs by his talented wife, Geeta Dutt considered amongst the greatest female playback singers. Her voice had a certain quality which surpassed her contemporaries in certain types of songs. It is said that when Guru Dutt decided to make “Pyaasa”, he had Dilip Kumar in mind to play the main role.
However, Dilip Kumar, who had acted in “Devdas”, did not wish to do another project involving a very serious characterization. So the actor director cast himself in the film which many believe was inspired by poet Sahir Ludhianvi’s life. The songs and music are remembered till this day though one of the numbers, “Jinhe Naaz hain Hind Per Woh Kahan Hai” was banned on All India Radio and could only be heard on Radio Ceylon. The hallmark of his films was the cinematography by V.K. Murthy, whose command over the black and white medium was exceptional. The picturization of “Kagaz Ke Phool”, which resembled Guru Dutt’s own life drama and “Sahib Bibi Aur Ghulam” immortalized Murthy’s work.
Guru Dutt shall always live through his work. His contribution to the Indian cinema is second to none. He was phenomenal.
