Guru Dutt's Pyaasa: A Masterpiece Misunderstood

A Conflicted Reception

The film has been described as perplexing, with one reviewer stating it is a product of a disoriented mind. The critique highlights its lack of coherence, a discernible theme, and any emotional resonance. Ultimately, the film is deemed pretentious and confusing.

Pyaasa's Legacy

Many films have faced initial criticism only to be celebrated later. The overwhelmingly negative review of Pyaasa in Filmindia is particularly surprising, given that the film's themes of melancholy and disillusionment struck a chord with audiences upon its release in 1957.

Today, Pyaasa is hailed as one of the finest films ever made. As we commemorate Guru Dutt's centenary—he was born on July 9, 1925—attention will return to the eight films he directed. Pyaasa, featuring Dutt as the poet Vijay, who finds solace only with a sex worker played by Waheeda Rehman, is likely to be recognized anew as a cinematic masterpiece.

Artistry and Critique

Guru Dutt's penultimate film is a remarkable achievement in every aspect—performances, SD Burman's music, Sahir Ludhianvi's lyrics, and VK Murthy's stunning cinematography. Dutt's mastery of his craft and his sensitivity to cinematic aesthetics have never been more evident.

However, this brilliance was lost on the Filmindia reviewer, Baburao Patel, who had a notorious reputation for harshly critiquing films and their creators, particularly Dutt.

Patel's Harsh Judgments

Patel criticized not only Dutt's films but also those he produced, such as Raj Khosla's C.I.D. (1956), which he described as unconvincing and poorly conceived. He similarly dismissed Mr. and Mrs. 55 (1955) as an example of Dutt's 'glamorized jugglery.'

This film, featuring Dutt and Madhubala, is a charming yet dated story about a struggling cartoonist who marries an oblivious heiress, reminiscent of Hollywood screwball comedies with its witty dialogue and beautifully shot musical numbers.

Patel's Editorial Influence

Baburao Patel founded Filmindia in 1935 and quickly became known as an enfant terrible. He used his platform to express contrarian views on the Hindi film industry and to comment on political and social issues.

For decades, until its closure in 1985, Filmindia was a significant voice in the industry, as noted by Sidharth Bhatia in The Patels of Filmindia – Pioneers of Film Journalism. Patel managed the magazine alongside his third wife, actress and singer Sushila Rani Patel.

Controversial Reviews

Patel's reviews were often scathing, with headlines like 'Kaagaz Ke Phool Inflicts Severe Boredom' and 'Rape of Indian Culture' for other films. Ironically, one of Dutt's famous quotes was 'don't bore me.'

He criticized Kaagaz Ke Phool for being an ineffective portrayal of a showman's fleeting glory. Dutt himself acknowledged the film's shortcomings, admitting it was too slow for audiences.

Dutt's Shift in Focus

After the failure of Kaagaz Ke Phool, Dutt shifted his focus to production rather than directing. Patel seemed to approve of this change, praising M Sadiq's Chaudhvin Ka Chand (1960) and Abrar Alvi's Sahib Bibi Aur Ghulam (1962) for their quality.

Patel described Chaudhvin Ka Chand as a beautifully crafted film that would be remembered by audiences, a sentiment that more accurately applies to Pyaasa.

Unclear Motivations

The reasons behind Patel's animosity towards Dutt remain ambiguous. Sushila Rani Patel provided some insight during an interview for a biopic on Dutt, revealing that Dutt had known her sister in the 1940s.

She noted that her husband preferred films with a classic touch and was not fond of masala films, although she disagreed with his assessment of Pyaasa, acknowledging its merit.

Dutt's Enduring Impact

Guru Dutt directed his first feature, Baazi, in 1951 at the age of 26. Despite achieving success during his lifetime, the profound respect for his work and understanding of cinema only emerged after his tragic death, likely by suicide, on October 10, 1964.

His struggles with professional setbacks and personal issues, including depression, contributed to his untimely demise.

Posthumous Recognition

In her book Guru Dutt – A Life in Cinema, Nasreen Munni Kabir discusses the irony of artists receiving recognition only after their deaths. Dutt's contributions to Indian cinema were fully acknowledged years after he passed away.

A complex figure, Dutt was both intense and affectionate, leaving behind a legacy that continues to resonate.

The Enigma of Guru Dutt

Kabir, who directed a documentary on Dutt, notes that he could not have foreseen the lasting impact of his work, which is now appreciated not just in India but across Europe. His death has led to a valuation of his artistry that echoes the themes of Pyaasa.

The cover of a Filmfare issue dedicated to Dutt after his death featured a poignant image of him, with text reflecting on themes of divinity and mortality.

Reflections on Dutt's Life

Interviews conducted for a biopic revealed that while Dutt was respected by his peers, he also had a self-destructive side. His colleagues recognized his talent, and he was the only outside director allowed to shoot at Mehboob's studio.

Despite being perceived as aloof, Dutt's work in Kaagaz Ke Phool may have been a subtle response to Patel's critiques.

The Autobiographical Nature of Dutt's Work

Kaagaz Ke Phool tells the story of Suresh Sinha, a director grappling with self-doubt and personal issues, mirroring Dutt's own struggles. Dutt's fascination with Vincent Van Gogh and his introspective nature influenced his storytelling.

In an essay, Dutt reflects on the tension between creativity and commercial success, acknowledging the sacrifices artists make for their craft.

Enduring Legacy

Although Dutt faced challenges during his life, his artistic legacy endures, evident in the ongoing interest in his films.

His work continues to inspire discussions and interpretations, solidifying his status as a cinematic genius.