GURU DUTT
Vasanth Kumar Shivashankar Padukone (9 July 1925 – 10 October 1964), better known as Guru Dutt, was an Indian film director, producer and actor. He made 1950s and 1960s classics such as Pyaasa, Kaagaz Ke Phool , Sahib Bibi Aur Ghulam and Chaudhvin Ka Chand. In particular, Pyaasa and Kaagaz Ke Phool are now included among the greatest films of all time, both by Time magazine's "All-TIME" 100 best movies and by the Sight & Sound critics' and directors' poll, where Dutt himself is included among the greatest film directors of all time. He is sometimes referred to as "India's Orson Welles".Wikipedia
Indian filmmaker Guru Dutt Shiv Shankar Padukone (born on July 9th 1925 at Bangalore, committed suicide on October 9th at Bombay), was not in the usual sense a filmmaker, but an immense poet, expressing himself through the camera. One may assume that this is truly the only way to be a “ film-maker ”, but then, there have been very few of them. Through the few films he was free to produce according to his own taste, Guru Dutt deserves without hesitation to be compared to such great filmmakers as Charles Chaplin or Orson Welles; his masterpiece would have put André Breton in rapture as much as did Henry Hathaway’s Peter Ibbetson. In India, i. e. in the midst of what was and still is the worst film production in the world (from which the western audience just homoeopathically extracted Satyajit Ray as a moviemaker acting at his best for the western audience), Guru Dutt was an exception, trying to speak to the Indian audience with respect to its taste, while also trying to load the traditional stylistic forms with a radical content, profound and unexpected, without compromising with mere Entertainment.
Movie Pyaasa
Pyaasa appears as the story of a pariah. The main theme is linked to modern time’s constantly strengthening paradox that refined and sincere culture (for example the culture of Vijay, the poet played by Guru Dutt with utmost tact and distinction) is of no help for gaining a place in society, but rather forms a major handicap for achieving it. Like in all Third World countries, India was torn apart between an old traditional culture, dominated by religious morality (and, among others, by the cult of the dead), and modern obsession for business, greedy and cynical. A civilised and sensitive individual has no place in a world that is no longer anything else than a boxing ring for such adversaries, whose party he can by no means consider as his own. Too modern and too clear-sighted to adopt the religious consolation’s servile rites, Dutt was at the same time too conscious of a classical humanism to get unreluctantly corrupted by commerce’s needs : he saw on the contrary that commerce does not spare anything in life, and spreads itself like this very prostitution that Dutt shows as the main force dominating the world (scenes he devotes to this question are the realistic portrait of what now the Third World’s daily life has become ; besides, if it is true that the most miserable most deserve that the world should be changed for their sake, Guru Dutt is right giving the most respectable and clear-sighted role to Gulabo the prostitute, played by the very beautiful and moving actress Waheeda Rehman). Crushed between the teeth of this impossible alternative (religious tradition versus mercantile corruption), Vijay will have another danger to escape from, more attractive than all others: the individual way out – literary glory, spectacular passion for the exceptional drop-out, the “ accursed poet ”. Thus, he will reach the end of the film with totally empty hands, and dive into a shapeless emptiness.
Urbain BIZOT, Thirst and mourning, translated by Samuel Fever
Kamala Surayya (1934-2009)
LOVE
O what does the burning mouth
Of sun, burning in today's,
Sky, remind me….oh, yes, his
Mouth, and….his limbs like pale and
Carnivorous plants reaching
out for me, and the sad lie
of my unending lust.
Where is room, excuse or even
Need for love, for, isn't each
Embrace a complete thing a finished
Jigsaw, when mouth on mouth, i lie,
Ignoring my poor moody mind
While pleasure, with deliberate gaeity
Trumpets harshly into the silence of
the room… At noon
I watch the sleek crows flying
Like poison on wings-and at
Night, from behind the Burdwan
Road, the corpse-bearers cry ‘Bol,
Hari Bol' , a strange lacing
For moonless nights, while I walk
The verandah sleepless, a
Million questions awake in
Me, and all about him, and
This skin-communicated
Thing that I dare not yet in
His presence call our love.
[From Summer in Calcutta]
Kamala Das, the pen name in english
music:
1
SINGERS :GEETA DUTT AND MOHD. RAFI
LYRICS : SAHIR LUDHIYANVI
MUSIC : S D BURMAN
MOVIE PYASA (1957)
https://youtu.be/OS9zO6tNXx4
2
Ravi Shankar - Vedic Chanting
https://youtu.be/HzYAhFlTN5A
Photos from the movie:
Pyaasa 1957
Directed by Guru Dutt
Produced by Guru Dutt
Written by Abrar Alvi
Starring Guru Dutt
Mala Sinha
Waheeda Rehman
Johnny Walker
Rehman
Music by S. D. Burman
Cinematography V.K. Murthy
Edited by Y. G. Chawhan
Release dates
19 February 1957
Vasanth Kumar Shivashankar Padukone (9 July 1925 – 10 October 1964), better known as Guru Dutt, was an Indian film director, producer and actor. He made 1950s and 1960s classics such as Pyaasa, Kaagaz Ke Phool , Sahib Bibi Aur Ghulam and Chaudhvin Ka Chand. In particular, Pyaasa and Kaagaz Ke Phool are now included among the greatest films of all time, both by Time magazine's "All-TIME" 100 best movies and by the Sight & Sound critics' and directors' poll, where Dutt himself is included among the greatest film directors of all time. He is sometimes referred to as "India's Orson Welles".Wikipedia
Indian filmmaker Guru Dutt Shiv Shankar Padukone (born on July 9th 1925 at Bangalore, committed suicide on October 9th at Bombay), was not in the usual sense a filmmaker, but an immense poet, expressing himself through the camera. One may assume that this is truly the only way to be a “ film-maker ”, but then, there have been very few of them. Through the few films he was free to produce according to his own taste, Guru Dutt deserves without hesitation to be compared to such great filmmakers as Charles Chaplin or Orson Welles; his masterpiece would have put André Breton in rapture as much as did Henry Hathaway’s Peter Ibbetson. In India, i. e. in the midst of what was and still is the worst film production in the world (from which the western audience just homoeopathically extracted Satyajit Ray as a moviemaker acting at his best for the western audience), Guru Dutt was an exception, trying to speak to the Indian audience with respect to its taste, while also trying to load the traditional stylistic forms with a radical content, profound and unexpected, without compromising with mere Entertainment.
Movie Pyaasa
Pyaasa appears as the story of a pariah. The main theme is linked to modern time’s constantly strengthening paradox that refined and sincere culture (for example the culture of Vijay, the poet played by Guru Dutt with utmost tact and distinction) is of no help for gaining a place in society, but rather forms a major handicap for achieving it. Like in all Third World countries, India was torn apart between an old traditional culture, dominated by religious morality (and, among others, by the cult of the dead), and modern obsession for business, greedy and cynical. A civilised and sensitive individual has no place in a world that is no longer anything else than a boxing ring for such adversaries, whose party he can by no means consider as his own. Too modern and too clear-sighted to adopt the religious consolation’s servile rites, Dutt was at the same time too conscious of a classical humanism to get unreluctantly corrupted by commerce’s needs : he saw on the contrary that commerce does not spare anything in life, and spreads itself like this very prostitution that Dutt shows as the main force dominating the world (scenes he devotes to this question are the realistic portrait of what now the Third World’s daily life has become ; besides, if it is true that the most miserable most deserve that the world should be changed for their sake, Guru Dutt is right giving the most respectable and clear-sighted role to Gulabo the prostitute, played by the very beautiful and moving actress Waheeda Rehman). Crushed between the teeth of this impossible alternative (religious tradition versus mercantile corruption), Vijay will have another danger to escape from, more attractive than all others: the individual way out – literary glory, spectacular passion for the exceptional drop-out, the “ accursed poet ”. Thus, he will reach the end of the film with totally empty hands, and dive into a shapeless emptiness.
Urbain BIZOT, Thirst and mourning, translated by Samuel Fever
Kamala Surayya (1934-2009)
LOVE
O what does the burning mouth
Of sun, burning in today's,
Sky, remind me….oh, yes, his
Mouth, and….his limbs like pale and
Carnivorous plants reaching
out for me, and the sad lie
of my unending lust.
Where is room, excuse or even
Need for love, for, isn't each
Embrace a complete thing a finished
Jigsaw, when mouth on mouth, i lie,
Ignoring my poor moody mind
While pleasure, with deliberate gaeity
Trumpets harshly into the silence of
the room… At noon
I watch the sleek crows flying
Like poison on wings-and at
Night, from behind the Burdwan
Road, the corpse-bearers cry ‘Bol,
Hari Bol' , a strange lacing
For moonless nights, while I walk
The verandah sleepless, a
Million questions awake in
Me, and all about him, and
This skin-communicated
Thing that I dare not yet in
His presence call our love.
[From Summer in Calcutta]
Kamala Das, the pen name in english
music:
1
SINGERS :GEETA DUTT AND MOHD. RAFI
LYRICS : SAHIR LUDHIYANVI
MUSIC : S D BURMAN
MOVIE PYASA (1957)
https://youtu.be/OS9zO6tNXx4
2
Ravi Shankar - Vedic Chanting
https://youtu.be/HzYAhFlTN5A
Photos from the movie:
Pyaasa 1957
Directed by Guru Dutt
Produced by Guru Dutt
Written by Abrar Alvi
Starring Guru Dutt
Mala Sinha
Waheeda Rehman
Johnny Walker
Rehman
Music by S. D. Burman
Cinematography V.K. Murthy
Edited by Y. G. Chawhan
Release dates
19 February 1957
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