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Guru Dutt: A reluctant actor, A brilliant director.

Enkayaar, Bollywood Trade News Network
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Guru DuttBefore Rajkumar, the famous Kannadiga actor, whose death had paralyzed the whole of InfoTech city of the country - Bangalore - could attain a national cult status, another Kannadiga, who were he to be alive today, would have celebrated his 82nd birth anniversary had made his mark with aplomb in the Hindi cinema. The man being talked about is none other than Guru Dutt whose real name was Guru Dutt Padukone.

It is another interesting irony that he was seeped into Bengali nuances so much through his films, that for most of the aficionados of Indian cinema he still is a Bengali. This could be because of the fact that the times when he was making films, the craftsmen, the technicians, etc., were mostly from Bengal or had recently shifted base from Kolkata, from where the film industry used to operate earlier.

The use of lights that he could make in KAAGAZ KE PHOOL made him a cult and his imaginative usage still is a subject of study at FTII Pune and one hopes that the same would not be converted to another coloured film, which would consign into oblivion one of the finest expositions of lighting that one can sight at any levels any place in the world.

He was the man who in fact brought the chutzpah to the film making when he started probing the underbelly of the gang operations in Mumbai as he did through his various films like JAAL, BAAZI, CID, etc. His discoveries are legendary and the list would include the who’s who of the Indian cinema, beginning with Dev Anand, Waheeda Rehman, O P Nayyar, Abrar Alvi, Raj Khosla, Johny Walker, Mehmood, etc.

Many a love affairs blossomed on the sets of his various films and few culminated into marriage as well, Dev Anand and Mona Kartik being the prime example. It was through the oeuvre of sets only that Guru Dutt's infatuation for Waheeda Rehman grew from CID to PYAASA and its culmination was in the form of SAHIB BIWI AUR GHULAM.

Download Pyaasa WallpapersIt was through the songs of PYAASA only that Pandit Nehru wept; when he heard the song ‘Yeh Mahlo Yeh Takhto Yeh Taajo Ki Duniya’ and the way he had picturised the marvels of Kolkata in PYAASA that too through the sets in the Black & White era was a feat that still remains unparalleled.

As his films evolved there was a remarkable shift in his oeuvre from being light and frothy in CID, Mr. and Mrs.55 to unraveling the nuances of extra-marital affairs as he did in SAHIB BIWI AUR GHULAM. The image that became associated with Meena Kumari in her later days of career came to be associated with her only after the release of SAHIB BIWI AUR GHULAM. The frothiness and the youthful demeanor that Dev Anand still carries, is owing majorly to the way he was projected by Guru Dutt through his films.

He was a director who was seeped in the urban nuances and because of his urban nuances he could introduce a character of cartoonist as he did in Mr. and Mrs. 55, way back in 1955 which took nearly fifty years to be repeated again in HUM TUM. In the times in which grappling with the rural problems was sort of di-rigour of the day for the film makers, Guru Dutt, came out with hard core Download Hum Tum Wallpapersurban issues. It was only through his films in the beginning problems associated with Mumbai were projected in the detailed manner for the first time.

Many a legendary battles also arose during the time when he was making films, like those between Geeta Dutt and Suraiyya, and Geeta Dutt and Asha Bhonsle. In all, he was one of the institutions of the film industry, which has been forgotten now though his craft is still unparalleled where it is viewed from the perspective that he did not have the luxury of present day technology to weave his charm on the canvas of silver screen. He was an institution who should not be forgotten and consigned to the pages of history.



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