GURU DUTT'S (OR SAHIR'S) PYAASA (1957)

GURU DUTT'S (OR SAHIR'S) PYAASA (1957)

COURTESY : http://www.fortunecity.com/lavender/ducksoup/26/Films.htm#Pyaasa

Although Pyaasa is Guru Dutt's real masterpiece but it is, in fact, if one person is the soul of Pyaasa it is lyricist Sahir Ludhianvi on whose poems the lyrics were based. Sahir's words seem to articulate Guru Dutt's own view of the world and experience of tragedy. Pyaasa sees some of Sahir's best work. 'Yeh mehlon, yeh thakhton', 'Jaane woh kaise log the jinke' and 'Jinhe naaz hai Hind par woh kahaan hai' - the last looking at the disillusionment that had set in a decade after the giddy euphoria of Indian Independence. It was taken from his poem Chakle(Brothels). A fine example of political comment combined with humanitarian compassion.

It tells of the thirst for love, for recognition, for spiritual fulfilment. There is a strong parallel between the hero, a poet, the outsider trying to make a place for himself in the society he inhabits and the director, the outsider trying to leave his independent stamp in a world of formulaic cinema. It is in Pyaasa where we really see transcend way above the ordinary and succeed in totality. Many individual shots and scenes become impressionistic images telling of his lyricism. An example which immediately comes to mind is the song'Aaj sajan mohe ang lagalo.' It is a kirtan- a Bengali devotional song telling of longing and desire. Though we see baul singers perform the song, it in fact voices the prostitute's passion for the poet. She follows the poet up the stairs to the terrace where he stands his back to her. She moves towards him but cannot bring herself to touch him and she runs away. The earthly love she feels is uplifted and given a spiritual dimension through the words. And this is further reinforced by the amazing rendering of the song by Geeta Dutt. In the last scene of the film an instrumental version of the song is played as the prostitute overcome with joy at seeing the poet at her doorway runs down the steps of her house into his arms. They are one. What is most interesting to note in their relationship is that the prostitute shares with the poet a greater attraction for spiritual fulfilment rather than materialistic fulfilment.

In many of Guru Dutt's films we see him caught between two women - Baazi, Aar Paar, Kaagaz ke Phool and Sahib Bibi aur Ghulam. In Pyaasa too there is another woman , his ex-girlfriend from college who leaves him and marries for security. Her priority is clearly materialistic fulfilment. In fact though having negative shades to it, this is actually the more difficult and challenging role in the film as against the standard prostitute with a heart of gold. The role has its shades of grey and counts as one of actress Mala Sinha's better performances, otherwise a rather mechanical and melodramatic performer. Talking of the acting, Waheeda Rehman is outstanding in the role of the prostitute and Guru Dutt himself is fine in the role of the poet. Perhaps the parallels between him and the character help him in coming out with his best everscreen performance.

Interestingly, Pyaasa has that rare element in a Guru Dutt film. A song treated like a fantasy. An idyllic daydream of the hero. The song 'Hum aapki aankhon mein' is picturised amongst clouds as the heroine descends from the moon. It sticks out when viewed against the whole film. Perhaps Guru Dut picturised it in such a manner just to get back at the distributors who felt that an 'item' was needed! So he provided them with one!

The music by S.D. Burman is extraordinary as is the rendering of the songs. The background music helps to create the necessary atmosphere for a number of individual scenes. The Mala Sinha character has her own signature tune - a simple yet haunting melody played on the harmonica. Whenever the poet sees her, the tune is repeated representing for him the love he has lost.

To sum it up simply, a classic! Need one say more?!