Pyaasa

<p>Vijay is an idealistic but unsuccessful Urdu poet in Calcutta whose works are dismissed by publishers. They criticize him for addressing social issues such as unemployment and poverty instead of writing about conventional romantic topics. His brothers also disapprove of his vocation and even attempt to sell his poems as waste paper. Unable to endure their mockery, Vijay leaves home and discovers that his brothers have sold his poems. During this time, Vijay meets Gulabo, a prostitute who admires his poetry and falls in love with him. Meanwhile, Vijay’s former girlfriend, Meena, has married a wealthy publisher named Ghosh for financial security. Ghosh hires Vijay as a servant to spy on him and Meena. Later, a beggar to whom Vijay had given his coat is mistakenly identified as Vijay after the beggar dies in a train accident. Believing Vijay to be dead, Gulabo approaches Ghosh and convinces him to publish Vijay’s poems. Ghosh agrees, seeing an opportunity to profit from the posthumous success of the works. The poems become a massive success, but Vijay is actually alive, recovering in a hospital after the train incident. When Vijay returns, Ghosh and Shyam, Vijay’s close friend, refuse to acknowledge him. Vijay is committed to a mental asylum after insisting that he is the real Vijay and being labeled as insane. His brothers are bribed by Ghosh to disown him, and a memorial service is held for the “deceased” poet. With the help of his friend Abdul Sattar, Vijay escapes from the asylum and arrives at the memorial service, where he condemns the corrupt and materialistic world. Upon realizing that Vijay is alive, his friends and brothers side with a rival publisher for financial gain and declare him to be the real Vijay. At a ceremony held in his honor, Vijay becomes disillusioned with the hypocrisy surrounding him and renounces his identity, declaring that he is not Vijay. He leaves with Gulabo to start a new life. was based on a story idea called Kashmakash, written by sometime in 1947 or ’48, when he was 22. The film’s theme and philosophy was inspired by his life experiences in early struggling days of his life. It is also surmised that the story is based on the life of the film’s lyricist who had a failed affair with poet and writer . Till the project was started in 1956, several changes were made in the original story in assistance with like originally the protagonist was to be a painter. In the original ending, Guru Dutt wanted to show that Vijay left all alone, but on the distributors’ insistence the ending was changed. There was a debate between writer and Dutt on film’s ending. Abrar wanted the protagonist to accept and compromise with the prevailing material social reality; Guru Dutt insisted otherwise. The film was originally titled (thirst), but Dutt later changed it to to better describe the film. Waheeda Rehman’s character in was inspired from a real life character. and his friends were visiting and they decided to visit the red light area. Alvi got talking to a girl who called herself Gulabo. According to Alvi “As I left, she thanked me in a broken voice, saying that it was the first time that she had been treated with respect, in a place where she heard only abuses. I used her exact words in the film.” Dutt wanted to play the leading role in the movie, which the ‘tragedy king’ declined. One major reason that is cited for the decline is the impact of doing intense films on Dilip Kumar’s health. Reportedly, the doctors had advised him to take up lighter roles for sometime. Another possible reason that is cited is the alleged disagreement between him and Dutt over the film’s distribution rights. Thus, Dutt himself played the role and movie went on to become one of the most commercially successful movies of the year. The role of Shyam was originally to be played by Dutt’s real life friend, , but was then also assigned to one of Dutt’s assistant directors. was to be made with actresses and in the roles and played eventually. But the two actresses couldn’t decide which role they wanted to play and Dutt eventually opted for two, then new actresses, Mala and Waheeda. Guru Dutt wanted to film scenes on in (now Kolkata), but the crew was attacked by a group of pimps. Guru Dutt however, recreated sets in on the basis of photos taken at Kolkata. After a slow opening, went on to be a major commercial success of the year. This gave Guru Dutt the confidence to make a repeat on a grand scale. However, went on to be a commercial disaster. The movie picked up a following the world over in the 1980s, long after Guru Dutt died. The movie boasts one of the best performances of , , and to produce one of the most lyrical musicals. Sahir’s work in the film’s music was particularly praised; As stated in , “While for Pyaasa, a film considered the brainchild of Guru Dutt, the soul behind the film was its lyricist Sahir Ludhianvi”. marked the last collaboration of the long-lasting team of composer Burman and lyricist Ludhianvi. The popular song “Hum Aapki Aankhon Mein” was added to the movie on behest of distributors to bring some relief in rather pessimistic film. It was never planned in the original cut. The song “Sar Jo Tera Chakraye”, actually composed by , S. D. Burman’s son was originally inspired from a tune from the British film , which was later released in India as . He later recreated it so well that when the producer of visited India, he heard the song and not only failed to recognise the tune, but applauded him on it. In 2004, as part of feature “celebrating the relationship between cinema and music”, was listed as one of The Best Music in Film and was named by as one of his favourites, who called its music as “possibly one of the most remarkable transpositions of poetry on screen.” This film has been digitised and restored by Mumbai-based , thus becoming the first Indian film to be restored to its original. As per the report, the original camera negative had come to them from the archives completely melted, with parts damaged or lost. Their biggest challenge was the flickering. Every frame was at a different angle and there was no stability. After several clean-ups, they managed to retrieve the actual content from the original camera negative, but it lacked clarity and depth. 45 restoration experts worked for almost 4 months on over 2 lakh (200,000) frames. The original monaural soundtrack was remastered at 24-bit from the 35 mm optical soundtrack. The company sent it to the held in 2015, where it competed with 20 other restored classics and was selected to be screened as part of the Venice Classics section along with 11 other films from all over the world. is regarded as one of the greatest films ever made. It frequently features on world cinema’s greatest films lists. It was one of the earliest films to have achieved a healthy blend of artistic as well as commercial mainstream traits. Filmmakers in India, to this day cite as their inspiration. It is one of the most revered and respected films in India and remains a popular favourite among cinephiles and filmmakers of Hindi Cinema. It is, in particular, praised for its technical bravura, storytelling, theme and romantic idealism. Its soundtrack was the first major of its type in carrying the narrative forward– utilising songs which are a major part of Hindi Cinema’s mainstream films and transposing poetry on screen. In 2004, its soundtrack was listed by Sight and Sound magazine as one of The Best Music in Film. The film is considered to be ahead of its time. At the time of its release, the theme of the film was unconventional and hence wasn’t widely admired by critics and its acceptance by audience was doubted. It didn’t receive any award at the post year’s Filmfare ceremony. Even though the film had an unconventional theme and no major actor or actress at the time it was made, managed to be the third highest grosser of the year. The film received international acclaim in the 1980s when it was first released in Europe, subsequently becoming a big commercial success there, long after Guru Dutt died and is now considered a “seminal landmark” in the history of Indian cinema. Guru Dutt and his later movies, including , have a large cult following, particularly in France, Germany, South Asia and parts of East Asia (Japan, Singapore, etc). It was a huge commercial success during its 1984 French Premiere, something Guru Dutt never witnessed during his lifetime. Since then, the movie has been screened to huge mass appeal the world over, like the recent screening at held in , in September 2015. With the commercial success of noirs: (Navketan Films) (Navketan Films), ; thriller: (produced by Dutt), as well as comedy: , Guru Dutt and his studio were financially secure and established. From 1957, he could now make movies he really wanted to make, including is often listed among greatest films ever made. In 2002, was ranked among on the critics’ and directors’ poll of . In 2005, was the only Hindi film to make it to the ” ” list by magazine, which called it “the soulfully romantic of the lot.” In 2017, ranked it among “25 Most Influential Asian Movies of All Time”. On the occasion of 2011, declared it as one of the “Top 10 Romantic Movies”. It was listed in ‘s “Top 30 Best Romantic Movies of All Time” list in 2016. It is frequently voted in Top 10 movies. ranks it among “25 Must See Bollywood Movies”. On the centenary of in 2013, listed it among “100 Greatest Indian films of all time”, calling it “The most soulful romantic Hindi film ever made”. It was also included among ‘s “20 Greatest Indian Films” citing, “the cinematic mastery on display in Pyaasa has rarely been replicated in mainstream Indian cinema”; ‘s “Top 5 of India’s Greatest Films” poll in 2002; “Top 3 of Bollywood’s Best Classics”; ‘s ’10 Best Bollywood Movies’ calling it, “the ultimate posthumous dream”; ‘Top 5 of Hindi Cinema’s Greatest Films’ poll of 25 leading Indian Directors in 2003; ‘s ‘Top 5 of Bollywood’s Best Movies’ poll in 2015 and numerous other polls of greatest films. In 2013, to celebrate the centenary year of by selecting one essential Indian film from each decade, named as the ‘Quintessential Indian Classic of 1950s’ decade citing, “The 1950s is the hardest decade from which to pick a film. Guru Dutt’s melodramatic or ‘The desirous one’ is ‘extraordinary’, a film that draws on all the features of a mainstream movie to achieve a high aesthetic, from the beautiful photography of the Christ-like tormented poet, the beauty of the streetgirl (Waheeda Rehman) and the wonderful music with some of the great Sahir Ludhianvi’s best lyrics.” In 2019, the named it the ‘Greatest Musical of 1957’, stating, “Until his tragic overdose in 1964, its director-producer-star Guru Dutt was one of Indian cinema’s boldest talents and Pyaasa is his masterpiece.” In 2011, the British author published , which contains original dialogue for the film in and as well as its translation into . The song “Ye Duniya Agar Mil Bhi Jaye” was re-used in the 2022 film .</p>