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Explore Guru Dutt's cinematic legacy on his 100th birth anniversary through brother Devi's reflections, cherished memories, and timeless films.

Guru Dutt centenary brings unseen family memories

On Guru Dutt’s centenary, his brother Devi offers a heartfelt glimpse into the legendary filmmaker's multifaceted life. Rediscover his monumental works and enduring influence on Indian cinema as we honor his creative journey and unique vision.

Celebrating Guru Dutt&rsquo;s centenary, his brother Devi shares insights into the filmmaker&rsquo;s influential yet tender legacy.

Guru Dutt was famous for his quicksilver temper on the movie sets but he was equally good at winning over people, says Devi Dutt while remembering his elder brother on the filmmaker's 100th birth anniversary.
Devi Dutt witnessed every shade of his brother&rsquo;s temperament -- the man who gifted Indian cinema timeless classics like "Pyaasa", "Kaagaz Ke Phool", and "Sahib Bibi Aur Ghulam".
&ldquo;He was lovely. He would get angry a lot. He would speak his heart out, but within some time, he would make the other person feel as if nothing had gone wrong. He would win over a person&rsquo;s heart,&rdquo; Devi Dutt told PTI, recalling how he has still kept the wrist watch that his brother gifted him on his wedding day.
"I still have the watch with me. But I don&rsquo;t wear it anymore," he added.
Guru Dutt, who died at the age of 39 in 1964, was 13 years elder to Devi Dutt.
&ldquo;He would treat me like a child. He was 13 years older than me. I would cry a lot as he would insult me in front of everyone. I would tell my mother, &lsquo;What kind of a brother is he?&rsquo; "My mother would confront him, and he would say, &lsquo;I do so because he is my brother, and he should become a good producer&rsquo;,&rdquo; Devi Dutt, who worked as production manager on movies like &ldquo;Aar Paar&rdquo;, &ldquo;Mr and Mrs 55&rdquo;, &ldquo;CID&rdquo;, &ldquo;Sailaab&rdquo;, &ldquo;Kaagaz Ke Phool&rdquo;, &ldquo;Chaudhvin Ka Chand&rdquo;, &ldquo;Sahib Bibi Aur Ghulam&rdquo;, and &ldquo;Baharen Phir Bhi Aayengi&rdquo;, said.
Asked if Guru Dutt was receptive to ideas and suggestions from others, Devi Dutt said he never mustered the courage to speak up in front of his brother.
&ldquo;I would stay away from him because I would fear he would shout at me. Whenever he would not see me around, he would yell, &lsquo;Where is Devi?&rsquo; He taught me almost everything about the making of a film. Initially, he put me in the sound department, then he shifted me to production, and then I was in charge of the studio. He had a lot of trust in me,&rdquo; he said.
One remarkable anecdote that stands out in Devi Dutt's memory is related to the climax of Guru Dutt's seminal movie &ldquo;Pyaasa&rdquo;.
The film, which Guru Dutt wrote, directed, produced and starred in, was initially supposed to star Dilip Kumar but the actor instead opted to work on B R Chopra's "Naya Daur".
It was their mother, Vasanthi, who suggested Guru Dutt to star in the movie.
Devi Dutt recounted that &ldquo;Pyaasa&rdquo; was met with scepticism as both Kumar and Chopra expressed doubts about its commercial viability at a trial screening.
&ldquo;After the film got released, we learnt after four shows that the movie is a flop. The movie was playing in Minerva cinema and Guru Dutt ji would often go to watch 3 pm and 6 pm shows regularly at this theatre, right from 'Aar Paar' days. Minerva was his favourite cinema.
"The theatre was close to the red-light area, and most women used to come to see the film. One day, a lady, who was a prostitute, told Guru Dutt ji, &lsquo;Show a happy ending, and your film will run in theatres&rsquo;. So, we reshot the portion with Waheeda Rehman and then it ran for 25 weeks," Devi Dutt said.
The new ending worked wonders for the film, which became a box office hit and is today considered one of the greatest films in Indian cinema.
While &ldquo;Pyaasa&rdquo; and &ldquo;Kaagaz Ke Phool&rdquo; dominate conversations about his brother&rsquo;s legacy, Devi Dutt believes people often overlooks films such as &ldquo;Baaz&rdquo;, &ldquo;Aar Paar&rdquo;, and &ldquo;Mr. and Mrs. 55&rdquo;.
"He was not just &lsquo;Kaagaz Ke Phool&rsquo; and &lsquo;Pyaasa&rsquo;, director,&rdquo; he said.
The thematic elements of Guru Dutt's films often led many to view them through an autobiographical lens, particularly &ldquo;Pyaasa&rdquo; and &ldquo;Kaagaz Ke Phool&rdquo;, and Devi Dutt acknowledges this.
&ldquo;&lsquo;Pyaasa&rsquo; was in parts, but &lsquo;Kaagaz Ke Phool&rsquo; was kind of that (autobiographical), but he made certain changes to the story. SD Burman had told Guru Dutt ji not to make a film on his life, and if he still wanted to make it, then &lsquo;Kaagaz Ke Phool&rsquo; would be his last movie with him.
"&lsquo;Kaagaz Ke Phool&rsquo; flopped miserably; the songs were so good, but the film did not do well. SD Burman never gave music to Guru Dutt ji&rsquo;s movies after this and we went with OP Nayyar.&rdquo; Guru Dutt loved his children --Tarun, Arun and Nina. &ldquo;He was fond of kids, especially his daughter. He was fond of Nina a lot. Besides, he loved animals,&rdquo; Devi said, adding that Guru Dutt was also a sports enthusiast.
&ldquo;He would back the Kolkata football team. He would watch football matches often, and even Tennis matches; he would watch a lot,&rdquo; he said.
A day before his demise in 1964, Guru Dutt was discussing his new film &ldquo;Baharen Phir Aayengi&rdquo; (1966) with writer Abrar Alvi. Guru Dutt had produced the movie and was set to headline it as well.
&ldquo;While we were working on &lsquo;Baharen Phir Bhi Aayengi&rsquo;, it happened (he died). It (film) was almost complete, only the climax was left. We took Dharmendra for this film; he charged only Rs 1.50,&rdquo; he said.
What if Guru Dutt was alive today? Devi Dutt said his brother would have continued to champion stories about a &ldquo;struggling&rdquo; protagonists.
&ldquo;He liked portraying his protagonist as a struggling man; if you look in most of his films, the hero struggles. He was a struggler in the beginning, and after a lot of hard work, he reached where he did. Today, if he were alive, he would&rsquo;ve narrated the story of a struggling protagonist,&rdquo; Devi Dutt said.

Celebrating the centenary of Guru Dutt, revisiting his iconic works like 'Pyaasa', 'Kaagaz Ke Phool', showcasing his legacy in Hindi cinema.

Timeless Cinematic Legacy of Guru Dutt

Revisiting Guru Dutt's iconic works on his centenary. From 'Pyaasa' to 'Kaagaz Ke Phool', explore his lasting impact on Hindi cinema.

Revisiting the iconic works of Guru Dutt on his centenary, highlighting timeless classics like 'Pyaasa' and 'Kaagaz Ke Phool'.

Guru Dutt was a legendary filmmaker, who directed, produced and acted in some of the biggest classics of Hindi cinema. On his 100th birthday, here are some of his most memorable films: "Pyaasa" (1957): His dream project and one that's for the cinema history books, "Pyaasa" features Guru Dutt as a disillusioned poet. It also has biographical elements as it document's his father's failed creative ambition to become a writer. The movie gave immortal songs such as "Ye Duniya Agar Mil Bhi Jaaye To Kya", "Jaane Vo Kaise Log The", "Ham Aapki Aankhon Mein", "Jaane Kya Tune Kahi" as well as "Sar Jo Tera Chakaraye". Actors Mala Sinha, Waheeda Rehman and Rehman also starred in the movie.
"Kaagaz Ke Phool" (1959): The movie was a box office disaster when it was released in theatres. Guru Dutt was so heartbroken by its failure that he never directed again. But today, it is counted amongst Hindi cinema's most loved classics.
Like "Pyaasa", it also carries a lot of biographical elements, especially his broken marriage and his own dissatisfaction with his creative endeavours. A filmmaker with a muse and a broken home who is driven to alcoholism and dies alone on a movie set. It was India's first film produced in CinemaScope and is recognised as 'Greatest Musical of 1959' by the British Film Institute. The film is also lauded for its technical prowess.
"Sahib Bibi Aur Ghulam" (1962): One of his last films as a producer and again a dream project. He convinced Bengali novelist Bimal Mitra to not only lend his book for a movie adaptation but also write its screenplay. The movie was directed by Dutt's close friend, Abrar Alvi. It is set in Bengal and revolves around a neglected wife in the decadent feudal household. Guru Dutt plays a servant who comes to empathise with the loneliness of the woman. It is one of the most iconic performances of Meena Kumari. The film also stars Waheeda Rehman as Jaba and Rehman as Meena Kumari's screen husband.
"Aar Paar" (1954): Dutt directed and starred in the movie alongside his friend and comedian Johnny Walker, Shyama, Shakila, Jagdeep and Jagdish Sethi. A commercial venture, the movie was themed as a noir-comedy and followed a street-smart cab driver romancing two women.
It is Guru Dutt's spin on the tramp-with-a-golden-heart concept. The movie was a hit and featured popular tracks such as "Babuji Dheere Chalna" and "Ye Lo Main Haari Piya", both sung by Dutt's singer-wife Geeta Dutt, as well as the often remixed "Kabhi Aar, Kabhi Paar" by Shamshad Begum.
"Chaudhvin Ka Chand" (1960): Directed by Mohammed Sadiq and produced by Dutt, the 1960 was the filmmaker's biggest commercial hit and saved his production company from bankruptcy after the box office failure of "Kaagaz Ke Phool". The film was in the genre of "Muslim social" popular at the time. It featured Dutt, Waheeda Rehman and Rehman in a love triangle. The film is still remembered for its evergreen title track by Mohammad Rafi.
"Baazi" (1951): Starring Guru Dutt's friend Dev Anand and Geeta Bali, this 1951 film marked his directorial debut. The movie's success shaped the future noir movies in Hindi cinema that came to be known as "Bombay noir". The film revolves around Madan, played by Anand, a gambler who is framed for a murder of a dancer that he knew.
"Mr. &amp; Mrs. '55" (1955): A romantic comedy about a struggling cartoonist and modern heiress, played by Dutt and Madhubala, the film is known for the chemistry between its lead characters. The story revolves around themes of love, marriage, and gender roles.
"Jaal" (1952): The crime noir, directed by Dutt, starred Dev Anand and Geeta Bali. It was set in a fishing village in Goa and followed a woman, named Maria, who falls for the charming and mysterious Tony. "Baaz" (1953): The movie, which Dutt directed, marked his acting debut and also starred Geeta Bali and K. N. Singh. The film revolves around the story of a young woman named Neelu who finds herself torn between two men: a police inspector and a notorious criminal.
"Baharen Phir Bhi Aayengi" (1966): The romantic tragedy was Dutt's last film and was released after his death. Directed by Shaheed Latif, the movie was reshot with it stars Dharmendra, Mala Sinha, Tanuja, Deven Verma, Rehman and Johnny Walker. Dutt was the producer and Dharmendra replaced Dutt as the lead post his death at the age of 39 on October 10, 1964. The film explores a love triangle between a reporter and two sisters who love him.

Experience Guru Dutt’s centenary with a special film retrospective from August 8 to 10. Ultra Media and Entertainment showcases restored classics like 'Pyaasa' and 'Chaudhvin Ka Chand,' celebrating Dutt's cinematic legacy and influence.

Guru Dutt film retrospective begins August 8

Celebrate Guru Dutt's centenary from Aug 8-10 with restored classics like 'Pyaasa' and 'Chaudhvin Ka Chand.' Ultra Media's nationwide retrospective honors his cinematic legacy and artistic genius. Experience timeless films and enduring influence.

Celebrate Guru Dutt&rsquo;s centenary with a nationwide retrospective of restored classic films from August 8 to 10. Experience timeless works like 'Pyaasa,' 'Aar Paar,' and 'Chaudhvin Ka Chand,' honoring Dutt's enduring influence and cinematic legacy.

As part of the centenary celebrations of legendary filmmaker Guru Dutt, a special retrospective of his iconic films will be held across the country from August 8 to 10, Ultra Media and Entertainment has announced.
The retrospective will feature restored versions of some of Dutt&rsquo;s most celebrated films, including "Pyaasa", "Aar Paar", "Chaudhvin Ka Chand", "Mr. &amp; Mrs. 55" and "Baaz".
The restoration of Pyaasa and other titles has been undertaken by the National Film Development Corporation (NFDC) and the National Film Archive of India (NFAI), under the central government's National Film Heritage Mission.
Sushilkumar Agrawal, MD &amp; CEO, Ultra Media and Entertainment Pvt Ltd, which holds the rights to these films, said they are honoured to present the timeless movies of the late filmmaker-actor for his fans and cinema lovers.
&ldquo;Guru Dutt&rsquo;s films are timeless masterpieces that have influenced generations of filmmakers and audiences alike. We are honoured to present his classics in restored versions so that both devoted fans and new audiences can relive the magic on the big screen,&rdquo; Agrawal said in a statement.
Prakash Magdum, Managing Director at NFDC, said, "Restoring Guru Dutt&rsquo;s films goes far beyond reviving old reels. It's about safeguarding a priceless legacy that defines the soul of Indian cinema."

IFFM 2025 honors Guru Dutt's 100th birth anniversary with screenings of his iconic films, "Pyaasa" and "Kaagaz Ke Phool," celebrating his lasting impact.

Guru Dutt centenary tribute at IFFM 2025

The IFFM 2025 will commemorate the 100th anniversary of Guru Dutt's birth with screenings of classics like "Pyaasa" and "Kaagaz Ke Phool," celebrating his legendary contributions to Indian cinema.

IFFM 2025 celebrates Guru Dutt's 100th anniversary with screenings of "Pyaasa" and "Kaagaz Ke Phool," showcasing his impact on Indian cinema.

The Indian Film Festival of Melbourne (IFFM) will pay tribute to legendary filmmaker Guru Dutt as part of its 2025 edition, marking the birth centenary of the iconic filmmaker.
The festival will host special screenings of two of his most celebrated films -- "Pyaasa" (1957) and "Kaagaz Ke Phool" (1959), the organisers said in a statement.
Known for his poetic storytelling and profound cinematic vision, Guru Dutt remains one of the most revered names in Hindi cinema.
"With this homage, IFFM aims to celebrate not just the man, but the legacy of a true auteur who gave Indian cinema some of its most memorable moments," they said.
Festival director Mitu Bhowmick Lange said the tribute is an effort to honour the legacy of a true cinematic pioneer.
&ldquo;Guru Dutt was far ahead of his time, both in terms of cinematic technique and the emotional depth of his narratives. His films like 'Pyaasa' and 'Kaagaz Ke Phool' are not just classics, they are cultural treasures that speak to the soul of Indian cinema,&rdquo; she said.
&ldquo;At IFFM, we believe it is essential to honour those who shaped our cinematic heritage. This tribute is our humble way of remembering his genius and introducing his timeless work to new global audiences,&rdquo; she added.
The screenings will be part of a curated retrospective celebrating the golden era of Indian cinema, allowing Melbourne audiences to experience Dutt&rsquo;s work on the big screen &mdash; a rare opportunity to revisit films considered milestones in Indian film history.
The 2025 Indian Film Festival of Melbourne will be held from August 14 to 24.

Celebrating Guru Dutt's centennial, we reflect on his cinematic legacy. Known for films like 'Pyaasa', Dutt's work remains immortal, exploring themes of conflict and introspection.

Centenary of Legendary Filmmaker Guru Dutt

Guru Dutt, an influential Indian filmmaker, crafted profound and introspective films. Despite personal struggles, his creativity persists, inspiring worldwide. His legacy remains enduring and impactful.

Guru Dutt, an iconic Indian filmmaker, crafted profound, introspective films like 'Pyaasa'. Despite personal turmoil, his artistic legacy endures, inspiring generations.

He was 39 when he was found dead, directed just eight films and took 104 takes for that searing climax shot of &ldquo;Pyaasa&rdquo; where the poet protagonist stands framed in light and shadow as he asks "Ye duniya agar mil bhi jaaye to kya hai?" Guru Dutt&rsquo;s life can perhaps be summed up in these three numbers - a superbly talented filmmaker and actor who died just too young from a cocktail of alcohol and sleeping pills and whose films went from being easy-breezy to dark and personal, reflecting his own turmoil and struggles with self.
The actor-filmmaker, one of India&rsquo;s most influential, turns 100 on July 9, moment for cineastes and others to celebrate the work of a man who spelt magic on screen and remains an enigma all these years later.
Never perhaps has there been a showbiz personality -- his life and work both underscored by tragedy -- who has left such a profound impact and so many unanswered questions. His films, some which he produced and others he directed, include "Kagaaz Ke Phool", "Baazi", "Aar Paar", "Chaudhavin Ka Chaand", "Sahib Bibi aur Ghulam" and "Pyaasa".
In &ldquo;Pyaasa&rdquo;, Dutt&rsquo;s role as Vijay, the anguished poet, epitomises not just his artistic mastery as actor and director but also the man he probably was -- an obsessive and uncompromising artist at odds with society and its rules.
In his biography &ldquo;Guru Dutt: An Unfinished Story&rdquo;, author Yasser Usman quotes close friend Dev Anand as saying Dutt would reshoot a lot and scrap most of it if he did not find it perfect.
"By the time he made 'Pyaasa' in 1957, the indecisiveness had magnified manifold. He would shoot and shoot and was unsure about what he really wanted in a particular scene. Even with himself, for the famous climax sequence in 'Pyaasa', he shot one hundred and four takes!" Usman writes.
"Pyaasa" carries the disillusionment that manifests again in his last directorial "Kaagaz Ke Phool", the semi-autobiographical story about a director unwilling to compromise. He made it when his relationship with wife Geeta Dutt was going through a difficult time and never really recovered from the debacle of the film he termed a "still born child".
He sank into depression after that and told friends he didn't have it in him to direct successful films.
The marriage between the two Dutts, one a top playback singer who delivered gem after gem in his films and the other a director on the rise, didn't have the fairytale ending that people thought it would.
It took its inevitable toll.
&ldquo;Guru and Geeta Dutt had realised that their marriage was not working. Geeta Dutt, too, had taken to alcohol and sleeping pills majorly,&rdquo; Guru Dutt&rsquo;s sister Lalita Lajmi recalled in an interview with Usman.
Guru Dutt tried to commit suicide twice. Once, during the making of &ldquo;Pyaasa&rdquo;, and again a few years later when &ldquo;Sahib, Bibi Aur Ghulam&rdquo; (1962) was in production. &ldquo;The second time, it was an overdose of sleeping pills&hellip; He was unconscious for three days. Then, on the fourth day, we heard his scream. The first person he asked for was Geeta. It was strange because their relationship was going through hell,&rdquo; she is quoted as saying in Usman&rsquo;s article for The Print.
Guru Dutt died on October 10, 1964. Geeta Dutt died eight years later on July 20, 1972 of liver cirrhosis at the age of 41.
The personal turmoil seeped into the director's works, many of his films as an actor and filmmaker seeped in fatalism and despair.
Their son Arun Dutt - the couple had three children Tarun, Arun and Nina - said in an interview with WildFilmsIndia that his father was a mix of Vijay from "Pyaasa" and Suresh Sinha from "Kaagaz Ke Phool", a serious and melancholic personality.
Before his death, he was starring and producing "Baharen Phir Bhi Aayengi", which finally released in 1966 and was reshot with Dharmendra as the leading man.
Guru Dutt was born Vasanth Kumar Shivashankar Padukone and Vasanthi Padukone on July 9, 1925, in Bangalore as the eldest of four children but spent his formative years in Kolkata where he picked up not just the language but a close affinity to its culture.
It was a disturbed childhood, his sister has recalled in Usman&rsquo;s book.
As a young child, he was obsessed with shadow play on the wall - a fascination that carried into his films which stand out for their stark interplay of light and dark and evocative song picturisation; most famously perhaps in &ldquo;Saakiya aaj neend nahin aayegi&rdquo; in &ldquo;Sahib, Bibi aur Ghulam&rdquo; and &ldquo;Waqt ne kiya kya haseen sitam&rdquo; in &ldquo;Kaagaz ke Phool&rdquo;.
When he was just 16, Guru Dutt had to discontinue his education to supplement the family's income. He first worked as a telephone operator, hated the job, left it after a month and joined Hindustan Lever's Calcutta office. But influenced by his uncle B B Benegal, a film publicist and painter, Guru Dutt started to nurture a different dream.
That was around the time he decided to pursue his passion for dance and joined renowned Uday Shankar who called him to Almora to join his dance academy.
Guru Dutt later joined Prabhat Film Company in Pune as a choreographer and assistant director. It&rsquo;s here that he met Dev Anand, who went on to become a close friend.
In 1951, Dev Anand roped him in to direct "Baazi", a massive success at the time and one that set the tone for noir style filmmaking in Hindi movies.
Written by actor-writer Balraj Sahni, it featured Geeta Dutt's voice in most of the songs. Remember "Tadbeer se bigdi hui taqdeer bana le".
This is where Geeta and Guru Dutt met and fell in love. They married two years later in 1953.
"Baazi" was followed by "Jaal", again starring Dev Anand and Geeta Bali, was another success in the noir tradition.
In 1954, Guru Dutt starred and directed "Aar Paar", a hit with classics like "Ye lo main haari piya" and "Babuji dheere chalna" in Geeta Dutt's voice and the often remixed "Kabhi aar, kabhi paar" in Shamshad Begum's voice.
He next directed and acted in "Mr and Mrs 55" with Madhubala. After that came &ldquo;CID&rdquo;, starring Dev Anand and directed by his prot&eacute;g&eacute; Raj Khosla.
Guru Dutt's next "Sailaab" was a box office failure the same year and led to "Pyaasa", a story he had written years ago when he was out of a job.
"Pyaasa" marks a change in Guru Dutt's directorial style as he poured everything in this dream project and brought back Waheeda Rehman, the newcomer he had discovered for "CID" and with whom he formed one of the most successful pairings of Hindi cinema.
Many of his films, whether happy or sad, centre around a struggling hero caught between two women.
In "Pyaasa", poet Vijay is torn between Meena (Mala Sinha) who chooses money over love and self sacrificing sex worker Gulabo (Rehman). In "Kaagaz Ke Phool", the director struggles with an unhappy marriage while he finds his muse in his leading heroine Shanti (Rehman). The relationship remains unfulfilled and without definition.
Through his career and many ups and downs , both in his personal and professional lives, the one constant was the core team he built painstakingly after his first hit &ldquo;Baazi&rdquo;. These included writer Abrar Alvi, cinematographer V K Murthy, Waheeda Rehman and comedian Johny Walker, all of whom rallied around him in his moments of despair and encouraged him to not wallow in pity but look ahead.
One outcome of this was "Chaudhvin Ka Chand" in 1960, very different in mood and tenor from &ldquo;Kaagaz ke Phool&rdquo;. After the success of the film, Guru Dutt started dreaming again and convinced writer Bimal Mitra to write the screenplay of "Sahib Bibi Aur Ghulam", his last film.
By then, of course, the artist was drowning in personal tragedy. Close friends and family have gone on record to say that he was given to depressive episodes and the problem was further compounded by alcoholism and reliance on sleeping pills.

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