In Nasreen Munni Kabir’s 1989 Documentary in search of Guru Dutt, azmi says, “The situation didn ‘exist in the film. (Dutt) Nor was sd burman and I absolutely wasn ‘Guru Dutt me that is about to explain what wants, I should let it go. Like to give it another shot.

The film’s piece de resistance – the intimacy of which remains seminal – The song says what the character are unable to, of the case with ditties in dutt’s films. Azmi, Perhaps, Didn. Perhaps also beome somewhat autobiographical after dutt’s death by suicide. Just before that, he gave the world a glimpse of cinema that was revolutionary yet not melodramatic, where love will always triumph on reel, because it wasn’t true. From his directorial debut baazi (1951) to others that followed such as Aar Paar (1954), Mr and MRS 55 (1955) CID (1956), Pyaasa (1957) and Kaagaz Kegaz Kegaz Kegaz Kegaz Kegaz Kegz Phol (1959) Features were the music – Inseparable from his cinema.

His cinema and its songs are emerged in the nehruvian era, a time when India was programming while tending to the wounds of the partition. He asked Sahir ludianvi to write for the part where he plays a poet not valued by the world he is writing about. Pyaasa which spoke of people’s hypocrisy, a nation’s poverty, corruption and bluntly asked a pertinent Question: Jinhe naz hai hind par woh kahan hain (where are those who are proud of India)? It presented radical commentary veiled in melody. Ludhianvi also wrote the angst-ridden ye duniya agar mil bhi jaaye toh kya hai. His poignant verse highlighted the eternal struggle between the material and the spiritual and made it painful to ber rafi’s heartrending crocendo jala do ise, phooka daalo yE duniya, sung dutt. Character Vijay, Attending his death anniversary or the Aching Jaane Wo Kaise Log the jinke pyar ko pyar mila.

While one remabers songs from Dutt’s films for their melancholy and a sense of wistfulness, some of their camera with playful charm, most of which was brouth in by Majrooh Sultanpuri, whoseple. Verses was as brilliant as his master of a profound urdu nazm. These were the times when Even Whimsy was crafted with finesse. Who can forget ludianvi’s goofy sar jo tera chakraye, with Johnny Walker as the champiwala ‘. Dutt had seen one while situation with Walker and asked him to Imbibe his mannerism.

Actor Guru Dutt on the set of film pyaasa. Express Archive Photo

Then they are the exuberant tracks like jaane mera jigar gaya ji (mr and mrs 55), the playful pieces leke pehla pehla pyar (cid) and kabhi kabhi aar paar (aar paar), Dheera Chalna (Aar Paar) and the Joyous Sun Sun Sun Sun Zaalima (Aar Paar) – All of them by Sultanpuri. There was the sensuous chaudhvi ka chand by shakel badayuni from the eponymous 1960 film and the charming Bhawra bada nadaan from Sahib Bibi Aur Ghulam (1962). These songs, when one look back, offer an antithesis to the more intense songs in the dutt’s films. One of the songs also led to an argument with sultanpuri. The original had “He told me, chhodiye bhi (let it go). He adds that dutt was particular about a few things. “One was the vocabulary, the language and the manner in which a character speake and if it is present in the lyrics too.

Dutt’s understanding of music came from two spaces – his exposure to baul performances and jatras as a child and his training at uday shankar’s music and dancy academy in almorant along along along. Her Sister Uzra Butt and Amla Shankar Among Others. The Baul style of aaj sajan moheng laga lo in pyaasa was one such tribute. His wife and playback singer Geeta Dutt’s voices as well as that of Mohammad Rafi crooning for the disillusioned Character Also played a Significant Role in the success of the success of the Filmmaker’s Music, Be’s of Course, Kolabore. Composers such as sd burman, op nayyar and hemant kumar. Decades Later, The Songs Continue to speak truth to power.