Guru Dutt

Suffused with the dark poetry of the death wish, Dutt’s classics were nihilistic, self-portraits of the artiste as a depressed, disturbed and deluded young man.

Surprisingly, Guru Dutt Padukone’s childhood could have hardly been more normal. Born near Bangalore, of middle-class but intellectual parents, he was fascinated by dance. He joined Uday Shankar’s Dance Academy and his first film assignment was as the choreographer of Lakharani (’45). His friend from his days of struggle, Dev Anand, asked him to direct Baazi (’51) and its success made Dutt a sought after name. Thereafter, Dutt made shadowy, film noir inspired thrillers like Jaal and Aar Paar or comedies like Mr & Mrs 55.

Waheeda Rehman and an all-blanketing pessimism entered his films with Pyaasa (’57). Although self-obsessed and symbol-laden, the film was a commercial success and an undeniable classic.

The Christian symbolism rampant in Pyaasa was an early indication of Dutt’s persecution complex. In the song, `Yeh duniya agar mil bhi jaaye toh kya hai’, Dutt poses like Christ during the crucifixion; later, when he renounces the world, the light rushing towards him suggests his enlightenment and the film is peppered with references like `Kaaton ka haar’, which is akin to the crown of thorns synonymous with the Son of God.

The audience might not have responded to Dutt’s intellectualizations but they were captivated by his gift for story telling. He knew when to subdue the music, where the lyrics had to be given full voice (‘Jinhe naaz hai Hind par’) and how to create the atmosphere of a man triumphing over a spiritual wasteland.

Pyaasa was a blistering attack on worldly fame. When the long ignored poet finally gets recognition, he reacts with the climactic denouncement ‘Yeh duniya agar mil bhi jaye toh kya hai’. It seemed to suggest that this was Dutt’s point of view too. This, however, was not absolutely true. As Kagaz Ke Phool (’59) showed, success did mean a lot to Dutt. Both Pyaasa and Kagaz Ke Phool were intrinsically about Dutt’s relationship with fame. In Pyaasa, his alter ego rejected fame, albeit only after achieving it; while Kagaz Ke Phool showed his character’s frustration when he becomes a failure.

Off screen too, the failure of the elaborately scaled Kagaz Ke Phool left Guru Dutt devastated. His brilliantly shot, cinemascope attempt to reflect the world of Bollywood denizens through a cynical prism won him praise as the maker of a classic but set him back by Rs 17 lakhs. He agreed to produce a nakedly commercial Chaudhvi Ka Chaand (’60), to recoup the losses.

Strangely, Dutt refused to take credit as the director of the classic, Sahib Biwi aur Ghulam (’62). The film was set in a nineteenth century Calcutta mansion, that stood as an architectural metaphor for a crumbling age, succumbing to British exigencies. Meena Kumari was the mansion’s chhoti bahu — lovely but unloved. There was much that her fascinated factotum, Dutt (whose feelings for her were left undefined), wished to do for her but could not. Never has the human incapability for communication been so beautifully communicated.

Even as he sculpted classics, commercial factors continued to weigh heavily on Dutt’s mind. With tears in his eyes, Raj Kapoor praised Dutt highly after seeing Sahib Biwi Aur Ghulam, only to have him counter, “But will it run?” The film had an unremarkable run at the box office. Meanwhile, a personal maelstrom caused Guru Dutt to lose himself in the dark cloisters of his own mind. He suffered a shattering break with his discovery Waheeda Rehman, as she sought to establish her own identity outside his films. A hurt Dutt tried to repair his relationship with wife Geeta, but to no avail.

It led to his drowning his sorrows in drink — his life had became a suicide note. Nobody could stop the final, inevitable overdose of sleeping tablets. Dutt died,-probably still wondering: ‘Jaane woh kaise log the jinke pyar ko pyar mila.’

R.G. Torney

Ramchandra Gopal Torney – Hindi and Marathi director; born in Sukulwadi and educated in Malwan, coastal Maharashtra. Employed by Greaves Cotton Electrical in Bombay (1896); then transferred as a branch manager to Karachi. Resigned and returned to Bombay (1920). He is often cited as Dada Saheb Phalke’s rival for having apparently made the feature Pundalik (1912) a year before Raja Harishchandra (1913). Recent research suggests that it was probably made by N.G. Chitre, the owner of Coronation Cinematograph (which released Raja Harishchandra) with P.R. Tipnis, Coronation’s manager and later noted exhibitor in Delhi.

Torney was initially manager of Laxmi Film (1924-6) and Imperial (1927-31). Debut film, as co-director, was the commercial hit Neera (1926). Partnered distributor Baburao Pai whey the latter launched the Movie Camera Co. (1931) to import Audio-Camex recording equipment which they installed in Saraswati, Prabhat and Aryan studios. Took over Saraswati Film in Pune (1931), started as a technicians’ enterprise by Nanubhai Desai, Bhogilal Dave, Dorabsha Kolha and others in 1926. Saraswati Cinetone closed down in 1942 after an unsuccessful move into Hindi cinema. Torney made Marathi comedies in late 30s and early 40s, often starring comedian Dinkar Kamanna. Made films for his own studios, Imperial, Sagar and Sikandar; also art direction and sound recording for some early Marathi talkies. Scripted Madanrai Vakil’s Mewad No Mawali (1930).

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Bengali film pioneer born in Bakjuri village, Manikganj (now Bangladesh). India’s first film-maker with Bhatavdekar. The son of a lawyer, he started as photographer and achieved considerable renown. Almost definitely saw first-ever film show, at Star Theatres, featuring Prof. Stevenson’s shorts on double-bill with Star’s stage hit, The Flower of Persia (1898). His first film, made with equipment and guidance from Stevenson, was based on scenes from The Flower of Persia and shown at Star, with Stevenson’s package, in repeated shows that year. Acquired camera from London, a projector from Warwick Trading and set up Royal Bioscope (1899) with his brother, Motilal Sen. His best-known outlet was Amar Dutta’s Classic Theatre in Calcutta, where Royal initially exhibited imported footage (e.g. Transvaal War Pictures, Splendid Magical Exhibitions, A Few Marvellous Scenes of a Well-known Circus Played at Paris Exhibition) in intervals between stage shows. Best-known work in collaboration with Classic, filming scenes from its stage repertoire (1901-4). The partnership culminated in what was perhaps Sen’s only feature-length film, Alibaba and the Forty Thieves (the film’s length is disputed). Also did many request shows in private houses of landed gentry, command performances at the court of local maharajas, etc. Made some advertising films. Increasing competition from Madan Theatres in partnership with Pathe and the rise of several newer bioscope companies in Calcutta are among the reasons for Royal Bioscope’s decline. Apparently all its films were destroyed in a fire shortly before the studio closed down. Sen’s filmography is still a controversial issue among film historians. Further research will have to establish the definitive filmography.