The Making Of Pyaasa, The Guru Dutt Film That Changed Indian Cinema

NDTV

05-07-2025

This year marks the centenary of Guru Dutt, the legendary filmmaker-actor whose hauntingly poetic cinema still stirs hearts a century after his birth.
Guru Dutt would have turned 100 on July 9, 2025. Yet he remains vividly alive in our collective memory through films that still resonate deeply. At the heart of his legacy is Pyaasa, his most haunting creation. While writing the book Guru Dutt An Unfinished Story, I discovered that Pyaasa, like much of his work, was deeply personal, drawn from his own rejections, loneliness, and creative yearning.
The making of Pyaasa was not just cinematic history in the making, it was the story of a man revealing his soul. As the classic unfolded like a fever dream on screen, Guru Dutt's own life spiraled behind the scenes.
Pyaasa was inspired by Guru Dutt's early days in Bombay as well as the struggles faced by his father. His father's lifelong ambition was to engage in creative writing but he could only become a clerk. This exasperation he felt manifested itself in a childhood marred with his bitterness, reclusion and constant fights in the house for Guru Dutt and his siblings.
Guru Dutt's sister, the late artist Lalitha Lajmi had told me, "Yes, Pyaasa's theme was inspired by my father. Father was very creative and well-read...Guru Dutt inherited my father's temperament. But it also drew from Guru Dutt's early struggles in Bombay." After working as a young choreographer and assistant director at Prabhat Film Company in Pune, 22-year-old Guru Dutt arrived in Bombay in the late 1940s but 1947 turned out to be a year of rejection and humiliating struggle for him. India had just achieved independence but was suffering the bloody aftermath of the Partition. Guru Dutt lived with his family in a small rented flat and was struggling to make ends meet. He had realised how difficult it was for a creative man to survive or to make a place in the cut-throat culture of the film industry. He went door to door of many film producers but couldn't get work for almost a year. In that frame of mind, he wrote the story about the frustrations and anguish of an artist and called it 'Kashmakash'(Conflict). The first draft of 'Kashmakash' was intensely personal. Guru Dutt poured his disillusionment, disappointment and resentment into the story and promised himself that he'll bring it on screen.
A decade later, this story would become the blueprint of his most celebrated film Pyaasa.
In the years that followed, Guru Dutt's fortunes began to shift. By 1956 Guru Dutt had secured his place as a promising filmmaker with four three successes as a director- Baazi (1951), Aar Paar (1954) and Mr & Mrs 55 (1956). Success had brought Guru Dutt the quintessential Bollywood dream: a bungalow in posh Pali Hill, a marriage and children with legendary singer Geeta Roy, and his own production house where he wore the hats of producer, director, and lead actor.
Though he had achieved success riding on the popularity of romcoms and thrillers inspired from Hollywood, in his heart, he yearned to prove himself as a serious filmmaker. Finally, he chose the story he'd long yearned to tell. Pyaasa, which literally means 'the thirsty', ignited an unquenchable thirst for creative perfection that would ultimately consume him.
For his most ambitious film yet, Guru Dutt wanted the best actor around. He wanted the 'tragedy king', the top star of the 1950s- Dilip Kumar. Dilip was known to take his craft extremely seriously and was a perfectionist to the core. He normally worked in one film at a time to give it his 100 per cent. This was exactly the kind of dedication Guru Dutt wanted from his Pyaasa hero.
Guru went to meet Dilip Kumar and narrated the script of Pyaasa to him. Dilip Kumar agreed to do the film in principle and quoted his price of one-and-a-half-lakh rupees. Guru Dutt requested him to consider reducing the price. In reply, he was asked not to worry about the money. Now that Dilip Kumar was to take on the lead role, his loyal film distributors would take care of the finances. This perhaps was the point where Guru Dutt disagreed with him. Guru Dutt clearly told Dilip Kumar that he had a fixed team of distributors too and he had committed Pyaasa to them. At that time Dilip Kumar promised Guru Dutt that he would come for the shooting from the next day.
The following day, all preparations were done for the muhurat shot. The entire unit of Pyaasa was waiting to welcome their star, Dilip Kumar. Hours passed but Kumar didn't arrive. Guru Dutt's production controller and confidante Guruswamy said, 'I myself had gone to fetch Dilip Saab. But he was not to be found at home.' Guru's brother, Devi Dutt recalled, 'He [Dilip Kumar] was to attend the mahurat at Kardar Studio. Also, [producer-director] B.R. Chopra's office was in the same compound. Dilip Saab went there to meet him. Dilip Saab sat there discussing the script of Chopra Saab's Naya Daur as the mahurat time (of Pyaasa) slipped by. Guru Dutt sent for him. Dilip Saab said he'd be there in ten minutes.'
But even then Dilip Kumar did not turn up.
Around lunch time, Guru Dutt sent for two bees. By 3 pm he had decided to play the protagonist himself and took the first shot- a close-up shot of a bee thirsty for nectar but a man passing by crushes the innocent life under his foot.
It's true that had Dilip Kumar turned up on that fateful day, Pyaasa would have been a very different film. But the way in which Guru Dutt played the role of Vijay, it is difficult to imagine anyone except him in that role now. He gave it his everything. Guru Dutt became Vijay, the heartbroken poet. Guru Dutt had always underestimated himself as an actor. In all his films where he had played the lead role, he was always the reluctant second or third choice. But the audacious move by Guru Dutt to take on the role that Dilip Kumar refused paid off and it became 'one of Bollywood's all-time greatest performances'.
With himself in the lead male role, the quest for the female lead started. The casting of the female leads for Pyaasa went through many changes. Initially Madhubala was considered to play the role that finally went to Mala Sinha. Meenu Mumtaz was signed as the streetwalker's friend while the song 'Jaane kya tune kahi' was to be picturised on Kumkum. However, in the final cut, both Meenu Mumtaz and Kumkum were out. A relatively new actress, Waheeda Rehman, was finalized to play the lead role of the prostitute, Gulabo. It was Guru himself who had introduced Waheeda in Hindi films with his last production C.I.D directed by Raj Khosla.
Initially Guru Dutt's team wasn't happy with her casting. It was a complex role that required a mature and seasoned actress and Waheeda was just one film old. But Dutt was certain, captivated by the young South Indian's quiet confidence.The new mentor-protege relationship was already being talked about in the corridors of the film industry.
As Pyaasa took shape, Guru Dutt's personal life began to unravel. Once a celebrated love story between star singer Geeta Roy and the struggling filmmaker, their relationship changed after Dutt's success. Though Geeta's voice graced all his films and contributed to his rise, she often felt overshadowed and underappreciated. Lalitha Lajmi told me, "They were deeply in love. But there was one major conflict in their relationship. Guru had promised that Geeta would continue singing even after their marriage. But now he wanted her to sing only in the films produced by Guru Dutt. He wanted Geeta to take care of the family, the big house they had built. With every successful film Guru achieved fame while Geeta felt that she has been denied her share of fame." Frequent arguments took their toll, and rumors of Guru Dutt's closeness with Waheeda Rehman only deepened the rift between him and Geeta.
Guru Dutt initially planned to shoot the red-light area scenes on location in Calcutta but shifted to a studio due to security concerns. People close to Guru Dutt have gone on record to say that he did not believe in shooting a film with a bound script or strict planning of shooting schedules. He was rather fond of 'creating' the film as it took shape on the sets, making a lot of changes in the script and dialogues. Pyaasa was no different. Guru Dutt shot the film in random order and it is said that the raw stock Guru Dutt used for any one film could have finished three films. 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! He kept forgetting the dialogues as it was a very lengthy shot, but he wanted it just right...he would shout and get bad-tempered when things did not go right. Before Pyaasa, he would scrap only one or two shots of a film, rather than entire sequences. But beginning from Pyaasa, the scrapping and reshooting had reached worrying new levels. People close to him noticed this change. Many believed his personal turmoil was wearing him down, but it was also clear that with his dream project Pyaasa, Guru Dutt was determined to leave no stone unturned in his pursuit of perfection.
Sleep evaded him. The misuse of and dependence on alcohol had begun. At his worst, he started experimenting with sleeping pills. Remembering those days, Lalitha Lajmi told this author, "The kind of serious films he was making had also affected him. His personality had changed. He had become more reclusive...sometimes he used to call me saying he wants to talk about something. But whenever I went to meet him, he never really confided. He was disturbed."
Guru Dutt gave his all to make Pyaasa- his sleep, his dreams, and the memories of his childhood. The dance of light and shadow, the echo of Baul singers from his Bengal childhood, and the grace honed at Uday Shankar's legendary dance school, all found their way, in one form or another, into the poetry of Pyaasa. Sahir's lyrics were brought to life in songs like 'Jaane woh kaise log the jinke', 'Jinhe naaz hai Hind par' and 'Yeh duniya agar mil bhi jaaye', composed hauntingly by S D Burman. The song sequences were replete with symbolisms that have been repeatedly decoded over the years. The shot-taking practices prevalent in Indian cinema at that time were mid-shots and long shots. Guru Dutt was perhaps the first to use an establishing shot followed by close-ups in his films. He was obsessed with close-ups and extensively used long focal-length lenses (75 mm and 100 mm). Even after so many decades, those close-up shots stand out. His brother Devi Dutt recalled, 'The close-up shots with a 100 mm lens in his films, which became known as the "Guru Dutt shot", the masterful play with light and even his melancholia soaked frames, still enthrall cineastes.'
As an actor too, Guru Dutt gave his soul to the role of the tormented poet Vijay. He believed that the eyes were the most expressive part of a person and they spoke more than anything else. When you recall any famous Guru Dutt photograph, or any of his scenes from a film, you will instantly remember his intense eyes. But a fact often overlooked is that Guru Dutt used to wear thick eyeglasses due to poor eyesight. He may have not been able to see the camera clearly without glasses but he worked really hard to express through his eyes. And the magic was there for all to see.
The rejection of the world and life itself was a prominent theme of Pyaasa. Drawing inspiration and reliving every trial and tribulation in his life for the script, Guru Dutt literally put his soul into the film. The unfading memory of the Pyaasa song 'Ye duniya agar mil bhi jaaye to kya hai', which had Guru Dutt in a posture that symbolises crucifixion is haunting to say the least, as markedly his state of mind was never the same after Pyaasa. It was as if the characters of his stories and real life merged into one.
The original title of the story that became Pyaasa- 'Kashmakash'-also appears in a very important verse by lyricist Sahir. In the film it describes the poet's frustration with the events happening in his life. But looking back, it can be said that the verse also applies to Guru Dutt's state of mind in those days. It was as if his soul was bared.
Tang aa chuke hain kashmakash-e-zindagi se hum
(I am weary of this troubled life, weary of this troubled existence)
Thukra na dein jahaan ko kahin be-dili se hum
(In my grief, may I not reject the entire world?)
Hum gham zadaa hai laayein kahaan se khushi ke geet
(How can I sing of joy when I live in pain?)
Denge wo hi jo paayenge is zindagi se hum
(I can only return to life what life itself offers me)
And then, as if following the strain 'Thukra na dein jahaan ko kahin be-dili se hum'
(In my grief, may I not reject the entire world?)
Guru Dutt had done the unthinkable.
Just when Pyaasa was nearing completion, came the news that he had attempted suicide. 'It was the year 1956 when the thirty-one-year-old Guru Dutt ingested a large dose of opium. Lalitha remembered, 'I knew he was in turmoil. They had serious problems.When the news came we were stunned. We rushed to Pali Hill. I remember his body had turned cold and his vision had blurred. He kept repeating, "I'm becoming blind, I can't see." We took him to the hospital. He was saved.' But what had gone so wrong that he wanted to take his own life? The people close to Guru Dutt could never really know if the attempt to end his life was due to a mood disorder, mental health issue or some philosophical reason. Neither did they seek professional help after he was discharged from the hospital. With scarce conversations around a socially stigmatised topic and big money riding on his dream project Pyaasa, Guru Dutt found little time to address what happened.
The completed film was shown to distributors it too dark and urged for lighter moments. To soften the tone, the romantic song ' Hum aapki aankhon mein ' was added as a dream sequence, the only 'dream song' in his entire body of work.
On 22 February 1957, Pyaasa was premiered at Bombay's Minerva theatre. The humane theme of the film connected with audiences and the film struck gold at the box office. The commercial success of Pyaasa went far beyond Guru Dutt's own expectations. No one had expected such an intense and serious film from Guru Dutt who was dabbling in romantic comedies and thrillers until then. It is to be said that the lyrical fluidity of Pyaasa defies Guru Dutt's indecisiveness or temperamental and erratic ways of shooting. The screenplay writer Abrar Alvi was always on sets and his fluid screenplay kept the pace alive throughout. The film even today flows effortlessly.
Pyaasa dared to question a society that dismissed sensitivity and art in favor of money and power. It asked what matters more: art or ambition, integrity or money? Artistic yet entertaining and well within the mainstream format. This is perhaps what made Pyaasa everlastingly relevant.
Unfortunately, it did not win any of the prestigious Filmfare awards for 1957. The award ceremony was dominated by Naya Daur and Mother India. But Pyaasa stood the test of time and went on to capture a place in TIME magazine's coveted list of 'All-TIME 100 Movies', and has achieved the status of a cult film the world over.