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Hindustan Times
10-08-2025
- Entertainment
- Hindustan Times
Bouquets to Guru Dutt & glory for Peshawar boys
Vasanth Kumar Shiv Shankar Padukone, whom we know and revere as Guru Dutt(July 9, 1925 to October 10 1964), the finest filmmaker in the golden era of Indian Cinema. Remembered as the master of light and shade, Dutt turned into a legend following his death in 1964 due to consumption of alcohol mixed with sleeping pills. The debate continues whether it was suicide over his sadness if his relationship with the actor he had introduced to cinema, the great performer Waheeda Rehman, or accidental as he had sleep disorders yet it was seen and mourned as a great tragedy of one of the exceptional talents of Indian cinema. A poet of the talent of Kaifi Azmi had burst out in one of the finest memorial poems of loss which I can still recall my mother reading it out to us with sighs when I was just nine then: 'Tum jaise gaye aise tao jaaya nahi karate, Ik baar tao khud maut bhi ghabra gayi hogi, Yoon maut ko seene se lagaya nahi karate' (The way you went is not the way to go, For a moment death too would have trembled, This is not the way to embrace death). Yet after his passing away, his stature as a filmmaker-actor became immortal, passing as he did from life to legend. God may or may not love those who die young, but the human species certainly do so. He directed some eight Hindi films and gained a cult status that was unparalleled. His directorial debut came with a close friend, Dev Anand, in 1951 with Baazi to be followed by Jaal (1952) with Geeta Bali playing the female lead and Geeta Dutt, the amazing singer and Dutt's wife singing soulful numbers. The film was a huge success and there was no looking back for the two friends who had promised one another to be together in their days of struggle. Actor Guru Dutt (HT File Photo) Tributes to the legend As the film industry is celebrating the centenary of Dutt, leading film personalities have come forward to salute his genius with the chorus of 'he taught us to make films'. Sudhir Mishra, a filmmaker to recon with who has made memorable films in in the times of parallel cinema, like Dharavi, Hazaaron Khwaishein Aisi, and Chameli, says: 'There is nothing in my life that I have done which isn't influenced by Guru Dutt. I haven't measured up to him, but I am trying to. Every film I have made, every scene I have written, every shot I have taken I can't imagine it without Guru Dutt. He taught us how to make films. He taught us how to see films.' Javed Akhtar, who gave his special stamp to Indian cinema, says his dream was to assist Dutt: 'My dream was that after graduation, I 'll go to the film industry and assist Guru Dutt for some years. It is so unfortunate that I came to Bombay (now Mumbai) on October 4,1964 and he passed away on October 10, so I could never ever see him.' Dutt, with his classic cinema including Pyasa, top of the charts, Sahib Bibi aur Gulam and his autobiographical Kagaz ke Phool, which did not reach out to the people then but is considered a marvel now. Dutt died young but ensured his immortality in his passionate art. I get a funny feeling that 100 years ahead of now some scribe like me will be celebrating his legend with a line from Kaifi Azmis's poem to him: 'Kyon mar ke bhi hothon pe hasi khel rahi thi/ Sab jaanate hain aur bataya nahi karate (Why was he smiling even in death/ Everyone knows it but keeps silent). The tragedy king & the showman Before one goes onto the talk of the great actor and the greatest showman of the golden era, both hailing from Peshawar, Dilip Kumar's regret on turning down a role offered to him by Dutt in Pyaasa. Kumar had been the filmmaker's first choice for the leading role of the dejected poet and lover in the film. Kumar, however, turned down the offer and Dutt stepped into the role himself making rare film history. Later, Kumar regretted having the role of Vijay- the poet which Dutt portrayed in such intensity that it is considered one of the landmark performances of Indian cinema. It is said that later he regretted it. He is reported to have said that he had just played Devdas and felt this role had similarity but later he felt that he should have done it because the film was made with great depth. And now to the joyous news of the ancestral homes of Kumar and Kapoor in Peshawar to be turned into museums and more so when it came after what could have been a sad war between the two countries. And this is something that Donald Trump has played a role in but a matter of roots and love for Indian cinema . When I shared this news with historian and peace activist Ishtiaq Ahmad, political scientist, chronicler of Partition and a voice of peace between the two countries as well as a great fan of Indian cinema, his response: 'This is something good. Pakistan often surprises me.' Interestingly, the two actors were friends from the Peshawar days. Yet they co-starred in just one 1949 film Andaz, directed by Mehboob Khan with Nargis playing the female lead. It had great music by Naushad and Kapoor played the dejected hero. Their camaraderie lasted long but for a mild rivalry over the celebrated Vyjayanthimala from the South, who had co-starred with both. Well boys will be boys and more so when they are from Peshawar. nirudutt@
Hindustan Times
07-08-2025
- Entertainment
- Hindustan Times
'I had some choice': Javed Akhtar says he refused to watch films of 'certain superstars' because they're 'bad actors'
Lyricist and screenwriter Javed Akhtar was at his wittiest best on Wednesday as he spoke on Guru Dutt's films at a panel discussion ahead of the premiere of the restored version of Pyaasa in Mumbai. The 1957 film is considered the late filmmaker's finest and one of the greatest Indian films ever made. Recalling his first introduction to Guru Dutt's cinema at the event, Javed Akhtar threw some jibes at others in his trademark style. Javed Akhtar threw some shade at unnamed superstars. The panel discussion kick-started the centenary celebrations of Guru Dutt, during which some of his most iconic films are being restored and re-released in theatres this weekend. The event, organised by Ultra Media and Entertainment Group, the National Film Development Corporation (NFDC) and the National Film Archive of India (NFAI), saw Javed Akhtar being joined by filmmakers Hansal Mehta, R Balki, and Sudhir Mishra, as well as film critic and author Bhawanaa Sommaya. Javed Akhtar on superstars' acting skills After revealing that he initially wanted to assist Guru Dutt as a teenager, Javed Akhtar said he was greatly influenced by the filmmaker's works. 'Let me be a little immodest here,' he quipped, 'I was highly impressed by Guru Dutt in my college days. Even when I was 17 or 18 years old, I used to refuse to see films of certain superstars because I believed they were bad actors. It means I had some choice. Guru Dutt had a deep impression on me as a teenager.' Guru Dutt is known for cult classics like Pyaasa, Kaagaz Ke Phool, Aar Paar, and Jaal, among others. One of the pioneers of noir and visual storytelling in Indian cinema, the filmmaker died in 1964 at the age of 39. Talking about his legacy, Javed Akhtar added, 'There were other directors who could give good performances, shoot at the right locations, create the right ambience in the film, and make well-written films, but talking through visuals is something that was taught to us by Guru Dutt.' Guru Dutt retrospective Six of Guru Dutt's finest films: Pyaasa (1957), Aar Paar (1954), Chaudhvin Ka Chand (1960), Mr & Mrs 55, (1955), Sahib Bibi Aur Ghulam (1962), and Baaz (1953) will be screened across India from August 8 to 14 as part of the retrospective of his filmography. These titles have been restored by NFDC and the NFAI as part of the National Film Heritage Mission, along with Ultra Media and Entertainment Group, which holds the rights to these movies.
Indian Express
09-07-2025
- Entertainment
- Indian Express
Filmmaker Sudhir Mishra unpacks the brilliance of Guru Dutt and its enduring impact
Filmmaker Guru Dutt is like a poet who works with other poets such as Sahir Ludhianvi (he wrote lyrics for Baazi (1951), Jaal (1952) and Pyaasa (1957) among others) and creates enduring cinematic moments. I see his films as a series of moments which resonate with me at various points of my life. I tend to understand myself better in a weird way through those moments. I don't have an intellectual relationship with Guru Dutt but more of a subconscious relationship. Once his films entered my mind, they never left. I don't know whether that shows in my work. If it shows, I am glad. If it does not show, then I am not good enough. Because of him, I am also attracted to people on the margins. Chhoti Bahu in Sahib Bibi Aur Ghulam (1962), a character essayed by Meena Kumari, is a woman locked up but bursting with desire and sensuality. She wants to explore the world outside. The way Guru Dutt sees women is very interesting. He is not condescending. There is even a mischief there in Waheeda Rehman's character in this film. There is jealousy and all sorts of desire. Women are not ashamed to express their desire. They are not making any excuses. His women are capable of expressing their deeper desires. He treats them as he treats men. Of course, the experiences of men and women are different. It is remarkable how Guru Dutt almost rewrites a script while making a film. He creates an ambience that's beyond the written pages. Sometimes, it is even contrary to the dialogues. Handled by any ordinary filmmaker, the dialogues can be seen as mundane. A lament can be melodramatic but he makes it poetic. Chhoti Bahu becomes a metaphor for me — much more than just a character. The way he shoots the songs is outstanding. 'Waqt Ne Kiya Kya Haseen Sitam' in Kaagaz Ke Phool (1959) almost foretells the lead characters' parting and encapsulates the inevitability that their lives will go separate ways. It is kind of in the subconsciousness — he is not trying to intellectualise it. Because he was also a dancer and choreographer, he understood rhythm. The way he shoots 'Jinhe naaz hai hind par woh kahan hai' in Pyaasa — with VK Murthy behind the camera — transforms the song into something much more than a complaint. It is as if he completes the poem by Sahir. He rewrites it with the camera. My grandmother identified herself as Meena Kumari (who plays Chhoti Bahu) after my grandfather had walked away, into the arms of another woman. I was around five years old when I first watched Sahib Bibi Aur Ghulam with my grandmother. My father founded the film society in Lucknow. I saw Guru Dutt's films there again. I watched them on my own. Whenever there was a screening of a Guru Dutt film — Pyaasa, Chaudhvin Ka Chand, Aar Paar or Baazi — I would go. In hindsight, that was the trigger to my becoming a filmmaker. I am quite intrigued by the fact that he was a passionate man and that his first love was filmmaking. He was obsessed with taking the right shots. He has shot films and dumped them because he was not happy with them. He was trying to make sense of the world. He had certain ideas and it was difficult to replicate them. They are ephemeral. A lot of people can call it confusion. But he was searching as he shot. When he sees Meena Kumari singing 'Na Jao Saiyan Chhuda Ke Baiyan' and Murthy has lit the shot, that's when he realises what he has in his mind. Consciously, he has left those moments for us. He is a poet, painter, and filmmaker. Call it hyper realism, he takes a moment, fits into the art, and thereby creates a third moment. Look at the image he creates with Yeh duniya agar mil bhi jaaye in Pyaasa. He speaks for many. Guru Dutt exists in all my films. I am not claiming that kind of greatness but I am a product of so many things and my lineage. Then, there is something unique, something that I have — my filmmaking is a search for that. It is what Ghalib called 'andaz-e-bayan' (style of expression). That was what Guru Dutt was searching for. He was also trying to understand who he was. His death at the age of 39 was sad. When you die young, you either disappear or become a legend. The latter is justified in his case since his films created the impact that they did. He was discovering the medium through his early movies. He is exploring how to treat a character and how to take a shot. Then, he made Pyaasa. He was getting ready to make these kinds of films. Cinema is a commercial world. You can become independent and explore what you want if you are a producer too. He was a producer-director. The medium of cinema is unique. There are certain things that only cinema can express if you submit to the muse and the medium. Then you will become a filmmaker and express what only cinema can do. That's what he was trying to find. He was saying what can be said only through cinema. His muse was the medium itself. (As told to Alaka Sahani)
India.com
16-06-2025
- Entertainment
- India.com
This man was forced to be an engineer, but he became singer, his voice made Dev Anand a star, name was..., Mousami Chatterjee was his...
In golden age of Indian cinema, when music had the power to define a hero, one legendary voice emerged as the heartbeat of romance. His melodies didn't just fill the air, they built the very aura of charm around a certain evergreen actor, who would go on to become the silver screen's first true romantic icon. Let's identify who this singer was. Voice Of God Here, we are talking about the legendary singer-composer Late Hemant Kumar , who had a huge impact with his singing in the 1950s and 1960s. Today is Hemant Da's 105th birth anniversary and those who have heard his voice may have surely known that he was the one who gave many legendary actors a shape in the form of voice, especially Dev Anand , whose mesmerizing voice made him the first king of romance . The actual name of Hemant Kumar was Hemant Mukhopadhyay, who was born in Varanasi on June 16, 1920. His family was originally from Bengal and was born and brought up in the heartland of Bengal, Kolkata. At the age of 13, he performed his first song on All India Radio. His father wanted him to pursue engineering as a career, but fate decided something else for him. Later, his companion Subhash Mukhopadhyay, who was also a remarkable poet from Kolkata, provided him with this chance. Hemant Da and His Legendary Contribution In 1952, when people first listened to Ye Raat Ye Chandni Phir Kahan from the movie Jaal , they sensed that it was extraordinary. This song featuring Dev Anand and Geeta Bali remains at the forefront of romantic melodies. His next was House No. 44, featuring Teri Duniya Mein Jeene Se To Accha Hai Ki Mar Jayein , which resonated emotionally with listeners. Hai Apna Dil To Awara from the 1958 movie Solva Saal turned into Dev Anand's trademark style. Hemant's vocals, Dev Anand's manner, and Pancham Da's (RD Burman's) tunes combinedly produce enchantment. Hemant Kumar was not just a singer, he was also an outstanding musician. The score of Nagin achieved such popularity that he received the Filmfare Award . He wrote and performed songs in movies such as Bees Saal Baad, Khamoshi', and Kohra . He was also the first Indian playback singer who sang for Hollywood, as he was invited to compose songs for Conrad Rook's Siddharta, based on Herman Hesse's novel . He also got felicitated with US citizenship and the Gramophone Company of India honored him for his 50 years of musical journey. Mousami Chatterjee Is Hemant Kumar's… The name of Hemant Kumar's wife was Bela Mukhopadhyay. They had two children, Jayant Mukherjee and Ranu Mukherjee . Renowned Bengali-Hindi film actress Mousami Chatterjee is the daughter-in-law of Hemant Kumar. Mousami tied the knot with his son Jayant. Hemant, who gained immense recognition in Indian music both nationally and internationally through his singing and compositions, bid farewell to the world on 26 September 1989 due to a severe cardiac arrest .
Time of India
04-06-2025
- Entertainment
- Time of India
Aakash Nagi on joining Chakravarti Samrat Prithviraj Chauhan: The biggest challenge was playing a bilingual character
Aakash Nagi and (right) as Jaal in Chakravarti Samrat Prithviraj Chauhan Aakash Nagi is excited to be part of Chakravarti Samrat Prithviraj Chauhan, which also marks his debut in the historical genre. He plays the role of Jaal, an Afghani character who infiltrates the Rajput camp in Ajmer under the orders of Ghiyassudin. Speaking about his role, Aakash shares, 'For me, the most challenging aspect was that my character is bilingual — he speaks both Afghani and Marwari/Rajasthani. Another major challenge was performing action scenes while constantly wearing heavy costumes and accessories. However, my theatre experience helped me a lot in managing these demands.' One of the intriguing aspects of playing Jaal is the character's use of disguises. He explains, 'Jaal takes on various disguises — as a trader, a soldier, a dancer, and many more — to accomplish his mission and assassinate as many Rajput kings as possible, including Someshwar and Prithviraj.' Working on the show also gave Aakash the opportunity to collaborate with veteran actor Ronit Bose Roy, who portrays King Someshwar. Aakash says, 'It was a dream come true to work with Ronit Roy sir. We've shot some scenes together, and he's extremely accommodating on set. Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like 새로 나온 '실비보험' 최적가 가입추천! "주요 보험사별 맞춤견적+가성비 굿"... 굿리치 보험대리점 (등록번호:제2006038313호) 가입하기 Undo He gives other actors the space to improvise and ensures everyone feels comfortable while working with him. I haven't had the chance to shoot with Padmini ma'am yet, but I did get to interact with her. She is truly a gem of a person.' Aakash's journey into acting is a unique one. Originally a mechanical engineer, he completed his engineering degree in 2018 and began working in the field. However, his passion for cinema eventually led him to pursue acting full-time. 'I was always drawn to cinema. During my engineering days, I used to watch up to three movies a day,' he recalls, adding, 'I started doing theatre in college, and it laid the foundation for my acting career. Initially, I did unpaid roles while working my day job. I landed my first paid acting role in 2020 with the Punjabi show Kamli Ishq Di, which was shot in Chandigarh.' Following that breakthrough, he made the decision to move to Mumbai and try his luck in the mainstream entertainment industry. 'Moving to Mumbai was a difficult decision and surviving there was a struggle at first. But once I started getting commercial work, it became a bit easier to sustain myself. I eventually landed my first lead role in the Hindi television serial Mere Desh Ki Dharti, and things started to fall into place after that,' he concludes.
