Latest news with #Pyaasa
NDTV
4 days ago
- Entertainment
- NDTV
Saiyaara, And The Taming Of The Tortured-Male-Rockstar
In Mohit Suri's Saiyaara, a bitter boy meets a guarded girl. He is hurting, and she is hurt. He, a singer, uses music to convey wounds, and she, a writer, uses words to cover injury. He seeks fame, and she wants solitude. As star-crossed as it comes, they are destined for a kind of love that consumes both but heals one; headed for a ruined romance where one survives and the other thrives. Such stories have a precedent, comprising mostly a man at the centre - talented but obscure, wanting love but chasing heartbreak. The ache baptises him as an artist. Karan Johar's Ae Dil Hai Mushkil (2016) is a telling instance. Snubbed by the woman he loves, the man uses shards of his heart to make music, and earns success. This is such a trope that when the protagonist in Imtiaz Ali's Rockstar (2011) wishes to be a singer, he is prescribed heartbreak. Although Ali designs him as a reluctant rockstar willing to forsake everything for love, his hero eventually gains everything his heart desired at the cost of his heart. This archetype of a tortured male artist is not a novelty in Hindi films. Guru Dutt's Pyaasa (1957), about a poet awaiting validation from a hostile world till he rejects all, is an early example. There are more, including Suri's own rendition of A Star Is Born in Aashiqui 2 (2013). Ali's Tamasha (2015) has a storyteller bleeding through the mundanity of life. In Abhishek Chaubey's Udta Punjab (2016), a biting take on Punjab's opium problem, the sole artist in the story is drug-addled. If narratives confirm broken men as a prerequisite for artistry, they also carve specific roles for women to shoulder: the breaker or the healer. She propels the man to triumph or holds his hand through the turbulence of his making. Either way, she plays a part in someone else's journey and occupies limited space even as the succour demanded of her is boundless. She imprints the art, but the artist remains a man. With Saiyaara, Suri updates the stereotypes. Krish Kapoor (Ahaan Panday) is a volatile singer. Life has been unfair to him, and he, in turn, has little patience for fairness. His father is an alcoholic, and his band members, wealthier and better connected, get more recognition in the press. Always seething, he is introduced as beating up a journalist for favouritism. Standing on the other side of the scuffle is Vaani Batra (Aneet Padda), a girl so sensitive that she will probably crumble if pushed. Sparks fly. This World Is A Tragedy One would assume this is the story, that he is broken enough to be healed. But Krish, being a Mohit Suri hero, is scripted for graver tragedies. And thus it begins: Krish and Vaani gravitate towards each other. She pieces him together, and the colour of his t-shirts becomes lighter with his heart; a faint smile hovers over his lips. Everything fits: he is a narcissist, and she is devotional; she wishes for his success, and he wishes to be successful. Then disaster strikes, one primed to elevate Krish, but which will first crush him: Vaani is diagnosed with Alzheimer's. So far, so Rockstar. On a trope-y level, the condition makes sense; as a metaphor, it works even better. Afflicted by a disorder that destroys memory, Vaani's fading into oblivion literalises the dispensable function women play in such narratives. But Suri flips the script. He uses the segue of sickness to craft a subversive coming-of-age story where gender roles are defined but not followed. An Intervention The swap happens gently, almost against the wishes of the leads. Till Saiyaara is predictable, the characters act derivative. Till the story is imitative, the ticks feel the same. Krish smokes like Kabir Singh, is called "animal" for his flying temper, and falls in love with the eagerness of Imtiaz Ali's heroes. Ditto for Vaani, who is content being a bystander to Krish's success. Yet, whenever they seek to assume these roles, Saiyaara uses the context of tragedy and intervenes. Moments before Krish's big concert, Vaani assures to be a cheerleader only to be disoriented; after Krish readies to go for his band's first concert tour, he runs back, an image that keeps repeating, from the airport to be next to her. Aneet Padda as Vaani in Saiyaara These deflections, slight on the surface, rework archaic optics. They allow the girl to bypass conventions and extract an Aditya Chopra hero, prone to seeing the divine in the person he loves, from Sandeep Reddy Vanga's universe of God-complexed protagonists. Saiyaara features a pliant female character whose path to healing assumes agency to be the central story, and a male artist willing to partake in it as the healer. The Real Protagonist Suri's filmmaking responds to this. Vaani might be lurking in the background, restricted to mostly reaction shots, but she is the protagonist. The camera is earlier established as her point of view; when she faints, the screen crumbles, and keeps finding her even when the stage is set for Krish. His big moments - a tour in India, a concert in London - keep getting interrupted by her condition. As if she is on the journey and he is playing catch-up. This thought gets reinforced when his acts, hitherto selfish, start being imbued with the care of service. He desires to flourish not for his sake but so that she can spot him from afar. Saiyaara, too, holds out, framing Krish as a rockstar, after teasing with the visual, only when the image pines with the purpose of finding her. So keen is he that grief of her absence, deployed by his predecessors as a license to be a man-child, is wielded by him to be tender, in preparation for a visit. Such selflessness is atypical of an artist but typical of a lover. Perhaps this explains the allure of Saiyaara. Suri's film tempts with the familiar tale of a misunderstood singer to crack open as a tale of two star-crossed lovers who, altering destiny, head for a remedial romance. Both survive because the other survives. The artistry - she writes, he sings - becomes a means. Songs billow from broken hearts but not as a memento of a finished story, but as an accessory to keep sustaining it. Who knew the tortured male artist is just a simp in disguise? (Ishita Sengupta is an independent film critic and culture writer from India. Her writing is informed by gender and pop culture and has appeared in The Indian Express, Hyperallergic, New Lines Magazine, etc.)
India.com
20-07-2025
- Entertainment
- India.com
Those 10 Bollywood films which have been huge blockbusters in foreign countries, fifth one won an award at...
The Golden Age of Bollywood (1940-1960) was the golden era of Indian cinema, when films ruled the hearts of audiences not only in India but all over the world through social messages, emotional touch and great music. These films gave recognition to Indian culture and stories on the global stage. From Raj Kapoor to Nargis and Dilip Kumar, films of stars like these were widely watched abroad and participated in Cannes Film Festival to Oscars. Here is a list of 10 films that have become very popular abroad as well. Mother India (1957) This film by Mehboob Khan is the story of a mother's struggle. Nargis' acting and social message made it popular in Russia, the Middle East (UAE, Saudi Arabia) and African countries (Nigeria, Ghana). It was nominated for an Oscar. Mughal-e-Azam (1960) Dilip Kumar and Madhubala's pairing in this grand love story by K. Asif mesmerized audiences in the US, UK and the Middle East (Kuwait, Qatar). The song 'Pyar Kiya To Darna Kya' was a global hit. Awara (1951) This Raj Kapoor film depicts the social struggle of a young man. It was extremely popular in the Soviet Union, Turkey and China. The song 'Awara Hoon' was translated into many languages. Shree 420 (1955) This Raj Kapoor film depicts the story of the battle between morality and corruption. It was well received in Eastern European countries like Soviet Union, Romania and Poland. Do Bigha Zameen (1953) This realistic film by Bimal Roy depicts the struggle of a farmer. It won awards and praise in France (Cannes Film Festival), Italy and Germany. Pyaasa (1957) This Guru Dutt film is an emotional story of a poet. Its songs and story were highly appreciated in France, UK and Japan and hailed as greatest of all time. Pyaasa captures Guru Dutt's intimate journey as a striving artist in Bombay, showcasing his frustrations with society's apathy towards authentic art, alongside his pursuit of love and acknowledgment. Although the film isn't a straightforward biopic, it is deeply influenced by Dutt's experiences, especially his initial hardships and his father's unrealized creative dreams. Kaagaz Ke Phool (1959) This tragic story by Guru Dutt showcased the ups and downs of the cinema industry. It was considered a classic in cinematic circles in France, the US and Canada. The movie portrays the bond between Suresh and the actress Shanti, portrayed by Waheeda Rehman, which is interpreted as a mirror of Dutt's rumored romance with Rehman, introducing an additional dimension of autobiographical analysis. Neel Kamal (1947) Raj Kapoor and Madhubala's chemistry in this Kidar Sharma film attracted audiences in the Soviet Union and Egypt. Its music also became popular for featuring iconic songs like 'Bhul Jaate Hai Bhul Jaaya Karein' and 'Sochta Hai Kya.' Barsaat (1949 This romantic film by Raj Kapoor popularised Indian love stories in the Soviet Union, Türkiye and Iran. The song 'Barsaat Mein Humse Mile Tum' became global hit in many other countries as well. Anari (1959) The simplicity of Raj Kapoor and Nutan in this Hrishikesh Mukherjee film won the hearts of audiences in the UK, Australia and Singapore, which was based on the tale of Rajkumar, a compassionate and truthful yet jobless artist, as he maneuvers through a world driven by materialism. This film delves into themes of integrity, benevolence, and the battle for ethical principles, which is now hailed as cult classic in the history of Indian Cinema.
Indian Express
17-07-2025
- Entertainment
- Indian Express
Euphoria pays tribute to Guru Dutt with a cover of his iconic song from Pyaasa, watch video
The band Euphoria just released a cover of the song 'Yeh Duniya Agar Mil Bhi Jaaye' from Guru Dutt's Pyaasa, and the video is a heartfelt throwback to the underlying story behind the song. Palash Sen takes the place of Dutt and plays the role of the detached man, who has lost all hope and aspirations. While fans would have hoped for a new song from the iconic band, this tribute is being appreciated as it gives them the chance to listen to the band after a gap of several months. As mentioned before, Palash takes centre stage as he walks around a home that houses a broken family arguing over material possessions. The video highlights the elder generation being coerced to give away their belongings, while the youngest of the household remains unaware of the state of his family and hence is the only one who is content. Palash brings to life the beautiful lyrics penned by Sahir Ludhianvi, as the band tries to do justice to the original composition. Also Read | Kishore Kumar asked wife Ruma Devi to quit singing and stay at home, reveals son: 'She was singing with Lata Mangeshkar…' Sung originally by Mohammed Rafi, 'Yeh Duniya Agar Mil Bhi Jaaye' portrays a disillusioned individual who does not feel any connection with the world he inhabits. Palash Sen, on the other hand, is in a situation which depicts the aftermath of his death and how his legacy and estate are reduced to numbers and divided among those who remain. While it is not feasible to be able to match the vocals of Rafi, Palash does a bang-up job and delivers a fitting tribute to the song, the singer, and the actor. Also Read | Guru Dutt@100: Here's looking at the man behind the artiste Initially an English rock band, the members of Euphoria decided that they would bring Western musical practices to Hindi and Punjabi lyrics to create an experience unlike any other. Their debut album Dhoom was a movement in itself and helped pave the way for all independent Indian artistes that came after them.
News18
14-07-2025
- Entertainment
- News18
IFFM 2025: Manoj Bajpayee, Kareena Kapoor, Sharmila Tagore Nominated For Best Actors
Last Updated: The Indian Film Festival of Melbourne 2025, supported by the Victorian Government, runs from August 14-24. Nominees include Manoj Bajpayee, Kareena Kapoor Khan and Sharmila Tagore. The Indian Film Festival of Melbourne (IFFM) 2025 has unveiled its official list of nominees across major categories, featuring a stellar line-up of talent from across Indian cinema. The festival, supported by the Victorian Government, is set to take place from August 14 to 24, and will include screenings, awards, and tributes to iconic filmmakers. Among the highlights, actors Manoj Bajpayee, Mohanlal, Kareena Kapoor Khan, and Sharmila Tagore have secured nominations in the Best Actor categories, reflecting the diversity of performances from this past year. In the Best Actor – Male category, the nominees include Abhishek Bachchan, Adarsh Gourav, Gugun Kipgen, Ishaan Khatter, Junaid Khan, Manoj Bajpayee, Mohanlal, and Vishal Jethwa. For Best Actor – Female, Anjali Sivaraman, Bhanita Das, Geetha Kailasam, Kareena Kapoor Khan, Shamla Hamza, Sharmila Tagore, Shraddha Kapoor, and Tillotama Shome are among those in the running. The festival's Best Film category features a mix of commercial and independent titles, including Homebound, Kalki 2898 AD, L2: Empuraan, Maharaj, Meiyazhagan, Stree 2, and Superboys of Malegaon. Directors such as Aranya Sahay, Lakshmipriya Devi, Neeraj Ghaywan, Onir, Reema Kagti, Rima Das, Varsha Bharath, and Vipin Radhakrishnan have been nominated for Best Director. In the Web Series section, Black Warrant, Gyaarah Gyaarah, Khauf, Kota Factory Season 3, Manorathangal, Paatal Lok Season 2, Thallivattam Palayam, and Tribhuvan Mishra CA Topper have earned nominations. Web series actors up for awards include Ananya Panday, Monika Panwar, Nimisha Sajayan, Parvathy Thiruvothu, Rasika Dugal, Shabana Azmi, Tillotama Shome, Abhishek Kumar, Ali Fazal, Jaideep Ahlawat, Jitendra Kumar, Mammootty, Manav Kaul, and Zahaan Kapoor. This year, IFFM will also honour the legacy of legendary filmmaker Guru Dutt with special screenings of his classics Pyaasa and Kaagaz Ke Phool. The 1957 film Pyaasa is a poetic drama set in Calcutta, centered around a disillusioned Urdu poet, Vijay, whose socially conscious verses go unappreciated. Kaagaz Ke Phool (1959), India's first CinemaScope film, is revered for its visual brilliance and self-reflective narrative. The film remains a staple in global film studies and is hailed as one of Guru Dutt's most technically pioneering works. Winners across categories will be selected by a distinguished jury, which includes filmmaker Garth Davis (Lion) and theatre director-producer Nadia Tass. Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.
Hans India
13-07-2025
- Entertainment
- Hans India
Guru Dutt: A fine specimen of introspective artistry
As India commemorates the 100th birth anniversary of Guru Dutt in 2025, the spotlight returns to one of the most enigmatic and influential figures in Indian cinema. Born on July 9, 1925, Guru Dutt's legacy transcends time, genre, and geography. His films were not just entertainment—they were poetic reflections on the human condition, marked by emotional depth, visual innovation, and philosophical introspection. Guru Dutt's cinematic journey, though tragically brief, was revolutionary. Films like Pyaasa (1957), Kaagaz Ke Phool (1959), and Sahib Bibi Aur Ghulam (1962) explored themes of alienation, artistic struggle, and societal decay with a sensitivity rarely seen in mainstream cinema. His protagonists—often misunderstood poets or disillusioned dreamers—mirrored the existential angst of a newly independent nation grappling with identity and modernity. Technically, Dutt was a pioneer. His collaboration with cinematographer V.K. Murthy introduced dramatic lighting and expressive framing that gave his films a noir-like intensity. His use of CinemaScope in Kaagaz Ke Phool was a bold experiment in visual storytelling, decades ahead of its time. Equally powerful was his musical sensibility. Songs like 'Yeh Duniya Agar Mil Bhi Jaaye' and 'Waqt Ne Kiya Kya Haseen Sitam' remain cultural touchstones, blending lyrical melancholy with haunting melodies that continue to resonate. In today's era of spectacle-driven cinema, Guru Dutt's introspective artistry offers a counterpoint—a reminder that film can be both personal and profound. His influence is visible in the works of auteurs like Satyajit Ray, Mani Ratnam, and Anurag Kashyap, and his films are now studied globally for their emotional and aesthetic richness. As retrospectives, exhibitions, and digital restorations mark his centenary, Guru Dutt's voice echoes louder than ever. He was not just a filmmaker—he was a philosopher of the screen, a poet of shadows, and a visionary who saw cinema as a mirror to the soul. Amarjeet Kumar, Hazaribagh
