PM Review

The only thing I can say about Abrar Alvi’s Sahib Bibi Aur Gholum [1962] based on Bimal Mitra’s eponymous Bengali novel is that I am almost addicted to Mina Kumari’s bold & beautiful acting. The first sequences are so much flat in positive nature but the following sequences with dark shades made this character dynamic & versatile. I don’t judge a character on its moral nuances because they are the representation of a time and things are all around us like these characters’ variations.   I have been a fan of Abrar Alvi’s screenplays & dialogues in collaboration with great Guru Dutt’s Pyaasa [1957], Kagaz Ke Phool [1959] & Chaudhvin Ka Chand [1960], though I think they might be greatly influenced and improvised by Guru Dutt himself. But Alvi’s directorial debut is as brilliant as his screenplays. The costume & makeup of Meena Kumari in Sahib Bibi Aur Gholam had a huge influence and inspiration for Aishwarya Rai in Bhansali's Devdas (2002). Even the druken mood and...

Watching Kagaz Ke Phool [1959] immediately after Pyaasa [1957] is a roller-coaster experience. While Pyaasa’s Bijoy dedicates himself to his artistic journey leaving every precious thing in his life, Kagaz Ke Phool’s Suresh surrenders himself to every destructive thing in his life leaving his artistic expedition.  It seems they originated from the same source of creative passion then branches out to the different channels. Thus, Pyassa ends with the beginning of the future path with the hope of a new life and Kagaz ke Phool ends with the ending of the present path with the despair of death.   I have found some semblance of Suresh’s contour of his passionate life for arts and compact intricacy of his private and professional life in Guru’s Kagaz Ke Phool [1959] with Alamgir Kabir’s Lenin in Rupali Saikate [1979]. The same vibes I have noticed between Bijoy from Guru’s Pyassa [1957] & Lenin from Kabir’s Surjya Kannya [1975]. Even the years of the theatrical releases unin...

The opening scene of Pyaasa (1957) where Bijoy (Guru Dutt) laying on the grasses and observing the playfulness of nature is just as mindful as a flying butterfly or the floating clouds. The extra close-up shots are masterful and as elegant & detailed as the impressionist paintings. I think the sequence where Gulabo (Waheeda Rehman) lures Bijoy to her Kotha (whorehouse) singing a song with a tune of his lyrics (Shayari Ka dhun) and he stalks after her through the surrealistic alleys of the city is nothing but a subtle experience of cinematic visuals. One needs a gifted artistic sensibilities of or longstanding adoration and cultivation over narratives & visuals to touch such marvelous milestones. Guru Dutt is one of the raw and rare auteurs following the tradition of Charlie Chaplin, Tarkovsky, Bimal Roy, Alamgir Kabir & so on and on. Pyaasa [1957] Guru Dutt Hindi, India