"Women were ready to do anything for Guru Dutt"

by | April 1, 2016, 13:26 IST

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Women were ready to do anything for Guru Dutt

Producer and brother Devi Dutt and a file photo of Guru Dutt


An incomplete story is always fascinating. That’s why Guru Dutt, more than five decades after his demise, continues to intrigue. Because his was a story of unrequited dreams, unresolved relationships, unrealised ambitions and… an unwarranted death. That’s why perhaps, the reason for his unnatural death at 39 continues to invite speculation.


As a filmmaker, his achievement remains blending commercial success with creative aspirations, movies like C.I.D., Baazi, Pyaasa, Chaudhvin Ka Chand and Sahib Bibi Aur Ghulam being a few examples. Even Kaagaz Ke Phool, which then crashed, is now regarded as a cult classic. 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. But as a person, he lived on the edge. The genesis could be traced to his troubled childhood, a reckless adolescence and an inherent excess in the personality that dented his personal and professional identity. Guru Dutt, who could only live life in the extreme, once said, “What’s life about, friend? It’s only about two things - success and failure. There’s nothing in between.” Much like the stark shadows and light that his films were so famous for…


Here, younger brother/producer Devi Dutt, who was an integral part of Guru Dutt Movies Pvt. Ltd, shares memories of a loving brother, a talented filmmaker but a tempestuous  person who vacillated between hope and despair…


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Guru Dutt with Madhubala in Mr & Mrs 55



EARLY MEMORIES

Ours was not an easy childhood. We witnessed a lot of conflict between my father Shivashanker Rao Padukone (headmaster/banker) and mother Vasanthi (teacher/writer). My mother was one of the few girls in the Saraswat Brahman Community to pass her Matric for which she was awarded a Parker pen by the community. My father was upset for not being invited. So when my mother and my brothers Guru Dutt and Atmaram returned home with the prize, my father grabbed it to throw it out of window. But Guru Dutt stopped him. As a young child, I watched this scene. It was 1940. Through the years, Guru Dutt, who was 13 years older to me, became a father figure to us - brothers Atmaji, Vijay and sister Lalitha (Lajmi).


Another memory is that of the afternoon in 1944, when a long-haired man stood at our door. He was Guru Dutt but he was unrecognisable. He had been sent back from Uday Shankar’s School of Dancing and Choreography in Almora because he had got involved with the leading lady of the company. He was then sent to Pune to work with Baburao Pai of Prabhat Film Company. There too, he got involved with the assistant dancer Vidya. He eloped with her and brought her home. The girl’s fiancé threatened police action. Finally, the matter was resolved.

THE RISE
In 1947, Guru Dutt moved to Mumbai and did films Girl’s School and Sangram. Then, Dev Anand offered him his directorial debut, Navketan’s Baazi (1951), honouring a promise he had made at Prabhat Studio. Like all his future films, Baazi too had two endings. This was one trait he could never give up. The original end was that Dev Anand goes to the gallows. Guru Dutt’s end was the one, which was retained. It had the inspector conning the villain into admitting his crime.


Then came Guru Dutt’s best phase where he directed Jaal (1952) and Baaz (1953), Aar-Paar (1954) and Mr & Mrs 55 (1955) and CID (1956). In 1953, Guru Dutt married Geeta Duttji, whom he met during the making of Baazi. They had three children, Tarun, Arun, and Nina. In 1956 they moved to 48 Pali Hill, their bungalow.



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THE PYAASA TRUTH
Pyaasa was the only subject that was original. Otherwise, most of his films were remakes. It was earlier titled Kashmakash. No producer was willing to touch it given its theme of a disillusioned poet. Pyaasa was supposed to be done by Dilip Kumar. He was to attend the mahurat at AP Kardar Studio. Also, BR Chopra’s office was in the same compound. Dilip saab went there to meet him. There was a quiet rivalry between BR Chopra saab and Guru Dutt. Dilip saab sat there discussing the script of Chopra saab’s Naya Daur as the mahurat time slipped. Guru Dutt sent for him. Dilip saab  said he’d be there in 10 minutes. Meanwhile, Guru Dutt sent for two bhanwras (bees). Ten minutes passed. Dilip saab didn’t come. Guru Dutt took the first shot. It had a man crushing innocent life – the bhanwra. He decided to play the protagonist himself.


A SPECIAL BROTHER
When I got married to Chanda (my wife) without the knowledge of the family, Guru Dutt was upset. He said, “I shouldn’t have made a film like Mr & Mrs 55, which showed marriages, could be sanctioned in the registrar’s office. You should see films and forget them.” Gradually, he came around and threw a lavish reception for us.  Once I asked Guru Dutt for his unit and studio to make an ad film. He said, “For your first film everything will be free. But from the second one you will pay each member of my unit.” He even asked Bhabhi  to give me 6000 rupees to start my company.  I was so touched. Bhabhi was kind-hearted. She was my godmother. She was the one who encouraged me to complete my education.

QUIRKS & EXCESSES
Guru Dutt had an ego and that caused problems. While he was making Kaagaz Ke Phool (1959), SD Burman told him, “Don’t make this film, it’s just your personal life.” Guru Dutt shot back, “You concentrate on your music. Let me do my work.” The two never worked together after that. Kaagaz… was shot in cinemascope. The cost of production was 50 lakhs. But it had patchy work as after a period we had to return the lens. Kaifi Azmi’s soulful lyrics were the plus of the film.


As is contrarily believed, writer Abrar Alvi did direct Sahib Bibi Aur Ghulam (1962). Only the songs were shot by Guru Dutt as he was particular about them. Once when Guru Dutt was away, Abrar shot the song Bhanwara bada nadaan. When Guru Dutt returned, he watched the reel almost 10 times and then said, “What have you done!”Abrar was hurt. Guru Dutt reshot it adding elements of comedy.


Projects like Motu Ki Maasi, Raaz (it later became Woh Kaun Thi), Professor, Lal Pathar were Guru Dutt’s subjects. But he gave them away. Guru Dutt Movies Pvt. Ltd (GDMPL) had 50 stories. Yet he chose to make remakes. He was not business-minded that’s why he became insolvent. Only he didn’t declare his bankruptcy. Also, Guru Dutt liked being pampered. He believed his friends who wrongly advised him for free drinks and to make merry. This brought about his downfall.


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Geeta Dutt and Guru Dutt

His marraige

Guru Dutt believed that Bhabhi was influenced by her parents and brothers. That was the bone of contention. Both were kaan ka kachcha (gullible). They believed rumours about each other. Actually, Guru Dutt was happy go lucky. He was fond of women. Women were attracted to him one reason being that through him they could become actresses. Women were ready to do anything for him. He was fond of alcohol as he was fond of creating. But when Kaagaz... flopped he was devastated. He felt that his career as a director was over. With time Bhabhi chose to stay in Santacruz close to the children’s school while Guru Dutt hired a three-bedroom flat at Arc Royal on Peddar Road for some time till their bungalow was being converted into a high rise.

His muse
The relationship between Waheeda Rehman and Guru Dutt was that of a teacher and a student. Her mother’s health was fragile as she suffered from a heart problem. She passed away around the time Pyaasa was released. Waheedaji, with her older sister Saeeda, wanted to return to Hyderabad. But Guru Dutt insisted they stay back. He shifted them from Khar to a more comfortable house in Colaba and gave them a car. He believed she was lucky for us. And she was.
There must have been something emotional between them. When people work together a bond, a friendship develops. But it was a temporary phase. There was nothing serious. My brother hardly went home. He stayed back at the studio to finish his work. Bhabhi suspected it was because of Waheedaji, which wasn’t right. There were rumours that he wanted to divorce Bhabhi, become a Muslim and marry Waheedaji. None of it was true. Guru Dutt, no matter what, would never have left the kids. He had no guts to do that.
Waheedaji was simple looking; she was not like Meena Kumari or Madhubala. For black and white films, the make-up would be heavy. So her features looked sharp. She was reserved and sober and had an endearing way of saying ‘Aadab’. She left Guru Dutt Movies in 1962. We missed her. She had signed a monthly contract. Had it been made into
a film wise contract, perhaps she would have stayed back.



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SUICIDE OR OVERDOSE?
After Sahib Bibi Aur Ghulam, Guru Dutt and Bhabhi had patched up. It was decided that the entire family would stay together at 48 Pali Hill once it was redeveloped. On October 9, 1964 he was at his studio with Tanuja, Rehman and director Shaeed Latif for his production Baharein Phir Bhi Aayegi. But Malaji (Sinha) had got stuck in Madras. So the shooting got postponed. Bhabhi had gone to the children’s school for PTA and was supposed to send Tarun and Arun across in the evening. We left for home in the car. He asked me to buy kites and manjha from Bandra as he wanted to fly kites with the children over the weekend. Then we stopped at Charag Din at Colaba. He bought clothes for the boys and also some for me.


Then we stopped at Kanji Bhai broker’s house at Marine Lines to collect whisky bottles. Guru Dutt asked him to get his money back from investors as he wanted to import coloured stock for Kaneez. When we reached home, he went into the kitchen and began preparing omelettes. He said he’d cook more often when we all lived together. He said that we brothers would occupy the 9th and 10th floors, from where we’d watch the sunset every evening. Just then walked in our Chartered Accountant, Gole saab. He informed Guru Dutt of the ‘final notices’ from the IT department for the taxes pending since the past two years. They got into a heated argument. Gole saab warned that the IT department could raid the studio, office and home anytime. Guru Dutt asked me to go home.


On the way out I met Abrar Alvi. I asked him to convey Bhabhi’s message to Guru Dutt - that she wouldn’t be sending the kids as it was late. That was my last evening with Guru Dutt. The next day, he was no more. I still maintain he did not commit suicide. It must have been due to the sleeping pills after heavy drinking with Abrar. Waheedaji had left us in 1962. Guru Dutt was facing serious income tax problems. He was on the verge of bankruptcy. He was worried about the studio going away.

THE YEARS AFTER
Bhabhi was shattered at his sudden death. When they were taking away his body, she cried, “Mat le kar jaao.”  But more than loneliness, it was joblessness that troubled her. Lata Mangeshkar and Asha Bhosle had taken over. But one couldn’t blame anyone. She’d take drugs like charas during the day and alcohol in the evening. Her tongue used to be swollen. She couldn’t sing. Once, she went for the recording of Basu Chatterjee’s Anubhav (1971). The song was Mujhe jaan na kaho meri jaan. She couldn’t stand, so disoriented she was. Sound-recordist BN Sharma sent for me. I asked her what the problem was. She said she didn’t feel like singing. BN Sharma ne phir chai peela peela kar unhein jagaya (he made her have cups and cups of tea). Mar mar ke she completed the song. Bhabhi passed away in 1972 due to cirrhosis of the liver at the age of 41.