First Indian CinemaScope film and last film directed by the legendary Guru Dutt.
The innocence portrayed by the protégé Waheeda Rehman and the strength shown in choosing an incomplete life, is talked about less, when the other character is played by her mentor himself.
GuruDutt’s melancholic hold over the entire film was made possible through VK Murthy’s precise and thought-out lighting. It is then you realise the cinematographer’s contribution in delivering to the world a dream, out of the director’s womb.
And how it would break a person if that dream was not just a film but your whole idea of reality, and it fails to find its place in the reality of Life.
Kaagaz Ke Phool (1959) was not a commercial success like Pyaasa, CID, Mr and Mrs 55; it was disliked right from the premiere for introducing the audiences to the dark side of showbiz. Fast forward to 1980s, it received the recognition it desired and lamented for, being given titles like “a masterpiece” or “a cult classic.” It is hard to believe it is the same film that broke the already broken man. He left, his search for meaning through his work had failed him, or so he thought. We couldn’t comprehend and he couldn’t wait.
However, there are endless articles now, discussing every little detail of the film. International film festivals laud Guru Dutt for his creative thirst. We are celebrating its release even today in 2024. Is it because we have come close to accepting the paper flowers more practically now, given the simulated feelings have become our only basis to study depth.
It is not so simple to describe Kaagaz Ke Phool as a tragedy of two lonely people seeking support in each other, when the great actor-director goes beyond the film and lives the character. It is brilliant as much as it is tragic.
Film director Suresh (played by Dutt) turns to alcohol when he loses custody of his daughter and, somehow more importantly, when his favorite actress decides not to perform at his studio after he casts her as Paro–a character from let's say an Indian version of Romeo and Juliet called Devdas (watch the 2002 version omg). By the time she tries to come back and help him, Suresh is too far gone for redemption.
A lot of moving parts in this film, and even more filler shots, but treat this movie like a work of art and you won’t regret the experience.
Today, we celebrate the birth anniversary of #VKMurthy, born on November 26, 1923, a legendary figure in Indian cinema. Best known for his collaboration with Guru Dutt, Murthy was not just a cinematographer but a visionary artist. His journey from being a violinist and a freedom fighter to becoming a celebrated cinematographer is a tale of resilience and talent.
Murthy’s career in films began with 'Maharana Prathap,' but his big break came as an assistant cinematographer in 'Baazi' (1951), directed by Guru Dutt. His exceptional work caught Dutt's eye, leading to a lifelong collaboration that included masterpieces like 'Pyaasa,' 'Sahib Bibi Aur Ghulam,' and 'Aar Paar.' Murthy’s work on 'Kaagaz Ke Phool' (1959), India's first cinemascope film, is particularly noteworthy for its innovative use of lighting and camera techniques, earning him widespread acclaim and awards.
His contribution to the Indian film industry was immense, particularly in the era of black and white films, where he created some of the most memorable images. His talent in creating visual poetry was recognized with prestigious awards, including the IIFA Lifetime Achievement Award in 2005 and the Dada Saheb Phalke Award in 2010.
After Guru Dutt's untimely demise, Murthy continued his artistic journey with directors like Kamal Amrohi, working on classics like 'Pakeezah' and 'Razia Sultan.' His ability to adapt and excel continued in his collaborations with filmmakers like Pramod Chakravarthy and Shyam Benegal, notably in the television series 'Bharat Ek Khoj.'
Murthy's innovation was not just limited to film; his training stint in London included working on the crew of 'The Guns of Navarone.' Back in India, he broke new ground in Hindi cinema and was instrumental in shaping the visual narrative of the time.
His journey from a passionate film enthusiast, who was initially refused admission to a film-making course, to becoming the cinematographer of India’s first cinemascope movie is a testament to his determination and skill. His legacy lives on in the frames he crafted, the stories he helped tell, and the history he created in Indian cinema. On his birthday, we honor and remember V. K. Murthy, a true pioneer in the world of cinematography.
Many films have been made on the film industry. Films that show the intricacies of the process through the eyes of an artist integrated within it. But few have shed light on the tumultuous relationship between a filmmaker and a film critic. The two professions are constantly at loggerheads. It’s a never-ending battle due to the refusal of each to understand the job of the other. Chup uses a fictional tale of a serial killer that targets film critics to comment on the filmmaker-critic relation. This psychological thriller relies less on suspense and more on the interesting characters and passionate story that attempts to burn bridges between the opposing professions.
The strongest aspect of Chup is the intrigue. The buildup of how these four characters and two parallel stories will converge. And the way in which the contrasting elements of the multiple narratives lead to an exhilarating climax. This is further enhanced by its passion for the art of cinema. Writer-Director R. Balki made this film out of a pure love for the process of filmmaking. It is an ode to classic cinema with many references to the art behind old school romance. It specifically pays homage to Guru Dutt and his classic film, Kaagaz Ke Phool, and focuses on the relevance of that film in the filmmaker-critic debate.
Though the film is a multi-starrer, Dulquer Salmaan is the star of the show. Elaborating on the details of his performance would reveal too much of the mystery, but his ability to transfer between the different shades of his character is brilliant. While the remaining actors do well in their respective roles, much of the film’s impact rests on his shoulders.
Where Chup falters, is in its investigative suspense. While the police chase of this brutal criminal is smart, the characters pursuing the case have barely any background or emotional depth. Despite having considerable screen space, Sunny Deol has little to do in the film. Though he and Pooja Bhatt do well in the roles written, they have little impact due to the lack of characterization. Their characters are nothing more than props in the investigation.
Despite these minimal flaws, Chup stands out due to the themes it explores, albeit in a jumbled state.
It is natural for a filmmaker to feel disheartened on reading a scathing review. However, it is also important all types of reviews to exist. Otherwise, there will never be a standard for good cinema, filmmakers will be stuck in the land of mediocrity and no one will aspire for any better.
As a filmmaker and a film critic, someone who has seen both the blood and sweat that goes into the simplest details in a scene and someone who has watched countless films forming strong opinions on them, this divide is something I have witnessed myself. This is a battle I am constantly fighting within. That is why Chup resonates so deeply with me. It is a confused film, one which mirrors my constant confusion between the two worlds. Chup is the product of an artist and a critic, one that cannot differentiate between the two. That’s why the messaging of Chup is so muddled. Because on one hand it puts out valid points in the defense of film criticism and on the other hand romanticizes the life of an artist engulfed by the world of cinema and pained by the words of critics.
Through its confused state, it is not clear whether Chup has a defined message. The struggle between art and criticism will continue to remain. But somewhere in the midst of all the craziness, there is a sense of peace. A calm that sets in only on the union of the critic and the artist. Chup is at its best when the two are together, making their monotonous moments come to life with their common passion for cinema. And that may be the message that the filmmakers strive to convey. That just like Chup reaches its highest peak through the bonding of the critic and the artist, cinema will reach greater heights through a combined effort. Both the critic and the artist are necessary to make great cinema, and neither works without the other.
लाइफ में एक बार जरूर देखें गुरुदत्त की ये सदाबाहर फिल्में, जिंदगी हो जाएगी सेट https://www.timesnowhindi.com/web-stories/entertainment/pyaasa-to-kaagaz-ke-phool-guru-dutt-best-movies-watch-one-time-in-life-on-prime-video-youtube-and-other-ott/photostory/113286016.cms
Step into the golden era of Indian cinema through Kalakruti Media's presentation of "Kaagaz Ke Phool." Delight in the rich tapestry of Bollywood tadka and entertainment mix masala, accompanied by exclusive celebrity interviews that provide a unique insight into the making of this classic masterpiece. Read now!