Guru Dutt introduced the filming of songs like art, in which the songs worked to take the story forward with sweetness
It is morning and there is silence in the studio. As usual, film director Suresh Sinha comes to spend time in the empty studio one hour before the shooting. Like a studio, his life is also empty on the luxurious to see. The heroine of his film, Shanti, is weaving a sweater behind him. Shanti knows that Suresh is married but a new relationship is being established between him. Both are alone in the crowd and understand each other easily. They start talking among themselves. But the real thing still remains untold. But when the director is Guru Dutt, those untold things also get a lot of people and like the river, Kaifi Azmi’s words start flowing on the screen. Like the characters, this song is also bound by the limits of dignity. When a film is made by Guru Dutt’s imagination, the result is not less than a magic.
Ever since the speaking films started, there was a flood of songs in films. As soon as the producers came to know that films could play on the strength of songs, many times songs started to be stuck. Then many times songs were used to bring gaps to the story. At that time, actor and actress were skillful in singing, so the entire focus was focused on singing. But Raj Kapoor and then Guru Dutt and then Vijay Anand included the songs with screenplay and changed the attitude of filming of songs. Guru Dutt also had another advantage.
Between 1941 and 1944, Guru Dutt worked with the great dancer Uday Shankar, where he trained in dance and choreography. Later, when he started work in Prabhat Film Company, he also worked there as co -director and choreographer. It was from here that Guru Dutt got involved with film songs. Among them, there was such a unique confluence of dance and direction, which was never seen in Hindi cinema before. The glimpse of this confluence was seen by the people in his first film Baji (1951). In the film, Dev Anand is leaving for fear of losing gambling stories in a club. In the same club, Geeta Bali singing the guitar sings to stop them to play another bet, ‘Make a spoiled fortune with Tadbir, trust her if you have a bet.’ The audience does not know where the dialogue ended and where the song started. In the filming of Guru Dutt, the songs became visible and experiences, not just to listen to songs. This experience had no relation with grandeur. But it was completely different to see.
Shantaram’s songs were also grand and dramatic. But those songs needed a big canvas. But the background of Guru Dutt’s songs used to belong to the everyday life of the common man. He could also be the garage of the car, (‘Hear listen to listen to listen Jalima’ R Paar, 1954), Bombay’s pavement (‘Dil such magic’, Mr. and Mrs. 55, 1955) or could also be a moving vehicle (‘Yeh Lo Main Hari Piya’, R Par, 1954) or a Nawab’s ben. Guru Dutt’s impression was indelible in every song.
But many celebrities contributed to making these songs memorable. The first counters are counted, including Sahir Ludhianvi, Majrooh Sultanpuri, Kaifi Azmi and Shakeel Badauni are some of the prominent names. His songs written to pursue the story and they are o. Musicians like P. Nayar, Sachin Dev Burman, Hemant Kumar and Ravi decorated with excellent tunes. But he played a major role in bringing these songs alive, his co -passenger and cinematographer V.K. The idol. The credit for giving Guru Dutt’s imagination to the statue on screen goes to the idol. Taking full advantage of black and white shading, Murthy showed some feats from the Chiyaroskuro lighting technology and camera movement that left people amazed. Whether it is the ‘Time did not do Haseen Sitam’ or Sahib Biwi and Ghulam (1962) ‘Sakia today will not sleep’. These songs are seen playing the eye on the screen with the shadow of light and the shadow of characters. Actually, the lighting of these songs also acts to show both the story and the character’s state of mind.
Guru Dutt never gave his nomination as a director since the paper flower was not able to run. But his co -director and screenwriter Abrar Alvi wrote in one of his books that the fourteenth Chand and Sahab Biwi and Ghulam’s songs were filmed by Guru Dutt. It is the amazing of Guru Dutt that the fourteenth moon titled song The new couple’s romance is shot in a unique manner in the bed. At the same time, the same bed in the ‘Na Jaa Jaya’ of Sahib Biwi and Ghulam becomes a symbol of love for love. In the crowded streets of Bombay in Mr. and Mrs. 55, they share their new love experience with friends by saying ‘Dil on Dil Hui Hua Hua Hua Hua. At the same time, in Pyaasa (1957), in the deserted road of Calcutta, he sows the seeds of a new love story by saying ‘Baat Kuch Bana Hi’. In this song of Pyaasa, it seems that Gulabo is taking Vijay to her opening, pulling Vijay with an invisible thread. She repeatedly turns back and tries to drown Vijay into her intoxication. She considers him a customer and he does not know that Vijay is the same poet whose eyes are in his hand. Finally, something becomes something. In an interview, Mala Sinha had said that Guru Dutt’s contribution in making songs was very important.
Perhaps Guru Dutt was the first Hindi actor in the country to take care of dance. Therefore, he was able to do light -hearted steps of dance in films like R Paar and Mr. and Mrs. 55 easily. He was also the choreographer of these songs himself. Being proficient in dance, he had a good understanding of rhythm which is seen in the trend of songs, characters and camera. If he had been the song of his life for a few more years, then perhaps the story of Hindi cinema would have been different. But today there is only the echo of those songs that Guru Dutt made with his skills.
