I finally got to watch a movie that I have heard so much about-Guru Dutt's Kagaz Ke Phool. I have been meaning to watch this for a long time now but it used to be tough to find these kind of movies on DVDs outside of India (not anymore, I am glad to say!). I also owe this passive reluctance to watch it to my perpetual fear of being dissappointed:
Waqt ne kiya is one of my favorite songs and I wasn't too keen on knowing the real story behind those lines ( I had created my own over time).
To write about a masterpiece is obviously daunting but then, I guess that's what classics are about. In them, each can find, his/her own truth. And what might touch me, neednt always be the same as someone else. The movie is a deeply disturbing, haunting story of a person who happens to be a director. With as many nuances and unsolved complexities and (yet) as poignantly beautiful as life itself. It starts off like a dream- literally- with an old guy in a movie studio reminiscing about the success and glory he had tasted in that very studio. The beauty of those early scenes is that it perfectly captures nostalgia. I cannot at the moment think of another scene in a movie where I experienced that sense of loss mingled an equal measure of deja-vu. Its almost like those now-lost openings of fairy tales, the kind that my grandmother used to tell us. Which starts with "anaganaga oka roju.." (once upon a time is a poor translation of this phrase). Only, the story is no fairy tale in the classic sense. There is no triumph of good over evil. In fact, there is no definition of good and evil. What a contrast to "mein tera khoon pee jaaonga" or "mere paas maa hain"?!
The protagonist Suresh Sinha (Guru Dutt) is a once-famous director, who strove to be true to himself and to his calling so much so that he does not fear to refuse the top heroine's request for make up ("only a beautyspot and some lipstick"!). It was amusing to see Guru Dutt's views of heriones in those days and I suspect, he would be equally baffled by today's crop. Despite his astounding success as a director, his personal life is a disaster. Seperated from his wife Veena and his daughter Pammi largely owing to the wife's anglicised family's views on "those cinema people", he is alone in his success and yearns in vain to find meaning in his life. He meets a self-taught, independent-yet-traditional chemist Shanti (Waheeda Rehman) in a storm, offers her his coat and promptly forgets about her. It was when she comes searching for him (and possibly a job thorugh him) to his studio in Bombay that he sees her through his lens and is instantly convinced that hers is the face he is in search of- innocent, free of dramatics and make up. Guru Dutt's deep devotion to the natural is evident in many a touching scenes between him and Wahida Rehman (especially in the scene where she sits in his car with freshly washed hair- after having being taunted by him for her new hair style). In my opinion, this quest for what is natural had also left him dissolusioned in life.
The focus slowly shifts to the character of Shanti played by the stunning Wahida Rehman. One of the strengths of Kaagaz Ke Phool is that each of the characters of this movie are so real and consistent. There is no trace of frivolousness (not including scenes with Johhny Walker
et al) yet the scenes are not as heavy as those "artsy" movies from a country that shall not be named here.
I was very pleasantly surprised by the way my favorite song was introduced (I'd ofcourse watched the famed picturisation of this song many times before). Shanti makes it clear that she is in love with Suresh while Suresh, knowing that he cannot take this path, altough it was the very meaning of life that he was in search of, does not acknowledge her love. It was then that these lines that breathe into the pain of unrequited love, a lonesome hope, have been rendered almost in a spiritual vein by Geeta Dutt.
"Jaayenge kaha Soojhta nahin,
Chal pade magar Raasta nahin,
Kya talaash hain Kuch pata nahin,
Bun rahe hain dil Khwab dam ba dam"(Whither are we bound, we do not know. We have started on this journey but where is the path? What is this quest, I know not. Our hearts weave dreams in every breath : This is my attempt at the gist. I dont dare to call this a translation)
In one way, one cannot imagine another couple more suited for each other. But irony of juxtaposing these two characters cannot be lost on anyone. Both Suresh and Shanti are loners, independent, artistic with similar views and above all whose hearts resonate with each other. And yet, while Shanti's character is that of someone who can find peace in her "half-happiness" as she calls it, Suresh on the other hand choses to see pathos in her adoration for him and his feelings for her. Some of the scenes that I found were really telling of her character - when Pammi (Suresh's teenage daughter) hears of her father's relationship with her and asks her for a promise to stay away from her father, Shanti quielty agrees. She defies the producer and the contract that she has signed and leaves the place. But when she learns that he has all but lost everything in his life, she returns. For his sake alone. Hers is a love that warms the heart. Sadly, for all their resonance, his is a love that doesnt feel at home in warmth (entirely my take on the movie, I must add).
Her departure coupled with a court ruling that his daughter will remain with his wife set him on a path of no return. He loses focus and the same crowds that treated him as God throw furniture at him. What follows is what has been summarised in these immortal lines by Sri Sri:
"Nippulu cherugutu ningiki nenu egirinappudu
Nibidascharyam to veeru
Netturu chimmutu nelaku ne raalinappudu
Nirdakshyanamga veere.."
(When I fly to the skies spewing fires of success, they look on in awe
When I fall to the earth spilling my blood, it is they, who look on callously)
He dies in the deserted film studio in the directors's chair, a loney and forgotten man. Paper flowers do not wither - they just become useless and lie strewn after the festivities of life. Is that what was behind his title? Does anyone know?
To think that this movie was made in 1959! The finesse with which it was made, the direction, the acting, the cinematography, the editing (and I could go on)...a full forty eight years later, I find it hard to think of parallels. It is a masterpiece by the maestro. That is all that I have to say. And to those who find this film depressing :
"Zindagi ko kareeb se dekhon Iska chehara tumhe rula dega" (from an album called
Face to Face by Jagjit Singh)
If you take a closer look at life, its face shall move you to tears