Latest news with #GuruDutt
Time of India
13 hours ago
- Entertainment
- Time of India
Casting Guru Dutt: Why Kollywood courted the brooding Bollywood romantic
Apart from his short lifespan of 39 years, filmmaker and actor Guru Dutt had this in common with the epochal Tamil poet Subrahmanya Bharati: like the latter, he received recognition and apotheosis only after his death. Even as Bharati's seminal lines of poetry are eternally etched in the Tamil consciousness, the songs of Dutt's films project evergreen lyrical hues of great human significance. Who can forget Pyaasa's anthemic refrain penned for Dutt by the incomparable Sahir Ludhianvi , 'Yeh duniya agar mil bhi jaaye tho kya hai' (To what avail is personal victory in a world bereft of human values)? More directly underscoring the Tamil literature connection of Dutt was his little-known fascination for the work of the prince-turned ascetic and poet, Ilango, and his urge to picturise his epic 'Silappadhikaram' with Waheeda Rehman playing the role of Madhavi, the other woman in the life of the epic's protagonist Kovalan, who suffered the tragic fate of decapitation for a crime he did not commit. But that was not to be because of Dutt's untimely death in October 1964, either due to a deliberate or involuntary overdose of alcohol and sleeping pills. Known as the grand master of romantic gloom and the alchemist who transformed commercial Hindi cinema's pedestrian formulas through his individualism, artistry, and vision, Dutt's reputation skyrocketed in the decades after his demise, with Time magazine listing his 'Pyaasa' (1958) among the hundred all-time great films of world cinema in 2005. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Trading CFD dengan Teknologi dan Kecepatan Lebih Baik IC Markets Pelajari Undo In the early 1960s, consequent on the resounding failure of his ambitious 'Kaagaz Ke Phool', India's first cinemascope film in 1959, after the commercial and critical success of 'Pyaasa', Dutt became chary of directing films and preferred to essay roles rather than wield the megaphone, though there is speculation that he might have ghost-directed some parts of his successful film 'Sahib Bibi Aur Ghulam' (1962), which he produced and played a significant role in. It was at this point that South Indian film producers found it opportune to cast the famous but unassuming director-actor in their quickly made Hindi films based on proven regional language subjects. Guru Dutt too, tired of the tempests raging in his life, both because of his difficult relationship with his wife Geeta Dutt, as well as his growing attachment to Waheeda Rehman, whom he groomed as a heroine, found working in the efficient Kodambakkam studios to his liking. The first South Indian Hindi film in which Guru Dutt played the male lead was 'Bahurani' (1963), which features a gutsy young wife standing up for her newly-wed, somewhat mentally challenged husband, against her violent brother-in-law. The film had been earlier made in Telugu as 'Ardhangi' (1955) and in Tamil as 'Pennin Perumai' (1956). In the Tamil version, Gemini Ganesan essayed the role played by Guru Dutt in the Hindi remake. Guru Dutt was directed in the film by the veteran Telugu-Tamil filmmaker T Prakash Rao, who had such hits as Sivaji Ganesan's 'Uthamaputhiram' (1958) and MGR's 'Padagotti' (1964) to his credit. The film, however, did not make waves. N Vasudeva Menon, an AVM studio manager who became a producer and studio owner himself, booked Guru Dutt for 'Bharosa' (1963), a remake of the Tamil 'Thedi Vandha Selvam' (1958), an ordinary film about a wronged hero with a golden heart. It was a role in which Guru Dutt was comfortable, though the film did not have much to write home about. The famous producer A L Srinivasan, known for his connections with Hindi film personalities and all-India film trade bodies, liked Dutt so much that he booked him for 'Suhagan' (1964), the Hindi remake of his own Tamil hit production, 'Sarada' (1962), which deals with a husband who can have physical relations with his wife only at the risk of dying. Director K S Gopalakrishnan had been fearful of directing a filmmaker of Dutt's stature, but the latter put him at ease. More than 'Suhagan', it was the time Dutt spent with Gopalakrishnan in his village, Malliyam, near Mayiladuthurai, that proved unforgettable. Gopalakrishnan's associate, the respected dramatist and writer Komal Swaminathan, recalled Dutt's easy manner and friendliness in his memoirs. Dutt would spend hours together in the hot sun angling for fish in a village tank. At a time when prohibition was being firmly implemented in Tamil Nadu, Dutt enjoyed potfuls of country toddy with the relish of sipping his favourite Chivas Regal! After all this merriment, some in place, some out of place, Dutt's unexpected death came as a shock to the 'Suhagan' unit, and producer ALS had to release the film with the message, "I humbly dedicate this film to the everlasting memory of the late Shri Guru Dutt, my friend and your favourite". Commercial hype apart, Guru Dutt has proved to be one of the great favourites of world cinema. (The writer is a Chennai-based journalist)
India.com
2 days ago
- Entertainment
- India.com
Dilip Kumar once rejected a blockbuster film due to..., director had to play lead hero, movie was..., it earned Rs...
Dilip Kumar — the undisputed Tragedy King of Hindi cinema — had an envious lineup of iconic films to his name: Devdas, Mughal-e-Azam, Naya Daur, Daag… the list is legendary. But what if we told you that one of the greatest films of Indian cinema, Pyaasa, was originally written with Dilip Kumar in mind — and he turned it down? Yes, the cult classic Pyaasa (1957), directed by the visionary Guru Dutt, almost had Dilip Kumar as its lead. Fresh off his haunting performance in Devdas (1955), Dilip was the obvious first choice. The melancholic tone of Pyaasa — about a disillusioned poet ignored by a selfish world — mirrored Devdas' emotional depth, and Guru Dutt was certain only Dilip could pull it off. Initially, Dilip agreed — until the discussion reached money. Reportedly, Dilip Kumar demanded a then-staggering fee of Rs 1.5 lakh for the film. Guru Dutt, operating on a tighter budget, politely requested a reduction. That didn't sit well with Dilip. In what some now call a moment of ego or misplaced pride, he told Guru Dutt, 'Make the film, and I'll help you distribute it.' That remark cut deep. Guru Dutt, offended but undeterred, responded, 'I've come to cast you, not sell my film.' The fallout was immediate and bitter. Yet ironically, just days later, Dilip Kumar reversed his decision and agreed to do the film. But it was too little, too late. On the day of Pyaasa's ceremonial launch (muhurat), the team waited for Dilip's arrival. Instead, news broke that the actor was in talks with B.R. Chopra about Naya Daur. Guru Dutt had only asked for 10 minutes of his time that day, and Dilip didn't show. In that moment of frustration, Guru Dutt made a snap decision: he would play the lead himself. That gamble became history. Pyaasa went on to become not just the biggest hit of 1957, but a timeless piece of cinematic poetry — one that outperformed Dilip Kumar's own hit, Naya Daur, at the box office that same year. Sometimes, the films actors reject tell a more fascinating story than the ones they star in.
India Today
02-06-2025
- Entertainment
- India Today
Why Mahesh Babu's Khaleja is finally getting the love it missed 15 years ago
The final dialogue from the film 'Khaleja', 'Athbhutham jarige tappudu evvaru gurthinchaleru, jarigina tharuvatha evvaru gurthinchalsina avasaram ledu' which translates to, 'No one recognises a miracle while it's happening; and once it's done, there's no need to recognise it" - has come to reflect the film's own journey. What was once seen as a commercial failure in 2010 has now, fifteen years later, turned into a record-breaking success with its re-release. A miracle that went unnoticed at first, only to be celebrated long after it had quietly made a film's success is judged by its box office performance. But is that the only metric? This debate of success versus impact has existed for as long as cinema itself. Box office numbers depend on much more than just the quality of the film: timing, audience sensibilities, release competition, packaging, genre, the star's momentum. All of these played a part in the film's box office success. But, if success also means longevity, cultural relevance and emotional celebration, then a good film will always find its way into the hearts of audiences, even if it takes are countless examples in Indian cinema. From Guru Dutt's Kaagaz Ke Phool and Raj Kapoor's Mera Naam Joker to Shah Rukh Khan's Swades, films that failed at first found cult status later. Telugu cinema too has its share of such films, including Ram Charan's 'Orange', Rana's 'Leader', Ravi Teja's Neninthe, and among them, Mahesh Babu and Trivikram's Khaleja stands out as a film whose second life seems far more powerful than its Khaleja Failed to Impress in 2010advertisement Released on October 7, 2010, Khaleja arrived with high expectations. It marked the reunion of Mahesh Babu and Trivikram Srinivas after Athadu, a film that also gained widespread recognition after its satellite run. By then, Mahesh had already become a mass hero following Pokiri. However, his previous two films - Sainikudu and Athidi - were commercial disappointments, and Khaleja marked his comeback after a three-year the film's promotional interviews, when asked about his hiatus and the role in Khaleja, Mahesh Babu remarked, 'I felt a sense of monotony with the characters I was playing. I wanted to break out of that bubble, so I went all in with this one. Alluri Seetharama Raju in Khaleja is the most challenging and significant role of my career.' This shift in tone and the long gap between films contributed to heightened expectations among too, was riding high after Pawan Kalyan's Jalsa, and expectations were sky-high. But, upon its release, Khaleja received mostly negative responses. Critics pointed to its confusing themes, uneven screenplay and the lack of strong action moments. Despite Mahesh Babu's entertaining performance, fans were divided. The film also released around the same time as Rajinikanth and Shankar's Enthiran, which affected Khaleja's run in an interview with iDream, producer C Kalyan remarked, 'Before common audiences saw the merit in the film, Mahesh Babu's fans themselves killed the film. Their expectations were high, expecting a mass entertainer, but here he was, doing comedy which people didn't accept. They compared it to Robot (Endhiran) and dismissed it. But, I knew Khaleja would become a trendsetter.'What Makes Khaleja an Over-Time Classic?While Khaleja may not be a perfect film, several of its elements are undeniably striking. Mahesh Babu as Alluri Sitarama Raju, a taxi driver, is fresh, humorous, grounded and entirely believable. His reactions, one-liners and comedy timing add a layer of spontaneity. Even in high-stakes sequences, he never breaks the character of Seetharama Raju. His iconic use of "Bhayya!" became a pop culture comedy is another high point. It's woven into the fabric of the narrative, not added as filler but as organic, dialogue-heavy moments. The chase scene involving Govardhan in the second half is a great example. The intensity is contrasted by its quirky energy, making it both entertaining and Trivikram attempts to layer deeper philosophical ideas into the plot, about God, purpose and faith. At the film's success meet, the director, explaining the core of the film, said, 'After the Mahabharata, Lord Krishna ruled for many years. He died a normal man, his children were killed, thieves looted the kingdom. We don't talk about that because, to us, he is God when he speaks the Bhagavad Gita. Similarly, when an auto driver saves a man in an accident, he becomes God to that man, for that moment, for the outside world, he is an ordinary auto driver. Similarly, our hero.' It's a bold, layered idea. One that took time to be understood and Trivikram's signature dialogue writing elevated the film, intense lines like "Gaali velu chusthundi (the wind will lead the way) or 'Nela vollu virucukuntundi sidda (The earth will tear apart its skin, Sidda), or the famous monologue in the climax are now quoted with reverence, not just for their meaning, but for their literary time, social media discourse, decoding videos, and re-watches have also brought attention to the film's aesthetics, from Mani Sharma's music to the cinematography and production Khaleja a Perfect Film?Despite its cult following, many of the film's original criticisms still hold. The pacing is slow. While the chemistry between Mahesh Babu and Anushka works, her character Subhashini's role, too, feels underwritten. The villain, a corporate mining kingpin, comes across as a convenient caricature in an otherwise ambitious importantly, the film fails to invest enough time in its central theme. About 50 per cent of Khaleja is comedy, 40 per cent is set up, and barely 10 per cent is devoted to exploring the idea of godhood and existentialism. The one scene where Seetharama Raju has his realisation is brilliant, but there should have been more such moments to lend weight to the for all its flaws, Khaleja is a rare attempt. A film that blends philosophy, humour and commercial sensibilities in a way Telugu cinema hadn't seen before. It may not have worked in 2010, but fifteen years on, its resonance is louder than ever.
Scroll.in
31-05-2025
- Entertainment
- Scroll.in
From the archives: How Raj Khosla and Guru Dutt struck up an instant friendship
In the late 1980s, I had the privilege of meeting Raj Khosla. I was introduced to him by Guru Dutt's sister, the artist Lalitha Lajmi, who took me to see him in Marina Apartments in Pali Hill in Bandra, Mumbai. His apartment was later bought by Aamir Khan's family, and it is where they still live today. At that time, I was researching material for a documentary I later made called In Search of Guru Dutt (Channel 4 TV, UK, 1989) and meeting Raj Khosla was most memorable. His love for cinema, warmth of personality and generosity of heart were so evident. Following are excerpts from two conversations, the first an audio interview recorded on November 5, 1986, and the second filmed on September 22, 1988. Raj Khosla: In those days [late 1940s, early 1950s], I wanted to be a playback singer. Dev [Anand] was trying to help me, but things weren't working out. So, one day he told me, 'There's a friend of mine, Guru Dutt, and he's going to direct my next picture. Why don't you become his assistant?' 'I don't want to do filmmaking; I want to sing.' He said, 'Come on! Get together, things will gradually fall into place.' That's how I met Guru Dutt. He asked me, 'Do you have any experience in being an assistant in films? Dev has recommended you.' 'Yes, I have, I'm studying filmmaking.' The second thing he asks, 'Do you know Hindi?' 'Of course I know Hindi.' I didn't write in Hindi. I wrote in Urdu and Persian. In the 1940s, most Punjabis knew Urdu well, and some, even Farsi. But I didn't know how to write in Devanagari. He said, 'Fine, join duty from tomorrow.' So I ran from there and the first thing I did was learn to read Hindi, ka, kha, ga. Sure enough, after six or seven days, he said, 'Just copy out these scenes.' By that time, I had picked up some Hindi. When I wrote the scenes, he asked, 'One second, when did you start learning?' I said, 'The day you asked me if I knew Hindi.' He smiled. We struck up a friendship instantly. Nasreen Munni Kabir: What was your relationship with the Anands? Raj Khosla: The Anand family and my family were from the Punjab. We had generational relations. Their father and mine were college mates and friends. So, we were the second generation of friends. When I was looking to work, Chetan Anand said, 'Why don't you work at Navketan?' Since they were producing Baazi at that time, my destiny was kind to me. I opted to work as Guru Dutt's assistant. Nasreen Munni Kabir: You told me you were very fond of Sahir Ludhianvi. Raj Khosla: I was a college student when I heard the work of Sahir sahab. I told my father that Sahir Ludhianvi was going to be a fantastic success. In my college days, I used to know a poem written by Sahir, Sanaa-khvaan-e taqdis-e mashriq kahaan hain. This poem became Jinhen naaz hai hind par woh kahaan hain. The lines were changed for Pyaasa, because who would understand the Persianised original lines? One day we were sitting in the Navketan office, and I sang the whole song to Guru Dutt. I had composed the tune myself, and he said, 'Raj, this is it! This is Pyaasa!' By chance, Sahir was already writing for him in Baazi. So, there was no problem of copyright or anything. Guru Dutt had a great gift of understanding emotion. But the relationship between Sahir and Guru Dutt was a little distant, I would say. In art, they were very close but personally they were not very close. I was personally much closer to Sahir. Nasreen Munni Kabir: You said you wanted to be a singer. Did you record any songs? RK: No, I didn't. In Jaal, we had this song, Sun Ja Dil Ki Dastaan. Guru Dutt recorded me singing it, but I failed the test. SD Burman said, 'Raj is good, but...' The song was later re-recorded in Hemant Kumar's voice. It was a tremendous hit. Raj Khosla: My first film was Milap, I made it for the same producer, TR Fatehchand, who also made Jaal. Many people thought C.I. D. was my first film, because Milap was not a hit. It was C.I.D. that got me noticed as a director. There's an amusing incident that happened when C.I.D. was released in Calcutta in 1957. We had very heavy rains that year and all the flights were cancelled, so we went to Calcutta by train. We took a box of beer and drank in the compartment. Remember Bombay-Calcutta was 46 hours in those days. We got thoroughly bored with each other. As the train ultimately entered the train station, the distributor, who was a very fat man, I don't remember his name, had garlands ready for us and he said, 'Raj, it's a hit. Ho gaya kaam!' (The work is done!) The garlands told us things were okay. Nevertheless, we went to the theatre to see for ourselves how C.I.D. was doing. Twenty minutes into the film, Guru Dutt says, 'Raj, you've made a super-hit film, come on, let's celebrate.' The next morning, I didn't find him in the hotel suite. I searched everywhere for him. Where is he? Fully dressed, with bowtie and all, lying in the bathtub. He must have been drinking all night. He was very sweet. Nasreen Munni Kabir: Why didn't you carry on directing under Guru Dutt's banner? Raj Khosla: As a matter of fact, after C. I. D., he offered me a lakh of rupees for the next film, which was a lot of money in 1957. I said, 'No, Guru Dutt, I will not work with you anymore.' 'Why? What's the problem?' 'You don't grow under a big tree. I'm a small plant. If I work with you, it'll always be Guru Dutt made this film.' He said, 'Go your way. Whenever you want to come and make a film for me...' Nasreen Munni Kabir: Can you talk about the C.I.D. song Leke Pehla Pehla Pyaar, featuring Dev Anand and Shakila? It was filmed on the pedestrian promenade on the Worli Sea Face [now part of the Coastal Road]. Raj Khosla: Dev Anand was a very disciplined person. He still is one of the most disciplined actors we ever had. The only thing I remember about that song is that Dev Anand tells me, 'Raj, what am I doing in this song?' 'The song is doing everything, you just walk.' So we started shooting. It was quite a long walk down the promenade, you know. The song goes through its entirety for about three minutes or so and he keeps walking. So after a few shots, he said, 'You want me to walk a mile or two or something? What am I doing in this song?' I said, 'You're walking. You're not going to sing.' 'Okay, you're the boss.' Typical of Dev, you know, he always wants to be active. Then the second thing I remembered is that while walking he had this habit of always using his hands somewhere. 'You don't move your hands.' He says, 'I can't sing, I can't move my hands, I'm supposed to walk.' 'That's it, you're just supposed to walk and look handsome!'
Time of India
30-05-2025
- Entertainment
- Time of India
SRK's son AbRam celebrates 12th birthday, Fans debate why Anushka Sharma is blamed in defeat but forgotten in victory, Vicky Kaushal to play Guru Dutt in biopic: Top 5 news
AbRam Khan celebrated his 12th birthday with family, while Vicky Kaushal is in talks to portray Guru Dutt in a biopic. Anushka Sharma faced online criticism during RCB's losses but received praise after their victory. Navjot Singh Sidhu shared an anecdote about warning Shah Rukh Khan about Bollywood, highlighting SRK's self-assuredness and drive to succeed. Whether it's a much-awaited teaser drop, a heartwarming throwback, or a big update from the industry's favourites — we've rounded up the biggest stories that had fans talking non-stop. From Shah Rukh Khan 's son AbRam ringing in his 12th birthday with Gauri Khan and Suhana Khan, Fans debating why Anushka Sharma is blamed in defeat but forgotten in victory to Vicky Kaushal being reportedly in talks to play Guru Dutt in biopic; dive in to catch up on all the glam, drama, and breaking updates from the world of entertainment! Shah Rukh Khan's son AbRam rings in his 12th birthday with Gauri Khan and Suhana Khan Shah Rukh Khan and Gauri Khan's youngest son, AbRam, celebrated his 12th birthday on May 27, 2025, with an intimate gathering in Mumbai. The cozy celebration included his mother Gauri, sister Suhana, and maternal grandmother. The event featured pizza, a chocolate cake, and heartfelt moments, though Shah Rukh and Aryan Khan were notably absent. Vicky Kaushal in talks to play Guru Dutt in biopic? Vicky Kaushal is reportedly in discussions to portray the legendary filmmaker and actor Guru Dutt in an upcoming biopic. Known for his emotionally nuanced performances, Kaushal is seen as a fitting choice to embody Dutt's complex persona. Guru Dutt, celebrated for classics like Pyaasa and Kaagaz Ke Phool, remains an iconic figure in Indian cinema. The company holding the rights to Dutt's films is planning both web series adaptations and this biographical film. While official confirmation is pending, the prospect of Kaushal taking on this role has generated significant excitement among fans and film enthusiasts. Ajay Devgn confirms Drishyam 3 Shah Rukh Khan's son, AbRam, celebrated his 12th birthday with a family gathering attended by his mother, Gauri Khan, and sister, Suhana Khan. The intimate celebration featured a chocolate cake and a heartfelt note from Gauri, who shared a photo of AbRam on Instagram, expressing her love and pride. Why is Anushka Sharma blamed in defeat but forgotten in victory? Anushka Sharma faced trolling during RCB's losses but was praised after their win against Punjab, as fans called out the double standards. She was seen cheering joyfully in the stands. A recent viral moment shows her hugging a friend, while Kohli's birthday post for her also made headlines. Navjot Singh Sidhu warned SRK about Bollywood; actor REACTS Navjot Singh Sidhu recalled warning a young Shah Rukh Khan that Bollywood would "eat him like a sausage." SRK's confident reply? 'I don't compete with others, only with myself.' The anecdote highlights the fearless mindset that helped him rise to become one of India's biggest and most enduring superstars. Check out our list of the latest Hindi , English , Tamil , Telugu , Malayalam , and Kannada movies . Don't miss our picks for the best Hindi movies , best Tamil movies, and best Telugu films .
