Wednesday, June 20, 2007

Legends, Raj Kapoor and Guru Dutt - The similarities and differences in their cinema...

From the very fact that they are two of the most prolific directors that Indian cinema has ever experienced, to the extent of personalisation that went into their classic works of art, to their famous styles of song picturisations; to the epitomisation of on screen romance that each one them achieved through their respective screen goddesses Waheeda Rehman and Nargis; Guru Dutt and Raj Kapoor are very similar on one level, but at the same time owing to Raj Kapoor’s film-lineage, the longevity of his career; Guru Dutt’s shift to only serious cinema after Pyaasa and renunciation from the title of a director after the debacle of Kaagaz ke Phool they are two directors who are completely different from each other, in terms of work style and approach towards the same.

On one level, one can easily spot similarities between them because of the social comments that they made with their films, but at the same time one can spot the differences that Guru Dutt was more of a private person who made films about a selected few characters, while Raj Kapoor brought most of these issues directly on a public platform.

The crowd became an essential element in Raj Kapoor’s films while most of the times Guru Dutt would make the depictions in private. However there have been exceptions to both the rules like the climax in Pyaasa where Guru Dutt displayed his exasperation publicly, while in Sangam Raj Kapoor didn’t involve any person but the three concerned people to execute the solution.

Also, amongst the various social issues that they talked about, Raj Kapoor talked about poverty, misery and suffering due to hunger; while Guru Dutt spoke about higher needs like need for recognition, need for being loved etc. Thus, Raj Kapoor’s films were addressed more directly to the masses entirely while Guru Dutt’s films were relatively meant for individual sufferers.


Screen goddesses:

Every director has always had his muse, who has been an inspiration for his work, and has always done full justice to his imagination. This is another common thread between these two legends. Their actresses achieved the status of screen goddesses and these directors had an important role to play in the same. From giving them strong roles of substance to presenting them as ethereal beauties, these dream merchants have done full justice to their screen goddesses. One can’t think of Raj Kapoor’s films, without remembering Nargis and similarly, one can’t think of Guru Dutt’s film without Waheeda Rehman.

It is said that these beauties were in some way the motivation and inspiration for their film makers and the way these two directors built their female characters in their films, especially the ones essayed by these women stands testimony to the belief.

The irony however remains that none of the best on screen characters portrayed by these two women were projected by their favourite directors. Nargis gave her best performance with Mehboob Khan in Mother India, while Waheeda Rehman gave her best with Vijay Anand in Guide. And at the same time these directors didn’t really build their most complete female characters with their muses. Raj Kapoor gave the strongest female character he ever made to Vyajanthimala in Sangam, while Guru Dutt’s strongest character went to Meena Kumari in Sahib Bibi aur Ghulam.

However, the discussion on Raj Kapoor and Guru Dutt would always remain incomplete, without the mention of Nargis and Waheeda Rehman respectively.
Nargis:

Nargis is regarded as one of the most talented and beautiful actresses in Indian cinema. She has essayed several roles with effortless charm and mesmerised the audiences all these years. Nargis has been one of the most inseparable elements of the Raj Kapoor brand of cinema. She has always played the perfect woman in each of his films. From the innocent girl from the hills in Barsaat to the idealistic school teacher in Shree 420, to the righteous lawyer in Awara she has essayed innumerable characters.

One thing that has always been common to all her characters in Raj Kapoor’s films is the immense amount of love that she showers on him. This unconditional love for her lover makes her the extraordinary woman who is willing to take any amount of pains just for him. At the same time, Nargis played a woman who has a mind of her own and shall always follow it. She will get her lover to do the right thing if he is going o the wrong track.

What made Nargis and Raj Kapoor immortal was the effortless chemistry that they exuded on screen, which elevated the romance to a level that wasn’t achieved before on Indian silver screen. In the song Dum bhar jo udhar moonh phere form Awara their chemistry as the lovers who have met after several years is a visual delight to watch. At the same time, the maturity in their romance in Pyaar hua iqraar hua from Shree 420 is worth mentioning in this regard.

Nargis always came across as Raj Kapoor’s strength through all her characters. She was the one who motivated him to give up on the amoral ways of life and lead a simple life in Shree 420 and she was the one who moved mountains to give him justice in Awara. An interesting observation in this regard would be that this element of their on screen relationship wasn’t explored much by other directors who worked with them, and their films for other banners were light hearted entertainers like Chori Chori.


Waheeda Rehman:

Regarded as one of the most simple and beautiful faces of Indian cinema, Waheeda Rehman achieved super success with her on screen association with Guru Dutt. Unlike Raj Kapoor, Guru Dutt didn’t always present Waheeda Rehman as the ideal woman who is an epitome of virtues. However, amongst the various characters that she portrayed, she always came across as someone who would shower tremendous love on his character, then be it the prostitute in Pyaasa or the starlet in Kaagaz ke Phool.

In Chaudhvin ka Chand, which tells the story of love and sacrifice amongst friendship, and is set in the Muslim society of Lucknow, she plays a rather submissive character, which loves her husband unconditionally and takes each and every word of his very seriously, as a part of her duty to her husband. She plays the role of a woman who will go to any extent only to make her husband happy. Waheeda Rehman brings out the innocence of this character very subtly, in many ways symbolises the Indian woman of the 1960s.

Though she essays the second lead in Sahib Bibi aur Ghulam Guru Dutt gives her a character that somehow was absent for a long period in his otherwise intense films. Though her character does go through the sufferings she plays a lighter character in the film. These kinds of characters were seen less often in Guru Dutt’s films, especially after he started making intense films with Pyaasa.

In Pyaasa, she plays the character of Gulabo the prostitute with the heart of gold and comes very close to the character of Chandramukhi from Devdas. In Kaagaz ke Phool she plays the character of Shanti, which is similar in a way to Paro from Devdas. In my opinion, Paro and Chandramukhi almost summarise the entire gamut of emotions that a woman has towards a man when she is in love. Through these two characters, Guru Dutt gave her two of the most endearing roles of her career, and in totality presented her as a complete woman, of strength, substance and virtue.

The women:

Women played an integral part in every film made by both these legend. From the idealistic school teacher in Shree 420, to the prostitute with a heart of gold in Pyaasa, from the righteous lawyer in Awara to the starlet in Kaagaz ke Phool, from the woman trapped between love and duty in Sangam to the woman devoted to her husband in Sahib Bibi aur Ghulam both these legends have given Hindi cinema some of its strongest female characters, who have eventually defined the very norms of a typical heroine and several characters, even today are modelled on these character archetypes.

This section takes a look at some of these great characters: -

Radha – Sangam

This character played by Vyajanthimala essays the journey of a woman who marries someone whom she doesn’t love but after the marriage plays the role of an ideal Indian wife, who is devoted to her husband. It is the story of the woman torn apart between duty and love, and makes the right decision in every situation.

In some way, Radha epitomises the journey of an ideal Indian woman. She dislikes the same person initially, whom she eventually gets married to, as she is madly in love with his best friend. But when she actually gets married to him, she confesses to his photo that she shall now devote herself totally to him, as it is her duty as a woman. Though it may sound patriarchal, she represents the struggle of woman and is true to her duty, and the cultural values imbibed in her. The Indian woman is always defined by her devotion to her husband on the silver screen, and Radha is no different.

In the climax she speaks for the first time when she as a woman questions her lover and her husband whether she would ever get an opportunity to decide for herself. In a way this struggle of Radha again signifies the struggle of a woman in a patriarchal society , where she has to struggle even for her identity.

Chhoti Bahu – Sahib Bibi aur Ghulam

This character played by Meena Kumari represents the anguish of a woman, who has been almost abandoned by her husband. Her husband feels ashamed to spend the nights with her, and this is precisely the reason for her suffering. This story is set in a period where the woman is almost like a slave to her husband, and his word is the final one for her.

Within the framework of this stereotype, Chhoti Bahu is different, as she is willing to go to any extent, just to get some attention form her husband, so much so that even compares herself to a prostitute, and takes to alcohol only to be with her husband. Traditionally the patriarchal society has seen the woman either as a wife or as a mother, and the character of Chhoti Bahu becomes unique because she is treated as neither, and is conditioned to think that these are the only dimensions of a woman’s personality. This character isn’t even named in the film, and is just referred to as Chhoti Bahu, even by her own husband.

Thus, the pain, anguish and misery that this character suffers in the film, is in a way uncommon for most of the other leading ladies on Bollywood, and that is perhaps the reason why this remains as one of the finest characters portrayed on Indian silver screen, apart form Meena Kumari’s outstanding performance.

Vidya – Shree 420

Shree 420 represents the irony in the society where the poor have their values as their assets and have to compromise on them to achieve success in life. In such a situation, when her lover gets carried away by the glamour and glitz of the city of Bombay, Vidya holds on to her values.

She represents the strength of an Indian woman, who has the ability to face difficulties and yet not complain, to not compromise on her ideals no matter what the circumstances force her to do. Vidya represents the strength for her lover, and epitomises the values that are innate to the Indian culture.

As the name suggests, Vidya means wisdom, and in the film the other female character played by Nadira is called Maya, which means money. Thus, metaphorically the hero Raj has to choose between either the riches or his values. Vidya depicts courage and intelligence; she is the ideal Indian woman, who is the strength, the driving force for the success and courage of her husband. If one were to compare between the characters portrayed on Indian silver screen and decide on the character closest to the definition of an ideal Indian woman, Vidya would most definitely be the right choice.

Gulabo – Pyaasa

Devdas is definitely India’s most regarded novel when it comes to the film makers. From K. L. Saigal to Sanjay Leela Bhansali, many have made their own interpretations of the classic and several others have interpreted the basic plot in many ways. One of the best indirect interpretations of the classic was by Guru Dutt in Pyaasa and as in the original novel; the character that takes the maximum love from the audience was none other than the prostitute, who became Gulabo in Pyaasa.

Gulabo’s love for Vijay is again unconditional and so is her devotion for him. She represents his strength and becomes the reason for his existence eventually. Guru Dutt didn’t just romanticise the idea of the prostitute with a heart of gold in Pyaasa symbolically showed the significance that Waheeda Rehman had in his life through this film. The climax scene in the film, when Vijay and Gulabo hold hands and walk towards the horizon wasn’t shown very often in Hindi cinema.

From being his admirer, to his lover, to someone who would go to any extent for him; Gulabo in some way represents the ideal woman which every man would probably dream of. One of the unique elements of this film was that no where did Vijay look upon Gulabo as a social stigma. This was one unique Guru Dutt touch, which he brought to the Devdas-Chandramukhi romance.

Maya – Shree 420

Maya in Shree 420 represents the ideals of a bad woman. She would be defined as the ideal vamp of Indian cinema. She counters every virtue that Vidya represents. She uses the men in her life, believes only in the superficial life, is amoral and as a symbolic representation she smokes too.

The use of cigarettes and alcohol eventually became some of the defining traits of a bad woman or the vamp. Raj Kapoor through his films not only built the ideal woman but also the non-ideal one too. The juxtaposition of Maya and Vidya brings out all the essential elements of a vamp that are typical to a Hindi film.

Shanti – Kaagaz ke Phool

Here again Guru Dutt tries to touch upon Devdas but this time the story shifts to Paro and Devdas. Suresh Sinha, the character played by Guru Dutt is that of a successful film director who is sick and tired of the fake and feigned behaviour of the people around him. At this very moment he comes across Shanti, who brings in the innocence, which would be characteristic of Paro. Circumstantially, the two have to separate and Suresh can’t handle this.

Shanti comes across as one of the weakest female characters in a Guru Dutt film. She is forced by circumstances to leave her love and betray him. She does go through tremendous repentance but the damage is already done. The journey of Shanti is very similar to the journey of Waheeda Rehman herself in the life of Guru Dutt.

The songs:

Guru Dutt and Raj Kapoor both have always used songs very effectively in their films. They had a great ear for music and music was never forced in their films, it was always an integral part of the script, something that added to the script, and enhanced the performances of the actors rather than portraying them as mere item numbers. Thus, be it the one room wonder of Na jaao saiyyan from Sahib Bibi aur Ghulam or the lavish dream sequence of Awara Guru Dutt and Raj Kapoor have always given the audience superb songs laced with excellent music and extraordinary visuals.

Both these legends are known for their brilliant song picturisations.

In this respect their works are similar for their quality and at the same time they are very different depending upon the mood of the situation and the background of the characters. This section is just an attempt to compare some of the wonders, which are similar on one level and different on the other.

Pyar hua iqraar hua – Shree 420

Essentially speaking, Raj Kapoor represented the common man on screen, who had simple dreams in life, and was almost similar to them in terms of his mannerisms and spending power. This was the reason why he connected so well with the masses.

An example of classic Raj Kapoor style was the picturisation of this song, in which two lovers very innocently paint the world of their dreams. The song doesn’t have elaborate sets or choreography, but conveys the message beautifully. Even the lyrics are simple where in the lovers just imagine their future together.

The greatness of Raj Kapoor lies in bringing the utopian world alive on screen, that too in a shanty by lane outside a simple tea stall amidst the rains. This song is probably one of the most complete songs ever witnessed by Indian cinema where the lovers actually resemble people who do not need anything else, if they do have each other. Besides the chemistry of the leading couple, adds tremendous value to the song.

Waqt ne kiya – Kaagaz ke Phool

If Pyar hua iqraar hua is the best representation of Raj Kapoor and Nargis’s on screen romance, then Waqt ne kiya represents the same for Guru Dutt and Waheeda Rehman.

The situation of the song is such that the lovers can no longer be together and thus the lyrics convey that since they can’t be with each other, they are no longer the same individuals that they used to be. One of the most memorable elements of this song is the frame where there is a bright white light right in between the two lovers and the souls of the lovers unite under the divine light.

Again there wasn’t any choreography in the song, the camera only focussed on the faces of the two lovers, who have to separate due to circumstances, just like Paro and Devdas. The use of symbolism was so powerful in this song that the lovers didn’t even have to hold hands to convey that they long for each other. This is probably the reason why even today the romance of this era is regarded as complete and dignified.

Na jaao saiyyan – Sahib Bibi aur Ghulam

Today many songs are picturised lavishly on huge sets and yet they don’t generate a great impact. To all such film makers, this song would probably be the most ultimate learning experience.

The entire song is picturised around a bed, where the wife is trying to entice her husband and prevent him form visiting the other woman. She is going through too much suffering because she is not getting what she deserves. Again there is no choreography or elaborate lighting to enhance the superficial impact.

It is only through her expressions that Meena Kumari conveys her sufferings and the viewer is left absolutely spellbound. She plays the role of a wife who has her world centered around her husband, and doesn’t care about her. The entire song adds a lot to the character that she plays and instead of being a hindrance to the narrative, just conveys her anguish. In the end, the husband not only walks out on his wife but also criticises her for being crazy, which further adds to the suffering of the character.

Buddha mil gaya – Sangam

This song has a situation similar to the one mentioned in the above song, the only difference being that here the woman has a husband who otherwise dotes on her, and has given her full freedom. Thus, the entire mood of the song changes from somber to funny.

The choreography used here is simple and just adds to the fun element of the song, and eventually the husband falls prey to the enticing pranks played by his wife. Again the lyrics used are also pretty simple and aren’t very heavy in the poetic department. This is one of the songs where Raj Kapoor has used the props very effectively to add to the visual aspect of the song and also to suit the mood of the situation.

Chaudhvin ka Chand - Chaudhvin ka Chand

This is another song that simply conveys the conjugal bliss of a couple. The song has no choreography in the literal sense of the word. The entire song is picturised with the husband admiring his astonishingly beautiful wife, and singing praises of her incomparable beauty.

The use of metaphors in the lyrics and complementary picturisations make this song a visual delight. Throughout the video, the woman doesn’t speak a single word and just expresses through her eyes, in fact on some occasions, she doesn’t even open them.

Such was the brilliance of the genius of Guru Dutt that every thing was left to the viewer’s imagination, which added to the viewer’s level of involvement and thus even today his work is treated with reverence.

Ghar aaya mera pardesi – Awara

This song would probably define an entire genre of song picturisations in Indian cinema, the dream sequence. In the film, Raj plays a vagabond who is now scared about his future. In this song, he imagines his childhood sweetheart Rita calling him.

This song was mounted on a giant canvas that would probably unparallel to date in the history of Indian cinema, yet the expressions, simple emotional moments weren’t neglected in the whole glamour.

Dum bhar jo udhar moonh phere – Awara

This is a simple duet when the lover meets after years. What makes this song really unique is the chemistry between the lead couple. It talks of a very Indian concept, where the girl is embarrassed to express her love in the presence of anybody else, so much so that she is requesting the moon to look in the other direction while she expressed her feelings, and then the lover joins her.

Jaane woh kaise – Pyaasa

This song will definitely be one of the best indoor songs ever picturised and is definitely a genius by the genius. The song tells the story of a poet who has lost his love. In the party that the song is picturised, he finds himself extremely alien and begins the song, which conveys his pain. The lyrics convey are extremely poignant especially when he says that he has always received thorns, when he longed for roses.

The camera movement is again superb, and the frame at the start, where the camera gradually zooms in on Guru Dutt, coupled with the silent building up of the song adds to the effect. Even the camera movement is in sync with the lyrics and the mood of the song. The repentance which is seen on the face of Meena, the character played by Mala Sinha, who is the one who has betrayed her lover is another highlight of the film.

Dost dost na raha – Sangam

This song would be regarded as the most ironic song ever picturised on Indian silver screen, where in the lover accuses his wife and his best friend for betraying him. Ideally, he is the person who has been responsible for the separation of the two lovers and yet he is the one who is complaining.

The amount of restraint expressed by Rajendra Kumar and Vjyanthimala, who play the sacrificial lovers in the film, and the pain expressed by Raj Kapoor, who is oblivious to their feelings adds to the effect of the song. As in case of Jaane woh kaise the camera movements enhance the video tremendously, and a simple setting in a single room doesn’t hamper the brilliance of the video, and the genius of the director.

3 comments:

akshayefan said...

This piece is again quite perceptive. I never quite liked Raj kapoor or Guru DUtt and I think they are overhyped. Bimal Roy, Shantaram, Kedar Sharma-- I think more highly of these directors.

But among all actresses, Meena Kumari was the greatest though Waheeda Rehman is generally the critics favorite. Saheb Bibi aur Ghulam worked more because of Meena Kumari and less because of guru Dutt.

Still, nice writing though. Keep it up!

Abhirav Shetty said...

Comedy is also vital part of their filmmaking.
Johnny Walker was a prominent part of Guru Dutt team. He brought humor in otherwise Guru Dutt's pessimistic works of fiction.
Raj Kapoor the Indian Charlie Chaplin
Raj Kapoor copied Charlie Chaplin in bits and pieces in Awara, Shree 420 and Mera Naam Joker.
Guru Dutt was a non-risk taker. Unlike Raj Kapoor.

Abhirav Shetty said...

Guru Dutt lost faith in his directorial abilities after Kagaaz Ke Phool failed to make money at the box office. Whereas, Raj Kapoor never lost his way after the debacle of Mera Naam Joker. I guess because Mera Naam Joker was a financial hit in overseas unlike, Kagaaz Ke Phool which became a cult classic in th 1980's after the death of Guru Dutt.