Introduction
Aar-Paar (1954), which tells the story of a migrant taxi driver in Bombay who is in love with two women, blended elements of film noir with comedy. Scripted by Nabendu Ghosh and directed by and starring Guru Dutt, the film was a huge success, the first of many that the actor-director would deliver in the early 1950s. Aar-Paar cemented the core team of technicians that took shape in the action-adventure drama Baaz (1953) and was to define Guru Dutt's strikingly individualistic cinema of the 1950s, the high points of which were Pyaasa (1957) and Kaagaz Ke Phool (1959). The Aar-Paar crew included Raj Khosla, (a filmmaker Guru Dutt had mentored), as well as screenwriter Abrar Alvi and cinematographer V.K. Murthy, who went on to do seminal work with the filmmaker. In Aar-Paar, Guru Dutt played the lead role, like he had done in Baaz the previous year. More famously, he starred opposite Madhubala in Mr. & Mrs. '55 and Waheeda Rehman in both Pyaasa and Kaagaz Ke Phool.
आर पार (1954) बम्बई शहर के एक ऐसे प्रवासी टैक्सी ड्राइवर की कहानी है, जिससे दो स्त्रियाँ एक ही समय पर प्यार कर बैठती हैं और उससे शादी करना चाहती हैं। यह फ़िल्म हल्के-फुल्के हास्य के साथ एक ख़ास तरीके की रहस्य-अपराध और स्याह परछाइयों से मिलकर बनती पश्चिम से आई 'नॉयर' शैली के तत्वों को मिलाती है। इसकी पटकथा लेखक नबेन्दु घोष ने लिखी थी और इसके नायक और निर्देशक गुरु दत्त थे। इस फ़िल्म की व्यावसायिक सफलता के साथ ही गुरुदत्त की अभिनेता और निर्देशक की दोहरी भूमिका में हिट फ़िल्मों का सिलसिला चालू हो गया। एक्शन और रोमांच से भरी बाज़ (1953) के साथ गुरुदत्त की जिस तकनीकी रचनात्मक टीम ने आकार लेना शुरु किया था, आर पार उसे स्थापित कर दिया। इसी गुणी टीम के साथ मिलकर आगे गुरुदत्त ने पूरे पचास के दशक में बेहद ख़ास व्यक्तिपरक किस्म के सिनेमा का निर्माण किया। इस किस्म के सिनेमा की चरम अभिव्यक्ति प्यासा (1957) और कागज़ के फूल (1959) को माना जा सकता है। आर पार की टीम में गुरुदत्त के शागिर्द रहे और बाद में बड़े निर्देशक बने राज खोसला, नामी पटकथा लेखक अबरार अल्वी और विलक्षण सिनेमैटोग्राफ़र वी.के. मूर्ति शामिल थे। अभिनेता जॉनी वॉकर भी इस टोली का अभिन्न हिस्सा बन चुके थे। उनकी पिछली फ़िल्म जाल की तरह ही आर-पार में भी पर्दे पर मुख्य भूमिका खुद गुरु दत्त ने निभाई थी। इस फ़िल्म में उनकी नायिकाएँ उस दौर की चर्चित अभिनेत्रियाँ श्यामा और शकीला थीं। इसके बाद उन्होंने मिस्टर एंड मिसेज 55 में मधुबाला और प्यासा एवं कागज़ के फूल दोनों में वहीदा रहमान के साथ जोड़ी बनाई।
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Body of Work
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Research Centre
Calendar 2
- ArchivedOffline-Online EventProject 80A Musical Glue for Nation-BuildingDeconstructing the Film Song23rd July - 22nd August 2026Ketan Anand | Ravikant | Pavan Jha | Madan Gopal Singh | Amit Khanna | Juhi Saklani | Antara Mondal | Shikha Jhingan | Neville TuliA key section of the India Studies framework at The Tuli Research Centre for India Studies (T.R.I.S.) is “Deconstructing the Film Song”. It began with a series of four workshops during our Self-Discovery via Rediscovering India Festival Series that brought together leading scholars & academics, film practitioners & students, along with fans of the Hindi film song. The objective of these workshops was to deconstruct iconic Hindi film songs to examine their formation across music, lyrics, playback, choreography, directorial visualisation, as they fuse into sites where aesthetics, ideology, and performance intersect, so as to help clarify the nature of India and her relationship to the film song. The Hindi Film Song functions as a narrative device, conveying myriad textures of emotion through melody, voice and poetry. As cultural texts that encode memory, desire, and ideology, songs are integral to the circulation and resonance of films in the public realm. Over time they have become autonomous bundles of creative energy - the glue that binds us over time, articulating and perhaps even defining the idea of Indianness. These first Workshops were an attempt to understand the nature and power of this glue, while contemplating the ways to situate it within TRIS' academic framework for Contemporary India Studies.Read More →
- ArchivedDeconstructing the Hindi Film SongProject 62A Musical Glue for Nation-BuildingFour Classic Songs from the cinema of Guru Dutt and the genius of S.D. Burman, O.P. Nayyar, Sahir Ludhianvi, Majrooh Sultanpuri, Geeta Dutt & Mohammed RafinnBabuji Dheere Chalna | Aar Paar-1954 nJinen Naaz Hai Hind Par | Pyaasa-1957 nYe Duniya Agar Mile Be Jaye | Pyaasa-1957 nWaqt Ne Kiya Kya Haseen Sitam | Kaagaz Ke Phool-195917th February 20266:30pmM.L. Bhartia Auditorium, Alliance Francaise de Delhi, 72 K.K. Birla Lane, Lodi Estate, New Delhi, 110006Madan Gopal Singh, Ravikant, Antara Mondal, Juhi Saklani & Neville TuliA key section of the India Studies framework at The Tuli Research Centre for India Studies (T.R.I.S.) is “Deconstructing the Hindi Film Song”. It will begin with a series of four workshops that brings together leading scholars & academics, film practitioners & students, along with fans of the Hindi film song. The objective of these workshops is to deconstruct iconic Hindi film songs to examine their formation across music, lyrics, playback, choreography, directorial visualisation, as they fuse into sites where aesthetics, ideology, and performance intersect. The Hindi Film Song functions as a narrative device, conveying myriad textures of emotion through melody, voice and poetry. As cultural texts that encode memory, desire, and ideology, songs are integral to the circulation and resonance of films in the public realm. Over time they have become autonomous bundles of creative energy - the glue that binds us over time, articulating and perhaps even defining the idea of Indianness. The first Workshops are an attempt to understand the nature and power of this glue, while contemplating the ways to situate it within TRIS' academic framework for Contemporary India Studies.Read More →
