I have known Sathya Saran since the late 1970s. We were both young journalists in Bombay writing for among other, India’s leading women’s magazines, including the erstwhile Eve’s Weekly. She then joined Femina and moved up as its Editor-in-Chief.
During her tenure she transformed the publication to target the contemporary woman with content which gave Femina its largest readership. She has over the decades packed in a lot into her 24-hour days and made a mark on every aspect of the media – writing, teaching, television and radio – and was the soul behind the famed Miss Femina contests. Currently she heads ME, the women’s weekend magazine published by the Mumbai-based daily DNA. It was while still at Femina that she met Abrar Alvi for an interview – and after that initial dialogue, Sathya knew she had the makings of more than a mere article on her hands. What followed were regular meetings, reminiscences being taped, and diligent note-taking leading to Sathya penning the makings of the book. Sathya’s narrative style is atypical – alternating Abrar Alvi’s first person dialogues with her, the author, unfolding the events in third person. Another unique touch is the chapter openers where she incorporates lyrics and titles from songs made memorable by Guru Dutt’s films. And grippingly she draws comparisons between real life and reel life incidents.
The book opens on the night before Guru Dutt’s death. Aptly titled Bichde Sabhi Bari Bari – the author writes about the last scene of Baharen Phir Bhi Aayegi (1966) where the heroine dies a sad, lonely death. It was the scene Abrar Ali was writing that evening at Guru Dutt’s apartment at Ark Royal. Ali narrates the scene and the mood at the film maker’s home who apparently had been drinking heavily was somber. He had made a few phone calls including an ugly conversation with his estranged wife Geeta Dutt. It was well past midnight when the two men ate and Dutt went to his room. That was the last time Alvi saw him alive as he soon after left the home. Guru Dutt was found dead the next morning – 10 October 1964. He was 39 years old. The book then goes back in time to 1953 when Ali first met Dutt whom he describes as “a man of few words.” One day Raj Khosla who was then Dutt’s assistant asked Alvi his opinion on a scene he was re-writing. Dutt was quietly observing them and asked Alvi’s cousin Yashwant that he wanted to meet Alvi. It was at the first meeting itself that he was offered a job to write for Guru Dutt Films.
That was the first step of a decade long journey as a dialogue writer which included the masterpiece Pyaasa. It was not something commonplace – but the storyline was inspired by and based on the real life friendship between Alvi and Gulabo, a prostitute. Alvi recounts his meetings with her and the time he spent leading him to observe her mannerisms, her characteristics and he became familiar with her past. While Gulabo was getting emotionally involved with him, Alvi wanted to distance himself from her. Eventually, their relationship ended tragically with Gulabo’s untimely death. She however had a strong impact on the writer’s life and resulted in the birth of Pyaasa.
Other noteworthy films penned by Alvi were Kaagaz Ke Phool, Chaudhvin Ka Chand, Aar Paar, Mr and Mrs 55, and the highly celebrated Sahib Bibi Aur Ghulam which he also directed. There are some interesting characters who are a part of this period of Guru Dutt’s life, including comedian Johnny Walker who carved a niche for himself for posterity with his rendition of Sar Jo Tera Chakraye inspired by a maalishwala on the Maidan in Calcutta, and his brand of humour became a permanent fixture in Guru Dutt Films. Others who share space in the pages are big names of the 1960s in the film industry such as Meena Kumari with revelations of her tragic, physically abused life with her over-possessive husband Kamal Amrohi; Mehmood entering Dutt’s banner; S.D. Burman's obvious talent but a whimsical trait of being a miser, and the not too friendly relationship between the two assistants Raj Khosla and Abrar Alvi. Naturally most readers will look for the ‘proof’ of the rumoured love affair between Waheeda Rehman and Guru Dutt. Saran devotes many pages to the actress’ entry into Dutt’s life and his films.
There are numerous little known anecdotes such as about how “when fate stepped in, in the form of a buffalo” which led to the entry of Waheeda Rehman into the Hindi film industry – and later trying to get her to change her name to a more ‘filmi’ one, which even as a newcomer she was adamant about not doing so! There is the gradual, apparent developing of interest in Rehman from Dutt’s side. Whether it was a platonic friendship from the actress’ side – or something deeper – is left to the reader’s imagination. But yes, his wife Geeta Dutt did feel she was a threat to their marriage. To keep his marriage and Geeta back into his life, Guru Dutt took the decisive step and dropped Waheeda like a hot brick. It is how the author has handled these chapters of Dutt and Rehman’s lives that makes the relationship all the more poignant.
While Guru Dutt remains the undisputed focus of this book, Abrar Alvi without doubt was the filmmaker’s friend and perhaps one of his closest confidantes within those last 10 years which were the most meaningful for both the mentor and his protégée. The book is highly readable especially for a generation that grew up with the movies of Guru Dutt – and is greatly recommended to any youngster interested in getting a peek into the behind-the-scenes of one of the milestone phases in the history of Hindi cinema. A keepsake for movie buffs.
Ten Years with Guru Dutt:
Abrar Alvi's Journey By Sathya Saran
Published by: Penguin Books India Price: Rs 499
Edition: Hardback Pages: 216