Pyaasa - Dead Over Alive

Every time I sit down to write, one question stares at me: should I express myself the way I want, or should I focus on serving the audience? And that’s just one major question. There are also questions like:

• Should I write something controversial to shock my readers?

• Should I sugarcoat the truth to avoid hurting them?

• Can I twist reality a little to make them read?

I don’t think I’ll ever find the answers to these questions, and I’ve stopped looking for them. I just try to write my best each time.

But Pyaasa is not the story of a compromised writer. It’s the story of Vijay, who wrote what he wanted to write, even if it was hurtful, brutally honest, or outright depressing. All he hoped for was to publish some of his work.

Now, Vijay did eventually get to see his work published—but not in the way he imagined.

Spoilers Ahead - If you haven’t watched this movie, you should come back after watching it on YouTube.

Pyaasa is not a perfect movie by any means. There are abrupt cuts, the acting isn’t outstanding, the spoon-feeding is a bit much, and some plot points are convenient. Yet, it was the only Hindi film to make it to the 100 Greatest Films of All Time list by Time magazine in 2005.

The simple question is — why?

The same reason no one wanted to publish Vijay’s work—it’s real. And the worst part is, it’s still true today, more or less.

We still go out and watch movies that give us an escape rather than watching something that reflects reality. Money still prevents lovers from ending up together. The dead still get more respect than the living person in front of us. We often don’t see struggling artists as people worthy of respect and sometimes even belittle them, telling them to get a “real” job. We’re ready to tear each other down and even lie for money. We’re not empathetic enough to those around us, especially the poor, who sometimes have to sell themselves just to eat.

We all just collectively adopt “ignorance is bliss” and move on.

Now, I’m not saying this is the only way to see the world, nor that the world hasn’t improved, or that the system is completely broken, or that you need to go out and protest right now. I’m simply pointing out the timelessness of this movie and asking you to think, just like Vijay urged you to.

Because whatever Pyaasa pointed out is happening in the world out there. Instead of letting you escape from it, Pyaasa forces you to see it play out. And that’s why it made the list when no other film could—because it shows humanity for what it is, in all its ugliness.

And of course, that’s not the only reason this film made it to the top 100. Its cinematic qualities contribute a lot as well.

The Collaborative Brilliance Of Pyaasa

Abrar Alvi and Guru Dutt collectively wrote a great story with few holes to poke.

We have Guru Dutt absolutely killing it with his lighting techniques that were way ahead of their time. I don’t think I will ever get over this scene.

The lyrics by Sahir Ludhianvi (a poet himself) and compositions by S.D. Burman are brilliant. Every song adds to the story rather than just filling space. And you can’t go wrong with Mohammed Rafi as the singer.

There’s also social commentary in subtle ways, like the catcalling by the hotel owner to Gulabo, the scene where she’s thrown out of the car, or the dancer unable to go to her baby.

Also, nothing in the film feels overacted. While the acting isn’t outstanding, no one is forcing their performance; they’re simply doing their best, and it shows. So, I forgive them in the acting department.

This movie brought together some of the industry’s finest, and each elevated the film in their own way contributing to the masterpiece it became.

Staying Truthful

After watching this movie, I think I’ve found an answer to the question I had stopped asking. Sometimes, I need to let go of worrying about what my audience thinks. I should be brave, like Vijay, and stay true to what I want to express.

Then the audience will be able to see me—and what I’m saying—in all its raw beauty and unfiltered ugliness. It’s a thought that scares me, but also thrills me just a bit.

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