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Guru Dutt: A Tragedy in Three Acts
Guru Dutt is now named along with the masters of world cinema—like Orson Welles, Mizoguchi, Hitchcock, Jancso, Ophüls—for his innovative cinematic form and his deep humanism and compassion. In Guru A Tragedy in Three Acts, renowned film-maker and scholar Arun Khopkar sheds new light on Dutt’s genius through a close examination of Dutt’s three best-known films—Pyaasa, Kaagaz Ke Phool and Sahib Bibi Aur Ghulam. With a nuanced eye, Khopkar explores the historical context which influenced Dutt’s deeply melancholic style while also analysing the intricacies of the medium—acting, lighting, music, editing, rhythm—that Dutt carefully deployed to create his masterpieces.
Originally written in Marathi, this exquisite English translation paints a layered portrait of a troubled genius for whom art was not merely a thing of beauty but a vital part of living itself.
Originally written in Marathi, this exquisite English translation paints a layered portrait of a troubled genius for whom art was not merely a thing of beauty but a vital part of living itself.
168 pages, Kindle Edition
First published October 15, 2012
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Displaying 1 - 4 of 4 reviews
February 23, 2023
very well read author, comparing all stylistics of guru dutt with ghatak and other gems. comparing pyasa with devdas , the plots in both saheb biwi and ghulam and kaghaz ke phool and the struggle of an artist with the society itself.
March 28, 2013
a deep insight of the three best works of Guru Dutt.
September 20, 2018
His films were based on his life, his life on his films.
I bought this book to learn a thing or two about film making but the very first chapter establishes the reflective tone of the book leading to discussion on self expression and suffering. The relationship of the artist and the society, as explained in chapter 4 is both beautiful and true; a rare combination.
Growing up in the 90's we've experienced a phase of bollywood that was the most exuberant and one that is responsible for its common perception, both in India and Pakistan. This book introduced me to a class of old Indian films which were sensitive, intellectually solid and excelled in film making techniques.
Guru Dutt's top three films form the material for discussion: Pyaasa, Kaghaz Ke Phool and Sahib Bibi aur Ghulam. The author uses a 'making of a scene' approach to bisect every worth mentioning frame. All aspects from camera angles to shadows and dance movements to postures are reviewed and the symbolism attached to them is explained in great detail by Khopkar.
The down side of the book comes in last 1/3rd (or you can say the 3rd act) part where all the references seem repeated. After all it is difficult for a reader to view the same scene or same song on a new light for the fourth fifth time and it seems that the author is drawing too much out of one stroke.
I bought this book to learn a thing or two about film making but the very first chapter establishes the reflective tone of the book leading to discussion on self expression and suffering. The relationship of the artist and the society, as explained in chapter 4 is both beautiful and true; a rare combination.
Growing up in the 90's we've experienced a phase of bollywood that was the most exuberant and one that is responsible for its common perception, both in India and Pakistan. This book introduced me to a class of old Indian films which were sensitive, intellectually solid and excelled in film making techniques.
Guru Dutt's top three films form the material for discussion: Pyaasa, Kaghaz Ke Phool and Sahib Bibi aur Ghulam. The author uses a 'making of a scene' approach to bisect every worth mentioning frame. All aspects from camera angles to shadows and dance movements to postures are reviewed and the symbolism attached to them is explained in great detail by Khopkar.
The down side of the book comes in last 1/3rd (or you can say the 3rd act) part where all the references seem repeated. After all it is difficult for a reader to view the same scene or same song on a new light for the fourth fifth time and it seems that the author is drawing too much out of one stroke.
August 16, 2013
depicting the true artist's work.
glad i read it
glad i read it
Displaying 1 - 4 of 4 reviews