Kaagaz Ke Phool

Apparently Guru dutt stopped directing movies after the failure of Kaagaz ke phool at the box office. What a pity! If only he had considered the holes in the plot, being the perfectionist he is, he would definitely have made at least one more film. And Indian Cinema surely needed more from a director of his calibre and taste.

Kaagaz Ke phool ( paper / artificial flowers ) is the story of a brilliant director who gets trapped into a downward spiral of self destruction. As soon as the titles roll down to the tune of "waqt ne kiya", we hear a poignant background song by Rafi , written by Sahir Ludhianvi and composed by S.D. Burman. An old and battered Suresh Singh is seen looking at the studios forlornly. And soon ensues the flash back about how this brilliant director goes through a roller coaster ride, suffers the pangs of a bad marriage, misses his daughter, discovers a star, meets an understanding friend and companion, and how he becomes a victim to the whims of society and loses everything.

There are a few flaws in the plot, especially around the events related to the turning point in the life of the protagonist, which may put off some audience.There is a comedy track, which may not gel well with the present day viewers. However, if the viewer is willing to be generous with his suspension of disbelief, he is in store for an audio-visual treat of a kind that is rarely seen among the annals of Indian Cinema. Guru dutt and Waheeda Rehman do well in their respective roles and most of the cast give good support. But what stand out are the music, the songs and the cinematography. Lyricist Sahir Ludhianvi is a master and "waqt ne kiya" proves it beyond any doubt. And what to say about S.D. Burman? He is an acknowledged genius and here he composes music that captures the spirit of the movie so wonderfully. The cinematography is a lesson for photographers. Some of the scenes,where conversation between the actors is picturized with the actors alternately fading in and out of the focus, have a wonderful effect on the feel of the film.

On the whole, be kind towards a few flaws, and you will not regret watching the movie.

This is really a milestone in world cinema - not just Indian cinema. The story, the lyrics, songs, music, photography, editing and above all class act. Everyone has poured their heart in this film. This indeed is a poetry in form of a film. Though the topic is very depressing it but reflects reality from eyes of a defeatist, maybe the only flaw I see in the picture, and perhaps the reason why the film never saw a good box office record. However, it may have a lot to do with personal struggles of Guru Dutt at the time of making of this film. Only if the film had been about triumph of human struggle to overcome all odds, outcomes could have been different. A lot of credit is given to Guru Dutt alone, however I feel the classic nature of this film has a lot to do with contribution of everyone - the music is touching today as I suppose it might have been then. One who has never seen Wahida Rehman in younger days is dazed at her beauty and innocence. Guru Dutt himself looks rather handsome. Kaifi Azmi's lyrics are just inimitable. Photography is great - considering it was done in 50a. I came up with the DVD by chance and I'm now going to see more of Guru Dutt's work. I not for a moment want to deny Guru Dutt his share of glory, however one must also acknowledge other geniuses who made this movie a classic!

I'm still slowly developing my appreciation for "Bollywood" although this film certainly does not fit the prototype for what I've seen and expected thusfar. Instead of sassiness and splash, this epic traverses seriousness and shadow.

I'm certainly glad that I saw it, but truth be told I'm happier having seen it, than I was while actually watching it. By renting the DVD, I was able to watch a 3-part special on Guru Dutt that I highly recommend. His colleagues still speak so fondly and insightfully of him, very touching. It might be worth watching that special before the main feature. The film is from 1959 and thus has elements that are timeless, yet also elements that are quite dated.

First off, it is in black and white, and several scenes (not only those involving knitting) screamed for color, but alas what can you do? Is there a Ted Turner in India?? Kidding!! The camera work and shots however are often remarkable, shadows just don't look as stark in color. On the extras, V.K. Murthy discussed the light beams and lenses he created for Dutt. Speaking of Murthy, he was so very compelling on the DVD extras...why does IMDB list him working so rarely? I suspect it is just an incomplete filmography??

Dutt and he also used overlapping images that I still enjoy, but I don't think anyone uses these now since they were probably overused at one point in the 60's. Bring 'em back, the sliding limelights and later sliding martinis worked very well. There's a great scene of a throng of adoring film fans where the camera takes on a boat-like rocking that caught my eye. The camera often moves, and shots usually are not interrupted with so many alternative angles as we are used to today. Personally that's one of my favorite aspects of older films, the lingering shot.

There was a pivotal scene where I guess they needed two different takes, spliced from nearly the same location after the "sofa" reunion of our two starcrossed lovers. It may be footage was just lost there (other moments during songs for example it was clear this has happened). The sudden change in that scene almost right at that abrupt camera perspective change in the takes used, didn't translate to me in the US in 2004. But I'm usually one to encourage lovers to "requit," damn it!

Another significant problem comes with what we an audience, and Dutt/Sinha as a character, allow his daughter to get away with. Again, I'm nothing more than an acolyte in appreciating these Indi films, but it seems a common theme is the man is with one woman, but in love with another. How to construct this barrier in a sassy film that will hypnotize with eye-popping dance scenes over ear-popular music is very different than how to construct a barrier in a serious film such as this.

I don't really care in the first case, but here the impudence of the daughter just put me off, and made the unrequited love seem sort of senseless. One of Guru Dutt's contemporaries talked about how in real life, he could love...but not state his love. This is a more interesting divide, and it is presented somewhat here, generally with the enchanting Chanti saying "Listen..." (well that's what the subtitles said...) Three times at least... Winds also pick up at key moments.

The film is well constructed with devices like that, and the aforementioned beams of light. The ingenue and the auteur love story works well, a Pygmalion with another pigment. Naivete and innocence are not only what draw Sinha to Chanti, but they are also what some people will like about this film quite a bit.

For me, I might be a bit too jaded. The "Rocky" comedic relief (is his name really Johnny Walker...that's like a character out of "Alien Nation") while sorta funny in ways, at the same time got on my nerves a bit. Although for a moment I thought he was going to be well ahead of time and be a gay character on screen in the 50's. Indeed any scene involving any one from his family tended to bring the film down in a broad fashion. We get it, the aristocracy are horrible to the poor and lowly millionaire film mavericks, not willing to give them the compassion they shower upon their dogs. Another clue to dislike them, the fact that they use the English language.

I still don't know why at one point the estranged Mrs. Sinha says "If he needs me, put him on the next flight." If she were too sickly to go to her husband in his need, or if a monsoon made it prohibitive to go to Bombay...that might have been better from my point of view.

The fact that this is a film about the film industry may put some folks off, but like Altman's "The Player" this film I think benefits from such self-reflection. The notion of a director's struggle for art and control, when the bets are switching to the actors and actresses as workhorses evidently paralleled Dutt's own struggles. Ultimately I think Dutt's own life is more interesting than the role he created and portrayed here. It seems in the artificial cinema sunlight, he felt rootless and never blossomed amidst all the paper flowers.

Back at school, I saw some of Sergei Eisenstein's films as part of being a Rhetoric major, I wish we had seen and discussed this film. I'd be curious to know if others found some of the women when speaking looking awkwardly askance? In today's era of reality TV and hand-held documentary style film fiction, I sort of miss stylized movies as an art ...although I'm certainly glad car footage can be shot on real roads and not sound stages these days. ;>

Overall I think "Kaagaz Ke Phool" has as much going for it as other film school classics (and being appreciated with a sense of history would help). Although even as a "stand-alone" film I found it entertaining. Not sure I would have said the same of "Battleship Potemkin" sitting at home on a Thursday night.

7/10

"Kaagaz ke Phool" (Paper Flowers) is an agonizing, self-reflexive look at a filmmaker who, because of martial, societal and economic pressures dissolves into alchoholism. It's a common theme among Indian movies, but in this film, there's autobiography to back it up. From what I understand, the course of this film paralells Guru Dutt's life who died by his own hand.

Geeta Gutt and Mohammad Rafi sing on the soundtrack penned by S.D. Burman, which is wonderful as can be expected considering the people involved (and, if anyone has a lead on where I can find it on lp or cd, be in touch!) The movie is beautifully shot, and the play of light on Guru Dutt's face (he acts in the lead role, as well as directing) as he enters an alchoholic stupor will bring a grown man to tears (I've seen it happen.)

There's more misery and abjection here this side of Fassbinder or Jerry Lewis, so this is perfect for a cold, rainy, lonely evening.

Why is Guru Dutt hailed as one of the all time best directors in the world? See this film and you'll get an answer. Guru Dutt never got his due from the audience or the critics when he was alive. After he died, he was suddenly hailed as this best thing to have happened to Hindi film industry. And today, he is universally regarded as one of the best Hindi film directors. This film too is resplendent with that same irony, hypocrisy and tragedy. There are films and then there is this. 'Kaagaz Ke Phool' is Guru Dutt's extremely personal and almost poetic take on the trials and tribulations of a life of fame and glamor; and especially the aftermath of it. Guru Dutt plays a successful director Ajay Sinha who is looking for a new face to cast as the leading lady in his next film. In the midst of all this, he has a strained marriage wherein his wife leaves him to live with her parents along with their daughter. On a certain rainy day, he meets a girl (Waheeda Rehman). They meet again in the studio.

Immediately,Guru Dutt realizes that Waheeda's is THE face he had been looking for and promptly casts her in his next film. Eventually he falls in love ith her but she doesn't reciprocate. Meanwhile, he isn't allowed to eet his beloved daughter too through a court order. As a last straw, his next film is a colossal failure and he suddenly finds that the ones who pretended to be his well-wishers and friends now seem to hate and ignore him. Thus Waheeda, his discovery, goes on to become a successful star while he begins his downward spiral into the deep darkness of ignominy. Subsequently and ironically, after many years, he dies on the same director's chair It is not a perfect film by any means. The screenplay is sometimes indulgent and probably isn't as good as say Guru Dutt's 'Pyaasa' (his other classic). Plus, the whole track involving Johnny Walker is somewhat irrelevant to the film and hence could have been shortened. However, it was incidentally, India's first film to be shot in Cinemascope and hence makes good use of technique but essentially KPK remains a very humane film which moves us without being preachy or overtly sentimental. SD Burman's haunting music and Kaifi Azmi's poignant lyrics add to the mood of this film

Ironically, the film was a commercial disaster upon its release (eerily similar to the protagonist Sinha's last film). So, the claims of it being an Autobiographical film also started being made. But, I think it is a case of life imitating art than vice- versa. Having said that it is a fact that Guru Dutt died shortly after making this film and thus KKP remains his last masterpiece and I think its commercial failure can be attributed to one of those rare occasions when the AUDIENCE got it wrong as the film may have been ahead of its time and has since been widely considered to be one of the best and most important films made in India The obvious comparisons with Fellini's 8 ½ are to be expected but to my mind they are unwarranted. Both were different films made for very different audiences. This is a great film in its own right- one of the best Hindi films ever- a bona-fide masterpiece by the prodigiously talented albeit flawed genius called Guru Dutt