Love's labour lost (Pyaasa)

What dampens Vijay's optimism?
Hoping against hope that some day the world will regard his creation, this struggling poet toils on. With an empty stomach and the burden of umemployment on his sturdy shoulders, Vijay keeps penning those poems, whose beauty and poignance no one is able to comprehend save the poet himself. But, there is no stopping him. Society, reeking of materialism, keeps crushing his creativity and aspirations beneath its greed and artificiality. Just like the bee, whose buzzing life is stamped out by the passer-by and his banal existence. But, Vijay writes on. For, he believes in himself and his talent. It is this talent, he feels, that will shine forth amidst the dark dreary world of hypocricy and cruelty. It is this thirst that keeps him going...

A man, so relentlessly full of hope, is sure to succeed, we are sure. And succeed he does, with every one seeing life through his lyricism. But, at what cost? When he is shorn of every iota of honour, respect and integrity? When the world has pronounced him dead? When his near ones decline him as their own? When he is left to wither away in ignominy? Can that success taste sweet? For Vijay, that success is nauseous. Disillusioned, disgusted and disenchanted with the rampant greed and hypocrisy of the world, this struggling poet decides to relinquish the shallow honour. He will not be able to breathe in this air thick with pretense and sycophancy. He shuns his pen, this world, and walks away with his one true love into the horizon that promises a more stable future. This life may not be comfortable, but it will be honourable. This brave soldier wins the war against the consumerist world.
Guru Dutt was a filmmaker much ahead of his times. And Pyaasa proves that. This 1957 classic tackles issues that not many would dare to toy with. Dutt's Vijay is mentally strong, physically not like the typical handsome hero, boasts of a sensitive yet pragmatic mind and has the balls to shun material achievements. In fact, even his angst has direction. His calm yet sarcastic elocution of Janey woh kaise log they jinkey bears testimony to that. Instead of quarelling with a bunch of pompous shayars, he puts forth his point in a quiet but firm way, thus silencing all. His smirk at the emptiness inherent in this world is not taken so well though. But, he is not bothered. He stings his past love with the truth about her unfaithful behaviour. She sheds stifled tears but cannot refute. For, she knows...
Dutt's discourse, as a director, is never one-dimensional. Hence, he toughens up Meena (Mala Sinha is a very different role) to say that love isn't enough in life. Money is imperative for comforts. Hence, she opts for the influential publisher (Rehman is handsome, astute and cunning as Mr Ghosh). But, she is never able to forget Vijay. Why else would she snatch moments with him in the elevator and her husband's office? Vijay has the answer. She should have given him the chance at least, to prove his responsible nature. Howzzat? Meena is indecisive. Earlier, she ditched Vijay, and now she is slanting towards him again. But, Vijay's intergrity won't allow that.
This beating in love hurts him. Once bitten, twice shy, Vijay goes on to say about Meena (the woman who had inspired him to pen beautiful poetry), "Apne shaukh ke liye pyar karti hain, aur apne araam ke liye pyaar bechti hain." But, Gulabo's love is not for sale. Vijay does realise that later. But, the two have to wade through a sea of trials and turbulence.
Two women, two expressions of love. One was selfish, the other selfless. With a heart of gold, Gulabo, the prostitute, devotes her love and life to this poet. In fact, she uses his couplets to lure a prospective customer. SD Burman creates magic in Pyaasa and Sahir Ludhianvi's lyrics are unimaginably gorgeous. The tantalising nature of Jane kya tune kahi is devoid of crass titillation. Yet, it is heavy with desire. Gulabo falls in love with Vijay's poetry, which she buys from a scrapdealer, and as she comes close to Vijay in different circumstances, she falls in love with the artist. But she is the typical sweetheart, too, and is aptly curious about his past relationship when she says, "Aap dilchaspi letey hain, isliye..."
Aaj sajan mujhey aang lagalo, as a love song, is a winner. Gulabo, her soul touched by the honour that Vijay bestowed on her by introducing her as his wife to a nosey policeman, is all ready to submit herself to her saviour. This kirtan, sung heartbreakingly by Geeta Dutt, defines love in its many avatars--physical, emotional and spiritual. Waheeda Rehman is the perfect Gulabo. Initially brusque (given her trade) she reaches a realm of extreme spirituality and devotion in her love for Vijay. A prostitute, and someone's wife? Something never heard of. But her silent faith will see her through the jungle of worries. And, Vijay will, she believes...
Guru Dutt is the scorcher in Pyaasa, especially in his dhoti-kurta. Intellectually above his peers and creatively better than many, Vijay shows courage in his convictions. He is witty, too. When the publisher tells him, "Aap shayar hain, to mein gadha hoon," Vijay's quick retort is, "Aap agar apne muh se taarif na kartey to bhi mein samajh jata." But, this wit and bounce takes a beating under several dire situations--incessant slights by his brothers (one of them is Mehmood in a deliciously wicked role), dismissals by several publishers, unfaithfulness by his lover, the death of his mother and most importantly, the vicious cycle of poverty, lucklessness and lack of intergrity around him. Profound cynicism makes him sing Jinhen naaz hain is hind par and we feel, how true are his thoughts. Only, not many of us are strong enough to accept the reality. Are we?
Vijay's dejection is too heavy to be removed by Sattar's (Johny Walker) tel malish. But, this dear friend tries to balm the poet's wounds. But, Vijay is frayed: "Aaj duniye ne itna masal diya ki malish ki zaroorat nahin hain." So true. The world is unfair to him. They do not give even a puny chance to this lad to prove his mettle. They drive him up the wall of desperation. They have no decorum of honour or truth. Friends of Vijay are bought and sold. Brothers, sharing the same flesh and blood, call him theirs at their own convenience. So, who is to blame if he rants out his angst before the teeming populace, now asking him to verify his own name and existence?
Mohd Rafi breathes life into Yeh duniya agar mil bhi jaaye. And, Dutt makes the song burn our senses with his pointed expressions. He wanted to rule the world with his poetry. But, he is tired of its baseless persona. No, this world will not satisfy him, this world that has robbed his very basis of existence. What is a man without self respect? Vijay is better-off without this false appreciation that can be transacted with a handful of filthy lucre. His poetry cannot survive these noxious fumes of flattery. God willing, Vijay will find peace in Gulabo's care, his poetry shall thrive in the warmth of her love...