Pyaasa Movie Essay

Introduction

• When was the movie made?

• Significance of the movie

• What has been said about the songs?

• Some things about Sahir Ludhianvi

"Khushiyon Ki Manzil Dhoondi To, Gam Ki Gard Mili,

Khushiyon Ki Manzil Dhoondi To, Gam Ki Gard Mili,

Chahat Ke Nagme Chahe To, Aahen Sard Mili,

Dil Ke Bojh Ko Dugna Kar Gaya, Jo Ghum Haar Mila,

Kaaton Ka Haar Mila.

Humne To Jab Kaliyan Maangi,

Jaane Woh Kaise, Log The Jinke, Pyaar Ko Pyaar Mila”

The movie Pyaasa (meaning Thirsty in Hindi) was produced and directed by Guru Dutt who also played the role of the baffled protagonist in the movie.

The movie is an account of a struggling poet’s emanating efforts to get his work known in the post-independence India. The narrative talks about how badly the

The music for the movie has been meritoriously given by S. D. Burman and the soul-stirring lyrics have been penned by the legendary poet Sahir Ludhianvi.

Ever since the movie has been made, Pyaasa has always managed to gather accolades in some form or the other. In 2002, it was ranked at number 160 on the Sight & Sound critics ' and directors ' poll of all-time greatest films. In 2005, Pyaasa was rated as one of the 100 best films of all time by Time Magazine, where it was called "the soulfully romantic of the lot." Indiatimes Movies ranks the movie amongst the Top 25 Must See Bollywood Films. On the occasion of Valentine 's Day 2011, Time magazine declared it as one of the top 10 romantic movies of all time.

The music of the movie takes the story ahead by adding meaning and giving relevance to the crux of the story. The absolute timing of each song renders emotion, depth and value to the narrative. Respective scenes preceding songs like ‘Jinhe Hind Par Naaz Hai Wo Kahaan Hain’ and ‘Ye Duniya Agar Mil Bhi Jaaye To Kya Hai’, are taken forward only with the help of spectacular music which is amalgamated with spurious lyrics written by the great poet and lyricist Sahir

His lyrics in simple but chaste Hindustani touched a chord with millions on Indians in films like Pyaasa (Thirsty, 1957). Here, we shall concentrate on his career till 1955 where his reputation rested largely on his progressive poetry for the mushaira circuit and his first collection entitled Talkhiyan (Bitterness, 1943). In later years, he came to be regarded as a lyricist rather than a poet and, like most progressives, learnt to make compromises giving in to the demands of film-makers – a practice Kaifi once compared with digging a grave and the looking for a corpse to fit in! Perhaps aware that the adeeb, literary connoisseurs, had judged him and found him wanting, Sahir wrote the following sher, boldly declaring that he wrote for the masses, not the