'I Don't Believe Guru Dutt's Death Was Suicide'

'Abrar uncle said he had started drinking from the afternoon on that fateful day. And he continued drinking till late at night.'
'Thereafter, he must have consumed some sleeping pills, as was his habit.'
'I think that combination went fatally wrong.'

Celebrating Guru Dutt's birth centenary on July 9 with this must read excerpt from Kagaz Ke Phool and Sahib Bibi Aur Ghulam: The Original Screenplay by Dinesh Raheja and J Kothari.

Arun Dutt was only eight years old when he lost his father, the iconic actor-film-maker Guru Dutt.

The scion grew up to be a director himself (with the Dharmendra starrer Khule-aam), and, before his untimely demise at the age of 58 in 2014, was passionately involved in preserving his father's cinematic legacy.

"Some people believe that Kaagaz Ke Phool is an autobiographical work of art. I do not agree. People feel differently because the film depicted a troubled marriage; but my father wrote Kaagaz Ke Phool five years before it was made, during the time he was making Aar Paar. And he was happily married at that time," Arun Dutt said.

When I see my father's films today, I recognise my father in a smile, or in a mannerism.

But I also see his films as a part of the audience.

I am intrigued by the Kaagaz Ke Phool song Waqt Ne Kiya, Kya Haseen Sitam. I have learnt that when my father happened to hear S D Burman dada's tune, he liked it tremendously, but lamented, 'I don't have any place for this song in my script.'

Kaifi Azmi saab wrote the lyrics numerous times and each time my father said, 'No this doesn't work', until the poet came up with the beautifully written final version.

My father didn't want to lose the song so he included it in the film even though the song has no connection with the scenes that precede it. Though (the film's lead characters) Suresh Sinha and Shanti's relationship has not splintered when the song is played, this melancholic song complements the mood of the film.

Kaagaz Ke Phool speaks of my father's acute sensitivity.

He was easily disappointed.

Suresh Sinha crumbles under the strain of failure and heartbreak in the film and this gives me a clue about why my father was devastated by the box-office collapse of Kaagaz Ke Phool.

Some people believe that Kaagaz Ke Phool is an autobiographical work of art. I do not agree.

People feel differently because the film depicted a troubled marriage; but my father wrote Kaagaz Ke Phool five years before it was made, during the time he was making Aar Paar. And he was happily married at that time.

He narrated the Kaagaz Ke Phool script to Shammi Kapoor and Geeta Bali in the mid-1950s. The two couples, my parents and Shammiji-Geetaji, were very good friends. Shammiji told me that my father had narrated the entire concept of Kaagaz Ke Phool while sitting on the steps of Famous Studios.

Shammiji and Geetaji had said that it would be a brilliant film but my father needed to establish himself as a filmmaker before making this film.

People have speculated that Suresh Sinha's wife in Kaagaz Ke Phool (played by the actress Veena) was based on my mother.

Mummy (noted singer Geeta Dutt) was never that character at all. She was a fun-loving person; and she remained so. The person who changed with time was my father.

At home, the predominant ambience was Bengali. My father was very influenced by Bengali culture because though he was born in Bangalore, he had stayed in Kolkata from the age of five till the time he was 17.

Mummy's favourites among my father's films were Pyaasa and Sahib Bibi Aur Ghulam, possibly because both were set in Bengal. Sahib Bibi Aur Ghulam was seeped in Bengali culture but I don't think mummy advised my father on any aspect of filmmaking.

She introduced O P Nayyar to my father.

As a playback singer, she had worked with Nayyar on his first film Aasman, which had flopped.

When Nayyar sahab was thinking of giving up the industry, my mother introduced him to my father, who was just starting his first co-production, Baaz.

Mummy would occasionally talk to us about these films.

Na Jao Aaiyaan, which she sang in Sahib Bibi Aur Ghulam, was her favourite song. She would sing it at every stage show.

Sahib Bibi Aur Ghulam marked the end of my father's long association with Waheedaji (Waheeda Rehman, movie legend). Her contract with my father had expired. And she wanted to work in outside productions.

I am told that she signed Mujhe Jeene Do without informing my father. My father was very annoyed with her.

Consequently, there were a lot of problems in the completion of Sahib Bibi Aur Ghulam.

In fact, the last shot of the film, in which she is seen waiting in a horse-drawn carriage for my father, was shot at a time when they were not on talking terms.

The 1960s were a period of turmoil for my father as he agonised over his next project. He began a film named Raaz which was directed by his assistant, Niranjan. Sunil Dutt and Waheeda Rehman headed the cast of this film, which was never completed.

He began shooting for Gouri, which was to be my mother's debut as an actress, but he abandoned this film too.

Later, after Sahib Bibi Aur Ghulam, he began work on his first colour film, Kaneez, with Simi Garewal in the lead. However, he soon dropped the film because it wasn't working. Simi sued him and he had to compensate her.

I have preserved his notes on a film for which he wanted Ravi Shankar to compose the music. My father had worked out the shot division for a complete song, which was not used subsequently in any of his films.

He was very confused at this stage.

His dejection was not a result of any specific event. He was a manic depressive.

From his letters, I have gathered that the signs of this ailment were present from the year 1952, in the early stages of his career.

My parents separated many times but would eventually reconcile. Circa 1963, my father demolished our Pali Hill bungalow because it had a slanting roof while he wanted a terrace where he could fly kites. We moved to a bungalow called Ashish in Bandra. It was here that my parents finally parted.

My mother shifted with us to a rented flat in Hill Road and my father started living by himself at Ark Royal, Pedder Road.

In Kaagaz Ke Phool, the protagonist becomes addicted to alcohol, in Sahib Bibi Aur Ghulam Meena Kumari grows dependant on alcohol. Unfortunately, this too was parallel to my father's real life. He drank heavily, and also smoked continuously. I think he sought relief, a sort of an escape.

Many people say that he committed suicide on October 10, 1964.

They found him dead at his Pedder Road residence; he had locked his bedroom door from inside.

I don't believe it was a suicide.

I think his death was accidental.

Abrar uncle (Abrar Alvi, screenplay writer, director, Sahib Bibi Aur Ghulam) said that he had started drinking from the afternoon on that fateful day. And he continued drinking till late at night.

Thereafter, he must have consumed some sleeping pills, as was his habit. I think that combination went fatally wrong.

My father had scheduled many meetings for the next day.

He had a meeting with Raj Kapoor on October 11. Rajsahab was a great admirer of my father's work, while my father was full of praise for Raj sahab's colourful magnum opus, Sangam.

Since my father was thinking of making a colour film, he wanted to seek advice from Raj sahab.

Yes, my father had attempted suicide two or three times earlier and at one time he was very ill in Nanavati hospital. But the family didn't think that he was seriously contemplating suicide. His death came like a bolt from the blue.

Atma uncle (Atma Ram, Guru Dutt's younger brother) lit his pyre. Some people suggested that (elder son) Tarun should light it but the family decided that he was far too young. Raj Kapoor played an important role in getting the necessary permissions after the post mortem.

My mother was devastated.

She felt very let down by him.

In early 1965, she suffered a nervous breakdown, which was so serious that she couldn't recognise her children!

Thereafter, any discussion about my father became a sensitive issue because we were terrified that she may suffer a relapse.

My father made films that are considered classics today because of their quality and their insights into life. I wish creative success could have ensured a happier life for him.

Professional success is followed by unhappiness for Kaagaz Ke Phool's protagonists; and this trajectory stands reflected in my parents' lives too.

Kind courtesy Kagaz Ke Phool and Sahib Bibi Aur Ghulam: The Original Screenplay by Dinesh Raheja and J Kothari. Published by Om Books International in association with Vinod Chopra Films.