Guru Dutt's Birth Centenary: Actress Waheeda Rehman Recalls The Icon Who Shaped Her Cinematic Journey

Guru Dutt’s Centenary falls on July 9. It is another matter that Dutt lives on, and will be remembered and idolized as long as Hindi cinema is watched. Realms have already been written on this genius and his incomparable contribution to cinema as actor, writer, producer and director. But what is lesser-known is his propensity to gauge and introduce new talent or give them major breaks. The list includes future wife, Geeta Dutt nee Roy, whose image as a warbler of staid or devotional songs was broken by S.D. Burman and Dutt with Baazi, a film that saw the composer first hitting big-time and also marked the debut of Johnny Walker; cinematographer V.K. Murthy beginning his tryst with true fame with Dutt’s first flop, Baaz; Abrar Alvi coming in as writer (Aar Paar), and later, as director (Sahib Bibi Aur Ghulam) and Raj Khosla getting his directorial breakthrough with C.I.D., in which Dutt introduced his to-be favourite heroine, Waheeda Rehman.

We met up with the actress for a candid discussion on the man who brought her into films, and later gave her timeless motion pictures.

Excerpts from the interview:

You come from a Bharatanatyam background, Waheeda-ji. And Guru Dutt was a choreographer before turning actor, filmmaker and writer, even choreographing for Hum Ek Hain. Did he choreograph any of your songs, or was around and involved with them?

Unless he discussed the movements backstage with the choreographer or the other directors of his films for his song sequences, he did not. But then I never had typical dance numbers in any of his movies.

But did you find any differences between songs in your other films and in his movies?

I don’t think so, except that in Guru’s movies, V.K. Murthy was usually the dominating person with his light and shade angles! But frankly, even in Pyaasa, which was the first movie in which Guru actually directed me, I was quite new, so I did not know most of the technicalities at that learning stage.

So what would you consider as Guru Dutt’s special skills or traits?

I would rate his special skill as someone who was very much understanding of an actor’s difficulties. There is this scene in Pyaasa in which my character Gulabo reads about Vijay (Guru’s character)’s death in the newspaper and is supposed to scream. But I could not! I was very apologetic when he asked me, ‘How come you can’t scream? Girls of your age do so even when they spot a cockroach or a rat!’ I said that I open my mouth but that kind of scream does not come!

He reassured me immediately and said, ‘Don’t worry. There is an alternative.’ He instructed me to crush the newspaper as I read the news, hold it tight and then slide down the sofa! I also remember similar incidents with Mehmood during Pyaasa when he could not speak a line despite repeated retakes. He told Abrar Alvi to give him something else that he could speak without trouble.

Because C.I.D. and Pyaasa were being made simultaneously, when Raj Khosla complained to him that he was not happy with me, he replied, ‘But I am very happy!’

Guru had great values. He told everyone to treat Ruby Myers (Sulochana Sr.) deferentially when she did Kaagaz Ke Phool. ‘She deserves respect as she was a heroine once!’ he told us.

What about his expertise in taking shots?

Being new, I never thought of it at the time, but later, when I watched his films, I realized how good he was at his shot-taking and camera angles. There was no zoom lens then, and trolleys had to be used for zoom effects. There were lengthy shots with cranes coming down and turning. But he was so good.

Did he leave direction because Kaagaz Ke Phool flopped?

He never spoke about it, but oversensitive people do get disappointed if the audience rejects something they are proud of. But Guru was also down-to-earth. He signed M. Sadiq to direct Chaudhvin Ka Chand because he felt that Sadiq would be the right person to understand Muslim culture and the nuances, including familiarity with Urdu. Sadiq was also not doing well then and Guru wanted to help him out.

A lesser-known fact: Wasn’t he directing you in a film called Raaz when he passed away?

Yes, but at that time, he was very confused. Sunil Dutt was my hero, then he dropped him and decided to star in it. He was the original director, but then got in his assistant Niranjan to direct. He would watch the rushes, and while the unit, including Murthy-saab and actor Rehman, found them very good, he would insist he was not happy with them. Finally, he shelved the film.

How did he sign you? And did you, as a stage performer then, accept the film immediately?

Guru first met me in Hyderabad where I was doing a dance show. I did not at all know who he was as he was not known in the South. Three months later, a man came to my home in Chennai and said that Guru had called me to Mumbai for a ‘screen test’. I wondered if I should go! I was around 15 or 16. As it is, my father had been the man who encouraged me to learn Bharatanatyam and go on stage and he was no more, so my mother came with me. Some pictures were taken, and I was told that a contract would be made and I would get a salary for three years. But I was not happy with the contract!

Why was that?

First and foremost, he wanted to change my screen name! He gave me examples of people who had done so and were famous. But I refused to change the name my parents had given me! After a week, he agreed, but I wanted another clause too: that if my costume was objectionable, I would not wear it! I had been introduced to my director, Raj Khosla, who said that I was being too audacious for a newcomer.

Guru then made arrangements for me to watch Mr. & Mrs. 55, as I had not watched any of his films. I loved it, and he asked me if I found anything vulgar in the heroine’s costumes. I shook my head, but said that I would still feel safer with the clause. And he agreed! My mother signed the contract as I was still a minor, but she told him that I was to act in the film and should be comfortable.

How true was it that Shashi Kapoor was offered Guru’s role in Sahib Bibi Aur Ghulam?

Well, Guru felt that he was too old and was not at all looking like a bhola-bhaala baccha who falls for the bahurani. But Shashi could not give him 15 to 20 continuous days from 9 to 6 every day. He was trying to make it as hero and had his own priorities.

Last but not least, what is your assessment of his music?

Like Raj Kapoor, Vijay Anand and Raj Khosla, Guru was known for his brilliant sense of music. Speaking of my songs, look at Jaane kya toone kahi (Pyaasa). I played Gulabo, a prostitute, and in the song, I was decently dressed as I walked while trying to attract him. I wore a long-sleeved blouse, and there was no physicality or cheapness involved. That is what made the song so interesting! Then with Waqt ne kiya (Kagaz Ke Phool), he so beautifully expressed my inner feelings with lighting and without any lip-synch.

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