Guru Dutt had endeavoured self destruction twice previously and died in the third suicide attempt

Guru Dutt's short life was turbulent both on personal and professional fronts. Riding the highs and lows in both, Dutt  was a legend like Mehboob Khan and Bimal Roy. 

With a principled face and a flicker in his eyes, Dutt at last discovered comfort in the terrible jobs that he carved for himself. His film Pyaasa set in the decade not long after autonomy introduced the gloom and dissatisfaction with the degenerate and materialistic world. 

Uniting a fantasy group of imaginative personalities including essayist Abrar Alvi, progressive artist Sahir Ludhianvi and writer SD Burman, Pyaasa was verse on screen. Basically and economically effective, the charging science with his dream Waheeda Rehman, whom he had presented in his creation CID only a year back, stuck out. 

Dutt's showstopper came two years after the fact with Kaagaz ke Phool, the principal Indian film in cinemascope, a tribute to his coach producer Gyan Mukherjee. In any case, the film was additionally Dutt's own story – his much-examined rough marriage with artist Geeta Dutt and his alleged bombed sentiment with Waheeda. The film viewed as a long ways comparatively radical couldn't evoke an emotional response from the crowds, who were utilised to blustery parody, melodic sentiment and family plots. President Rajendra Prasad is said to have stomped out of the screening midway and the uniform antagonistic responses affected Dutt profoundly. 

His ensuing productions Chaudvin ka Chand (1960), a triangular sentiment, and Sahib Biwi Aur Ghulam (1962) set in nineteenth Century Bengal fixated on a declining Zamindari framework, made a blemish on pundits and film industry. However, Dutt would not like to bounce back as a movie producer – a job that he was presumably extremely partial to – as the dissatisfaction posed a potential threat. 

Every single through hello there stretch, Dutt had a few paramount coordinated efforts – from the brave Dev Anand whom he met at Prabhat Film Company during the 40s, while he was filling in as a choreographer for the movie Hum Ek Hain, to on-screen character Rehman and satire entertainer Johnny Walker. Dev Anand and his coordinated effort spelt accomplishment in films like Baazi his directorial debut and Jaal. Rehman was a customary in conspicuous jobs in his movies Pyaasa, Chaudvin ka Chand and Sahib Biwi Aur Ghulam.

Alvi, who collaborated with Dutt for more than 10 years as essayist and chief has been equal with the last mentioned, even as he stayed in Dutt's shadows all through. His movies bore the one of a kind stamp of cinematography by VK Murthy, whose brightness stood apart particularly in Kaagaz ke Phool through mirrors to invoke sunbeam in the studio setting for the melody 'Waqt ne Kiya'. 

Dutt's heartbreaks are today achievements with Kaagaz ke Phool entering Time magazine's All-TIME 100 best motion pictures list' alongside Pyaasa, and his assortment of works is a course book for movie producers. 

What's more, as one despite everything thinks about whether it was unintentional overdose or self destruction that brought the end, if there is whatever summarises the disturbance an innovative virtuoso frequently suffers it would be the frightful tune – 'Waqt Ne Kiya Kya Haseen Sitam Tum Rahe Na Tum Hum Rahe Na Hum'. 

In the expressions of Kaifi Azmi, the requiem is all the all the more unpleasant in the voice of his better half from his own masterpiece Kaagaz ke Phool. Yet, initially sung grieving his destined sentiment with the dream. 

Noted cinematographer V K Murthy, worked in a large portion of Guru Dutt's splendid works of art like Pyaasa, Kaagaz Ke Phool and Sahib, Bibi Aur Ghulam. 

He had referenced in an interview that, while he accompanied Dutt exploring for areas in Baroda for Chaudhvin Ka Chand, Dutt described me a line from Pyaasa: “Agar yeh duniya mujhe mil bhi jaye to kya hai..”.

 I asked him for what valid reason he said that out of nowhere and he stated, 'Mujhe waise he lag raha hai. Dekho na, mujhe director banna tha, director ban gaya; actor bana tha, actor ban gaya; picture achcha banane tha, toh bani. Paisa hai, sab kuch hai, par kuch bhi nahi raha (I feel along these lines. I needed to turn into a chief, I got one; I needed to turn into an entertainer, I got one; I needed to make great movies, I made them. I have cash, I have everything, yet I have nothing). 

Yet, I had let him know subsequent to seeing the initial eight reels that the film was delightful, similar to a verse, yet on the off chance that the film proceeds with like this, you won't get even a rupee. 

For what reason would individuals watch the life story of a director? They wouldn't accept that the director was a disappointment and didn't have cash. In any case, Guru Dutt said that the film was for himself and me. It was not for general society. He was resolute. 

The film was basically valued, yet it caused overwhelming misfortunes. Individuals are accustomed to seeing heartbreaking women, not men. That is the reason the film fizzled, I think. 

Guru Dutt endeavoured self destruction threefold. At whatever point there was call from his home, some creation individuals and I would race to his home and surge him to the emergency clinic. The third time, he kicked the bucket. 

At some point, his significant other and kids left him and went to her place. He sold his home and moved in a leased house at Peddar Road. Be that as it may, one can't fault Geeta Dutt for exiting. 

Before I moved to Bangalore, I met him and Abrar Alvi. That day Guru Dutt looked lost, he told me.. 'I have become an orphan now.. ‘Gharwale nahi hain, tum Bangalore ja rahe ho, Abrar doosra film likne ke liye Madras ja raha hai. (My family is gone, you are going to Bangalore, Abrar is going to Madras to write for a film). I have become an orphan. Kya karu main?’

I met him over beverages eight days before his passing. He was totally fine at that point. I had cautioned him on more than one occasion not to get too energised and to remain quiet. 

Later I got to know, during his last days, he was exceptionally tense and no one would not go close to him. They would remain away. Devi Dutt, Guru’s brother believes that it wasn’t a suicide.

Devi, who was Guru’s younger sibling worked intimately with him for more than 11 years and believed that his brother didn't execute himself. 

Devi had mentioned remembering how both of them were on the sets of 'Baharein Phir Bhi Aayegi' and Guru appeared to be totally fit and fine. That day one of the lead cast dropped the shoot and an irate Guru needed to change plans for the following day. 

Devi and Guru at that point went out to shop in Colaba and purchased places for Guru's children, Tarun and Arun. Devi recalls both of them came back to Guru's place on Peddar Road where he stayed without his family. 

That evening Guru was hesitant that the children spend time with him so he called Geeta, yet she did not send the children over in light of the fact that it was late. That gloomy evening the feeling of being disowned by his wife and children disturbed Guru. 

Devi recalls that Guru requested him to leave soon as dialogue-essayist Abrar Alvi joined Guru for a content conversation along with liquor. Nobody had any thought regarding the fact how 24 hours after, the world could never see one of the finest human beings that we ever saw. Guru was found dead in his apartment on 10th October 1964. 

Devi Dutt had dedicated film 'Masoom' to Guru Dutt and Geeta Dutt who were his guides. 

The intensity of legend Guru Dutt's craft will consistently remain with his.

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