Like all notable contemporary filmmakers, you seem influenced by Guru Dutt.
It took some time for me to truly grasp and understand Guru Dutt’s cinema. But of course, those stark images, the interplay of light and shadow, those still frames—they left a lasting impression on me. I wanted to discover him more deeply, so when I began to understand who he was as a director—his personal life, his struggles—that’s when Pyaasa and Kaagaz Ke Phool hit me the hardest.
“Guru Dutt hit me hard”, Shoojit Sircar reflects on the timeless genius of Indian cinema’s lost auteur
Whom would you compare him with among European filmmakers?
Like Truffaut, who changed the course of European cinema, I think Guru Dutt brought a certain kind of vision and introspection to Hindi cinema—particularly in how he portrayed the status of women. There was a kind of pain in his storytelling that resonated with me. That’s why his work feels so stark and timeless. I still go back and watch his films even now.
Weren’t you keen on making a biopic on Guru Dutt?
At some point, many filmmakers in India wanted to make a film on Guru Dutt’s life. I never really considered doing it myself, but a lot of my contemporaries and filmmaker friends were very interested. I think it would be wonderful if someone finally does it. He remains one of the most iconic filmmakers and left a huge imprint during the golden era of Indian cinema.
What makes Guru Dutt so special?
The fact that he was going through such… I wouldn’t call it a struggle, but he had this constant creative urge to express himself, along with the pressure of commercial success. His films often didn’t do well financially, and that weighed on him. I find many similarities between Guru Dutt and Ritwik Ghatak—their life patterns, how they explored personal love and pain through their art. Their frames weren’t just visually stunning—they moved you profoundly.
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