I like the storyline of this show,it attract me so much

Touches You

It really made me laugh, but for some moments I was tearing up because I could relate so much.

Watching it is like watching the spectacle of a class clown at their best: you laugh at their jokes, instigate their defiance, and "ooooh" when they get in trouble.

Pyaasa is a 1957 Drama movie directed and produced by arguably the greatest Indian filmmaker of all time, Guru Dutt. Dutt, who pioneered the integration of songs in the movie's narrative as well as the use of close-up shorts in Indian Cinema, is ubiquitously regarded as one of the most influential film-makers of his time. Dutt's avant garde works and his unique style of film-making have been a subject of discussion in various acting and film institutes all across the globe for well over five decades. In Pyaasa, Guru Dutt presents the poignant tale of a struggling poet ostracized by a hypocritical society that faces no qualms in immortalizing the dead, but finds it outlandish to exalt the living. Vijay, educated yet unemployed, epitomizes the hapless state of the Indian youth in the post-colonial India. A consummate artist, Guru Dutt was equally brilliant behind the camera as he was in front of it: his attention to detail as a director matched his ability to emote as an actor. Guru Dutt and his team were keen on casting the king of tragedy, Dilip Kumar in the lead role for Pyaasa, but Dutt himself had to fill in the shoes when an agreement couldn't be reached.Pyaasa, widely regarded as Dutt's magnum opus, represented a departure from the traditional style of film-making in the Indian Cinema, blurring the demarcations that hitherto separated art cinema from commercial cinema. With Pyaasa, Guru Dutt demonstrated for the first time, to both his audience and fellow film-makers, how a balance could be struck between creative aspirations and commercial requirements - a success formula that was completely unknown at that time. Pyaasa, along with Guru Dutt's autobiographical Kaagaz Ke Phool, is currently included in the list of all time greatest motion pictures, both by Time magazine's "All-TIME" 100 best movies and by the Sight & Sound critics' and directors' poll.Pyaasa's intense and thought-provoking plot emphasizes on the fact that every human being, howsoever wretched or deplorable, is capable of love and worthy of being loved. The movie also underlines the root cause of human plight: poverty, not of material but of thought. Guru Dutt, touted in film circles as India's Orson Welles, demonstrates in Pyaasa the might of words - an embodiment of human thought - as great stimuli for change. The stark theme of Guru Dutt's Pyaasa is highly reminiscent of Dostoevsky's Notes from Underground. The vituperative and somber tone of Vijay's poetry seems to betray the same sense of angst and guilt as that of Dostoevsky's Narrator.Vijay's apparent anger for society's hypocritical rigidity is indicative of his inner sense of chagrin for having failed in his efforts to be loud enough to be heard and for quietly accepting his fate. Pyaasa also highlights the complexities associated with the human psyche that give rise to unpredictability of behavior: Vijay, rejected by his lover (Mala Sinha) and family, is embraced by a prostitute, Gulabo (Waheeda Rehman) who is moved by the power of his poetry. While the world finds her despicable and treats her with contempt, she seems to be the only soul capable of reciprocating love and respect. It's both touching and mesmerizing to witness two pariahs of the society finding refuge in each other's abject solitude.As far as the source of Pyaasa's plot is concerned, it's surmised that the movie's story is loosely based on renowned lyricist Sahir Ludhianvi's failed affair with poetess and writer Amrita Pritam. Sahir Ludhianvi's evocative poetry adds real charm to S. D. Burman's soothing music, and indeed it's this synergy that livens up the movie's tempo in spite of its somber theme. The relentless questions that the movie poses to the viewer have the power to make a Polymath look askance at the pool of his knowledge and a Saint jitter in morbid terror. V. K. Murthy's detailed cinematography inexplicably reminds one of Gregg Toland's groundbreaking, brilliant camera-maneuvering techniques in Welles' magnum opus Citizen Kane. The movie's relatively inexperienced cast, hand-picked by Guru Dutt himself, makes most of the opportunity at disposal with almost everyone delivering a memorable performance with special mention of Johnny Walker, Mala Sinha, Waheeda Rehman and Mehmood. The Hindi word 'Pyaasa' translates to 'Thirsty' in English; the movie's plot is highly symbolic of the thirst that troubles the protagonist in form of his yearnings, which gradually take the form of angst and malaise owing to society's indifference and his continuous failure.Overall, Pyaasa is a formidable work of cinema that presents cinema at its finest by maintaining a delicate balance between art and entertainment, thereby serving to be a unique specimen of filmmaking. The movie also marked the beginning of somewhat scandalous association between Guru Dutt and Waheeda Rehman (a lot has been conjectured about Dutt's extra-marital relationship with Rehman... it's still a mystery whether the lovelorn Guru Dutt died of an accidental drug overdose or did he commit suicide). Pyaasa fulfills in its absolute sense the true purpose of cinema: to entertain and enlighten simultaneously. The movie is a must watch for all those who understand and appreciate thought-provoking cinema, and is a great means to get acquainted with Guru Dutt's oeuvre and also with the Classic Indian Cinema.(This review was first published at A Potpourri of Vestiges)

I have a harder time evaluating "Pyaasa" than someone watching it in India. That's because here in the States, we are pretty much stuck with whatever DVD copies we get of Indian films. Some have wonderful translations and some are horrible and unwatchable. While "Pyaasa" is not horrible, it's not particularly good and I would love to know if there is a better company making this disc in English. Eros Video's copy does what some annoying DVD producers do--they provide no translations of the songs--so you only can guess as to what they are saying. While it's easier with Indian films to fill in these blanks than with films from most other countries (since the songs are about the action taking place immediately before and after the songs), it still is wrong not to translate them--and does an injustice to the filmmakers. Additionally, a few times the translations are a bit scrambled. It's a shame--but STILL I recommend you see the film because it's very, very good.Vijay is an educated man. However, despite his ability to make money and live the life of a middle-class man, he is a poet by trade and in his heart. Though he'll starve, he'd rather create art and sees life through very romantic eyes. Through most of the film, he's an undiscovered genius. He also has two problematic relationships---one, his ex-girlfriend who has chosen to marry for money and security (and who has broken his heart) and another who is a prostitute who ADORES him and his art.About halfway through the film, however, the film makes a HUGE change in direction. I loved this, as the first half of the film was only mildly interesting. After the twist, the film REALLY came to life. You see, through some odd circumstances, people think Vijay has died. And, like some great artists, after his 'death' he's discovered and adored by the masses! What's next is completely unpredictable and clever--and well worth seeing. I'd say more but I really don't want to spoil the film. It's a classic and well worth seeing. A truly unique and enjoyable plot about love, success and art.

The mannerisms, the tastes, the cultures depicted are from a time so long ago that they have almost stopped having any relevance as of today. Could there be cops once who addressed people as Babuji? Was there really once a time when notch girls carrying on their trade were more subtle than a despicable society which condemned them? Was there really a time when the contrast between moral and immoral, right and wrong so starkly defined? Perhaps yes. For merely a decade old country still nursing the wounds of partition and not knowing what to do with it's independence once having achieved it, perhaps such was the general state of affairs when the society had not yet finished designing the veil that would cover it's abscesses and sores and everything was still raw and on the face of it. Or maybe the film was just a peek into Vijay's world view. However, there are no ambiguities regarding the central theme or the message it wants to convey. A message which transcends time and has been applicable always, in varying degrees, to all of India.A line in the movie is translated as "I complain against a world that worships no humans but idols and tramples living beings under feet."Still so familiar and haunting.A literal poetry in motion that reflects the zeitgeist of India in it's time.

Pyaasa is a fairly unique Hindi movie. The story is reasonably complex and the direction and acting grounded in reality. However, calling this film a classic is an over-exaggeration.One of the biggest problems with the movie is that it is difficult for the audience members to identify with the lead character. It is clear that the protagonist is chronically depressed; however the story indicates that this depression is rooted beyond his circumstances. However it does not investigate much in this direction.Secondly. the story employs some cheap tactics to get out of tricky situations. Particular cases in point are the escape from the asylum, and his self-announcement through poetry on arrival. This shows a lack of imagination on the part of the story writer.The story indicates female repression, through the characters of the mother, and the past girlfriend who accept the decisions of the male members of their family without question. This thread is also left hanging and is not investigated further.The last big problem with the movie is that of hypocrisy. The film preaches human values of non-materialism and places them at a higher pedestal than others; however the film itself is designed to make money for the makers. This is clear in hindsight with the following development: when the director's next movie did not make money, he stopped directing movies completely.Other than the direction and the story, the music and poetry in the film are very good. However poetry lovers would probably be better off reading a good book of poetry instead of looking for high quality literature in this movie. The songs, on the other hand, are considered to be all time classics in Indian cinema.Lastly, the cinematography is excellent and there is beautiful use of light and shadows. So overall, it is a reasonably good film but certainly not a classic.