The legacy of the iconic filmmaker-actor Guru Dutt, the visionary behind classic Hindi films Pyaasa and Kaagaz Ke Phool, is well known. However, his tumultuous life behind the camera—marked by mental health struggles and hardships—has not often been staged.
Last weekend, the city once again listened to his story through an evocative Dastangoi performance, Dastan-e-Guru Dutt, presented by Fouzia Dastango at the International Film Festival of Delhi (IFFD) on Saturday.
The production first premiered last October at Delhi’s Kamani Auditorium on the occasion of Dutt’s 100th birth anniversary. Since then, it has travelled across the country—from Delhi to Bhopal, Hyderabad, and even the International Film Festival of India (IFFI) in Goa—before returning to the capital.
“I was often asked when I would return with the show, as those who had already watched it wanted to bring their friends. So this is a very emotional moment for me,” says Fouzia.
Untold stories
Written by Abbas Qamar, with research support from Asha Batra, founder of Cinemazi—an archive of Indian cinema—and produced by Vikas Jalan, the performance places strong emphasis on authenticity. “In Dastangoi, we are telling stories. I have always chosen personalities with layered lives. Here, we have included aspects of his life that not everyone knows about.”
The performance traces Dutt’s early life—from his childhood in Kolkata and the creative influences of his family to the formative years that shaped his love for the performing arts. It highlights his friendship and creative partnership with actor Dev Anand, which began at Prabhat Studio in Pune and led to classics like Baazi (1951) and Jaal (1952).
The narrative then moves to his life in Mumbai as a filmmaker, touching upon films like Pyaasa (1957), before culminating in his personal struggles—particularly after the commercial failure of Kaagaz Ke Phool (1959), which led to a period of depression and isolation in his final years.
Reflecting on her research, Fouzia says, “We learnt that he had no formal training in acting or filmmaking. We wanted to explore every aspect of his life—his childhood, his films, and how he worked with his team. He gave immense creative freedom to his collaborators, allowing space for improvisation,” she notes.
While traditional Dastangoi focuses on narration, Fouzia enriches the performance with music, featuring vocalist Laitka Jain. Evergreen songs from Guru Dutt’s films—‘Tadbeer Se Bigdi Hui’, ‘Babuji Dheere Chalna’, and ‘Aeji Dil Par Hua Aisa Jaadoo’—are woven seamlessly into the storytelling.
“None of the songs are forced into the Dastangoi; they are thoughtfully placed to enhance the narrative and create a natural flow,” she explains.
A lifelong calling
Having performed Dastangoi since 2006, Fouzia is widely recognised as India’s first female dastango. Since then, she has staged over 500 shows in India and abroad, establishing a strong command over the 13th-century oral storytelling tradition. Her repertoire spans themes such as mental health, mythology, and feminism, with works like Dastan Tanha Chand Ki (on Meena Kumari), Dastan-e-Madhubala, Dastan-e-Mahabharat, and Dastan-e-Ram.
For her, Dastangoi is not just an art form but a responsibility. “I am from Old Delhi, and I see this as a responsibility. People think it is a passion or hobby, but I want to take it forward and evolve it with every subject.” Ultimately, she credits the audience for her drive. “When people bless you after a show, when they place their hands on your head—that love is everything. It makes you feel like creating something new again.”