This August, six of Guru Dutt’s timeless films return to the big screen—restored in 4K and ready to be discovered by a new generation of cinephiles. Marking his centenary, the nationwide retrospective—curated by Ultra Media and NFDC-NFAI—will showcase six classics across 250 cinemas: Pyaasa, Aar Paar, Chaudhvin Ka Chand, Sahib Bibi Aur Ghulam, Mr. & Mrs. 55 and Baaz, between August 8–14.
Karuna and Gouri Dutt, granddaughters of Guru Dutt, carry forward his legacy not in the spotlight, but behind the scenes—as assistant directors who have worked with acclaimed filmmakers like Anurag Kashyap, Vikramaditya Motwane, Guneet Monga, Neeraj Ghaywan and Sudhir Mishra. Both are currently involved in exciting new feature film projects.
In this conversation with Indulge, the sisters reflect on what it means to inherit a legacy shaped by genius, grief and unforgettable storytelling.
Which was the first Guru Dutt film you watched that left the biggest impact on you?
Karuna: Every time I watch one of his films, I discover a new side of him. Pyaasa and Kaagaz Ke Phool are intense and poetic, but Mr. & Mrs. 55 is light and fun. Each film reflects a different facet of his personality. The first I clearly remember is Kaagaz Ke Phool—I must’ve been around ten.
Karuna Dutt: For me, it was Pyaasa. I grew up watching his films, but Kaagaz Ke Phool felt too personal—it was hard to watch. As a child, I loved Sar Jo Tera Chakraye. Later, I grasped the emotional depth. Watching his films as a child and again as an adult felt like two different experiences. Pyaasa and Mr. & Mrs. 55 stood out, especially for their music.
With seven of his films returning to theatres in 4K, how important do you think film restoration is?
Karuna: It’s a remarkable initiative by Ultra Media to restore his films and bring them to a new generation. His stories still resonate deeply. There’s nostalgia, discovery and for young audiences, revelation. What better way to honour his legacy?
Gouri: Absolutely. Ultra Media has created a rare chance for film lovers. I’m excited not just as his granddaughter, but as a viewer. Even I haven’t seen all his films on the big screen—it feels really special.
Waheeda Rehman is iconic in his films. Have you met her?
Gouri: We grew up in Pune, away from the film industry, so meeting someone as gracious as Waheeda ji was surreal. I didn’t say much—just watched her, awestruck.
Karuna: Yes, during the postage stamp launch honouring our grandfather about 15 years ago. My father organised it. She was warm and kind. We had grown up watching her in his films—it was unforgettable.
Cinematography was key in his films. How do you view that?
Karuna: It amazes me how technically brilliant those films were, despite limited tools. The framing and lighting showed Guru Dutt and V K Murthy ji’s creative genius.
Gouri: Absolutely. Filmmaking is collaborative. Their wavelength must’ve been perfectly in sync. You see that harmony in every frame.
Do you miss not having met your grandfather?
Gouri: More than anything, I wish we’d had him as a grandfather who spoiled us. We knew he belonged to the world, but I yearned for a moment just mine.
Karuna: Yes, we discovered him through others. Even my father was quite young when he passed away. He loved our farmhouse in Lonavala, gardening, and animals—dogs, chickens, even fish. We grew up with those stories and memories.
Gouri: He truly loved animals. There’s even a photo of him with a falcon. There are tales—maybe myths—of him having a tiger cub. That love lives on—we have two cats now.
I noticed the hand-painted Pyaasa poster in your home. Do you have other archival treasures?
Karuna: Yes, my father preserved much of Indian film history. We have letters he wrote during shoots, his license, diaries—it feels like time travel.
Gouri: He wrote with a fountain pen. His cursive English handwriting was elegant—so expressive, even in writing.
Talking about Guru Dutt means talking about Geeta Dutt. What are your favourite songs by your grandmother?
Gouri: She had incredible range and a timeless voice. My favourites are Thandi Hawa Kali Ghata, Waqt Ne Kiya and Mera Naam Chin Chin Choo. I didn’t know that last one was hers until my father told me—it’s been my favourite since.
Karuna: Mine are Tadbeer Se Bigdi Hui, Babuji Dheere Chalna and Waqt Ne Kiya. We grew up dancing to Mera Naam Chin Chin Choo and Thandi Hawa.
A scene in Kaagaz Ke Phool critiques societal hypocrisy. Does it still feel relevant?
Gouri: Absolutely. He understood the human condition. Everything is fleeting—it’s the meaning we give to life that matters.
Karuna: He was simple in his needs but complex in thought. That tension—between outer success and inner truth—defined him. His films still teach us.
(Written by Arundhuti Banerjee)
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