Language of the subliminal

Today is late cinematographer V.K. Murthy’s birth anniversary. Uma Rao, his biographer, and G.S. Bhaskar, reputed cinematographer, spoke of the genius of Murthy

Crossing over: Murthy was a bridge between Hollywood style glamour and European realism. (File photo)

Pyaasa, Kaagaz ke Phool and Sahib, Bibi aur Gulam are timeless classics of Indian cinema. Behind the success of such masterpieces was the undisputed genius of late cinematographer, V.K. Murthy.

In a tribute to the Dadasaheb Phalke Awardee, Azim Premji University recently held a screening of Govind Nihalani’s V.K. Murthy: A Journey Through Light and Shadows , which explored the remarkable talent of V.K. Murthy, followed by a panel discussion by Uma Rao, well-known Kannada writer and biographer of Murthy, and reputed cinematographer, GS Bhaskar.

Murthy’s cinematography ushered in a new era in Indian cinema. His legendary shots such as Guru Dutt standing against light in a dimly-lit auditorium in

Pyaasa and the qawaali scene in

Sahib, Bibi aur Ghulam , which till today remain etched in our collective memory. Uma Rao, who met the ace cinematographer when she was 13, says while Bollywood knew him as V.K. Murthy, his friends and family, including her, knew him as Kutty and Kutty uncle. It took Uma two full years to write his biography

Bisilu Kolu , and she recorded his interview in 60 audio cassettes.

She adds among the qualities that set Murthy apart was his willingness to take risks, experiment and innovate. “His films with Guru Dutt like

Pyaasa and Kaagaz ke Phool , were different in theme, imagery and were path breaking. After Guru Dutt’s death, Kutty cried and thought his career is over. But after that, he worked in films, such as Ziddi , Naya Zamaana , Love in Tokyo . He got a creative break in TV with Govind Nihalani’s Tamas and Shyam Benegal’s Bharat Ek Khoj .”

Murthy’s creativity extended to theatre and music too. “He directed plays. And loved plays with a detective or thriller element. He was also a good violin player. He used to sit in the class where his friend would learn to play the violin. He picked it up, just by observing.”

Murthy obtained a diploma in film making at Sri Jayachamarajendra Polytechnic Institute, Bangalore in 1946. He had seen films evolve from the silent era to the talkies era. And he transitioned with ease from debris cameras to digital cameras. “He was sympathetic to women artistes. He didn’t like it when on the sets, before a shoot, people would call out ‘chokdi ko bulao’. He would say, ‘why should they call them chokdi’. He was a warm and humble person.”

GS Bhaskar, a reputed cinematographer, spoke of Murthy’s contribution to Indian cinema and the innovations he introduced to cinematography. “Till the time V.K. Murthy made an appearance, Indian cinema was inspired by Hollywood. The Hollywood technique was about the glamorisation of the protagonist as an object of desire. In contrast, the European experience was more realistic. Murthy was caught between the two styles. He was a crossover face between these two techniques. He glamorised the heroine, but not to the extent that it was unrealistic.” Bhaskar adds that Murthy developed a new aesthetic in cinematography. “Before his time, cinematography was only functional. But Murthy made the images speak. His shots reach the viewer subliminally.” Murthy brought about many innovations, including clip-light and Murthy-ka-ghoda to capture the legendary close ups in Guru Dutt’s films.