Meeting VK Murthy
Talent, passion and hard work can make a person a winner
A throwback interview with Karnataka's stellar cameraman, VK Murthy
On the occasion of Karnataka Rajyothsava, I remember the late V.K.Murthy (died in 2014) of Karnataka, who left an imprint in the world of films. Not much is known of the wonderful life of this creative cameraman, who fought all odds, to win the Dadasaheb Phalke award in 2010. I had met him just after the Phalke award had been bestowed on him, at his home in Chamarajpet, where he had returned to live a quietly after retiring from a lifetime of working in Bollywood.
Talent, belief in your talent, passion, hard work, ambition, honesty and grit -- we keep hearing these words but when I met cinematographer VK Murthy, I thought his life showcased all those virtues.
When I went to meet Murthy at his home (with a 'verandah', red oxide floors -- a place with all the charm of old-world Bengaluru) in Chamarajpet, he was being interviewed by a TV channel. There were bouquets all over the home. Groups of his friends and well-wishers would troop in frequently to congratulate him. Murthy spoke, sometimes getting up to greet friends and returning to our long-winded chat. He spoke softly, with a disarming simplicity, rewinding to those days when history was being made in Hindi cinema.
(The photo of Murthy's home is by journalist Ullash. All other photos in this post are by me.)
Rewinding to the Old Days
Remember that scene from ‘Kaagaz Ke Phool’ where Guru Dutt and Waheeda Rehman appear in a beam of white light as Geeta Dutt crooned the sad “Waqt ne kiya kya...”? That timeless shot was the work of talented cameraman VK Murthy, winner of the Dada Saheb Phalke Award for 2008.
The celebrated artiste, had then just retuned to living in Bangalore. He had been bestowed with the Dada Saheb Phalke award in recognition of his pioneering work in lighting techniques in Indian cinema. Murthy was the man behind the camera work for classics such as 'Pyaasa’, ‘Kaagaz Ke Phool’, ‘Sahib Bibi aur Ghulam’, ‘Chaudhvin Ka Chand’, ‘Baazi’, ‘Jaal’ and ’ Ziddi’.
When I went to meet Murthy at his home (with a 'verandah', red oxide floors -- a place with all the charm of old-world Bengaluru) in Chamarajpet, he was being interviewed by a TV channel. There were bouquets all over the home. Groups of his friends and well-wishers would troop in frequently to congratulate him. Murthy spoke, sometimes getting up to greet friends and returning to our long-winded chat. He spoke softly, with a disarming simplicity, rewinding to those days when history was being made in Hindi cinema.
(The photo of Murthy's home is by journalist Ullash. All other photos in this post are by me.)
Rewinding to the Old Days
Remember that scene from ‘Kaagaz Ke Phool’ where Guru Dutt and Waheeda Rehman appear in a beam of white light as Geeta Dutt crooned the sad “Waqt ne kiya kya...”? That timeless shot was the work of talented cameraman VK Murthy, winner of the Dada Saheb Phalke Award for 2008.
The celebrated artiste, had then just retuned to living in Bangalore. He had been bestowed with the Dada Saheb Phalke award in recognition of his pioneering work in lighting techniques in Indian cinema. Murthy was the man behind the camera work for classics such as 'Pyaasa’, ‘Kaagaz Ke Phool’, ‘Sahib Bibi aur Ghulam’, ‘Chaudhvin Ka Chand’, ‘Baazi’, ‘Jaal’ and ’ Ziddi’.
Murthy was not only a gifted cameraman but also colleague, friend and confidant to icons of the Hindi film industry. He worked, for a considerable time, with the legendary Guru Dutt, doing a great deal of cinematography for that talented and tragic director of films.
Flashback
Murthy recalled his childhood. Those were the days of silent movies when a live orchestra would start playing when a scene requiring music appeared. Thanks to a cousin who played the harmonium in the orchestra at Krishna Cinema (Mysore), Murthy would go to the movies for free. He says, "Since I had lost my mother, there was no one to ask me (where I was going)". (KeLavaru illaa, heLavaru illaa).
Then, there were no Kannada movies. They were only Tamil, Telugu and Hindi. "I used to play the violin and I still do. My first earning in my lifetime was for a song recording of a Hindi film called "Renuka"," he said. (For no particular reason, I was amused and happy to hear of a movie by my name. :-)) It was one of two movies being filmed then. The other was a film titled 'Maharana Pratap'. The director of those movies (who happened to be a Bharatanatyam dancer) told him, "Murthy, come and play for our song recordings". The song recordings would happen in a film studio.
Murthy's Violin Days
"I used to play the violin and I still do," he had said then, back in 2010 when this interview was done. The violin and Murthy went back a long way. When he was an eight-year-old, he thought, "Let me become another Chowdaiah" and he started going for violin classes even though, as he said, "I was the only boy in a class of girls". He graduated to giving solo 'kutcheries' for small audiences and in school.
"I was getting more prizes than money but I didn't care much about that," he said. Playing the violin was like a hobby then. He related a story:
"I was not an extraordinary violinist but whatever I was, I had practised Carnatic music with Hindustani style. I would improvise -- I went to a class where they taught Hindustani -- the teacher was busy with some students. He said, "Who are you?" I said, "I have come to meet you." He said, "I'll meet you after class". Then he met me and I said, "I want to learn Hindustani music." He told me, "Do you know any music? Please play". He was teaching 'Raag Kalyani' and I played the same. Then he stopped me and he said, "Hold on, have you come to learn or to teach?" Taken aback, I said, "Sir, I have come to learn."
The teacher took Murthy to a restaurant, where he told Murthy that he had to take his music talents elsewhere.
Dreams of Acting
As a 12-year-old, he dreamed of becoming a film actor. At 15, though, he thought he was unfit to be in films but was determined to get into movies. He thought of becoming a cameraman. He said, “I thought the cameraman, not the director, was the most important man”.
After completing a course in cinematography from the first batch of Sri Jayachamarajendra Polytechnic, Bangalore in 1946, he moved to Bombay. People then went either to studios in either Madras or to Bombay. He preferred going to Bombay because there was a relative there who could provide him with boarding and lodging. He says, "I was not a rich person. My father earned Rs.20 and was retired and could not afford to send me from Mysore to Bangalore".
Life in Bombay
In Bombay, Murthy got an opportunity to work as apprentice for two months but was unable to pay for the fees. "The fee was Rs.50 and I didn't have 50 paise. For the first time in my life, I wept, unlike even the time when my mother died. I had got a seat but could not pay the fees," he said. Then, V Srinivasan, a friend from Mysore in Bombay who worked as chief of accounts in Bhiwandiwale and Co, 'dal' wholesalers, told him, "For that you are crying? Tell me how much money do you need?" He looked after Murthy as his own brother, providing him with pocket money and getting clothes stitched for him. And so Murthy completed his course. He worked at Jayant Desai Studios, moving from fourth assistant to first assistant cameraman in two months.
At work, he would be asked by the directors, "I have taken a shot, I want a counter shot, Murthy, tell me where I can get it?" and he would tell them. "For each and everything they would ask me and I knew all the theory. The director, proprietor and cameraman all liked me," he said. Guess why he says he was good at the theory? That is because the cinema polytechnic in Chamarajpet taught him lots of theory as they had no equipment to teach the practicals!
Meeting Fali Mistry
"I learnt camera work from Fali Mistry. He is my guru,” said Murthy. He tells how in Bombay, he happened to see 'Amrapali' and was greatly impressed with the cinematography in the movie. He said, "At that time, that movie's photography was equal to that of Hollywood then. I saw the titles, noted the cinematographer's name and told my colleagues they should see that movie for its photography. And they said, "theek hai re." The cinematographer was Fali Mistry and Murthy thought if ever he had to learn photography, it had to be from him.
Soon enough, Mistry called him sending a message fro him thorugh his colleagues. Murthy thought it was a joke until he met Mistry.
Murthy remembers how he met his ‘guru’. Fali Mistry came in his car, got down, “looking handsome in spotless white trousers and shirt". He saw Murthy and said, "Are you Krishnamurthy? I heard you want to work for me? Come on." At the end of the first day’s shooting, Murthy was left happily speechless when Mistry told him, "I have had 23 assistants till today. You are the 24th and you are the best!" In one day, he told me that. I didn't know what to say, he said. Then Mistry
told him, "I am very happy. Did you talk to the manager (about the pay)?" Murthy said, "Don't bother Sir. I am here to work for you. It is my ambition". The manager had told Murthy an amount that was increased by Mistry, says Murthy, who worked with Mistry for four years as an employee of the studios. In those days, there was no freelancing like now.
Working with Guru Dutt
While working for the film ‘Baazi”, Murthy suggested a way of taking a lengthy shot full of movement. After that, Guru Dutt told him, "Next shot onward, you are my cinematographer. We will work together’.” Guru Dutt kept his word and Murthy worked as cameraman with all of Guru Dutt’s movies till the latter died. "He liked me so much. I used to do the lighting, arrange the shoots". Murthy was a permanent employee of Guru Dutt, who was a year younger to him. Murthy did not work with anybody else during that time.
“Guru Dutt and I had a very good understanding. My relationship with him was excellent. I had all the time (for lighting work). Guru Dutt took me for good photography. He committed suicide when he tried the third time”.
Murthy also did the photography for 'Jaal' for Guru Dutt. Guru Dutt’s best work is ‘Pyaasa’ though people say ‘Kaagaz ke Phool’. Though not personal, the movie was a story of many unsuccessful directors who suffered, Murthy said. Reluctant to speak about Guru Dutt's personal life, he described him. "He was a sort of melancholic person. He had an inferiority complex. He would suffer but never say it. I missed him very much”.
The 'jhagda' with Guru Dutt
Sometimes, Guru Dutt would shout. Once, he shouted at Murthy during the shooting of ‘Sahib Bibi aur Ghulam’ angry over something else. He told Murthy, "Kya 'lighting, lighting'. Abhi tak nahi kiya?" Murthy related, "I said, "Guru Dutt, to hell with that!” I took my bag and left the place". Guru Dutt and his assistant came till the main gate of the studios but I said, "He can't talk to me like that".
The next day, Shyam Kapoor, Guru Dutt's assistant would visit Murthy every two hours. Murthy would ask, "Kya Shyam?" and he would reply, "Aise hi, tabeeyat kaisi hai?" Murthy would reply, "Theek hai". Murthy says, "Shyam came three times and then I understood. He told me, "Please come to the studio"." On the third day, Guru Dutt himself came, sitting in his car in front of Murthy's house. Someone told Murthy, "Saahab aaye hain tumse milne ko." I said, "Call him in". Finally, Guru Dutt told him, "Abhi tak gussa hai kya? Tumhara gussa thanda hota hai na, tab waapas aana, film karenge".
He says some people were angry with him for talking to the boss like that. "Guru Dutt was one year younger to me. I was a permanent employee of Guru Dutt. I did not work with anybody else during that time. We had no misunderstandings," he said.
The Lighting Work
"In lighting, everything was mine," says Murthy. Normal cameraman were afraid of putting shadows on the wall. But according to him, that gave depth. He would want to put light on the faces of the actors. He had specially designed reflectors, giving a bulge to flat reflectors.
Many people followed Murthy with that improvisation. He used different kinds of paper such as architectural papers to give a soft light. Later on, thermocol was used as a reflector. He said, "I was a pioneer in doing such stunts!"
He did all kinds of shots never refusing saying "I can't take this shot". He would leave it to people to judge. "I used to be involved in my work", he said.
He related:
I remember a top cameraman of those days saying, "Murthy Saab, kya kar rahe hain?" I would say, "Kucchh experiment". Then he said, "Tera dimaagh chalta rahta hai. Abhi abhi aaya hai..." One should get involved with work. Necessity is the mother of invention.
Meena Kumari would say, "Murthy Saab, main acchi dikhti hoon with your photography".
Toil and Tears
"When "Kaagaz ke Phool" was screened the first time in Delhi, no one went to meet Guru Dutt. They came and congratulated me. The then Vice President of India Sir S Radhakrishnan was chief guest. When the film began, some front benchers started throwing 'chappals'. I had tears in my eyes. In my hotel room, I wept about the inaugural show of "Kaagaz ke Phool". Guru Dutt lost all the money in "Kaagaz ke Phool". He must have felt bad inside. I felt bad because people did not appreciate this movie. There were no collections, not for one week did the movie run.
Raj Kapoor gave a beautiful compliment when he said, "Guru Dutt, you have made this movie 15 years early". And as he said, today that movie is a classic, demonstrated to cinema students, shown at international festivals. How time changes".
The Camera-Shy Cameraman
Working for Guru Dutt meant being in the company of leading heroines of the day. But Murthy never got himself photographed with them. "I was camera-shy. I never got photographed with a beautiful heroine sitting next to me. I would feel bad. I would say, "Don't photograph me. The hero, heroine, director are there, take their photos".
• Though trained in photography, he began his career in cinema as a violinist in a recording orchestra.
• "I never thought of making money. A film requires a lot of money".
• “I am very, very happy. I never expected any award. I do my work. If people appreciate it, OK”.
• Shot Shyam Benegal's TV serial 'Tamas'.
• Govind Nihalani was his student in the Bangalore Polytechnic.
He liked Oswall Morris's work in 'Guns of Navarone' and he got an opportunity to see what goes on in a movie, how the photography is done in that film when he went as an observer to London.
Atma Ram, Guru Dutt's brother and Murthy were no great friends. They did not get along well. Murthy says, "He didn't like me and I didn't like him. But he is a good man". Atma Ram was not as good as Guru Dutt. I would take over and he would get upset and say, "Murthy mere saath cooperate nahi karta". I never said 'No' to anybody but if Atma Ram took silly shots, I would say, "Nahi, this is not the right way." He is a writer, not a cameraman...we didn't like each other.
Shooting for Hindi film "Suraj", (Venus Pictures, Madras), Vyjayantimala and Rajendra Prasad were flabbergasted to see that he used ordinary light and not the expensive 'gelatin colour' lights. "Do you see colour on people's faces? Colour lights are only for fantasy or dance scenes," Murthy would say. They agreed and the film was a super duper hit. END
Flashback
Murthy recalled his childhood. Those were the days of silent movies when a live orchestra would start playing when a scene requiring music appeared. Thanks to a cousin who played the harmonium in the orchestra at Krishna Cinema (Mysore), Murthy would go to the movies for free. He says, "Since I had lost my mother, there was no one to ask me (where I was going)". (KeLavaru illaa, heLavaru illaa).
Then, there were no Kannada movies. They were only Tamil, Telugu and Hindi. "I used to play the violin and I still do. My first earning in my lifetime was for a song recording of a Hindi film called "Renuka"," he said. (For no particular reason, I was amused and happy to hear of a movie by my name. :-)) It was one of two movies being filmed then. The other was a film titled 'Maharana Pratap'. The director of those movies (who happened to be a Bharatanatyam dancer) told him, "Murthy, come and play for our song recordings". The song recordings would happen in a film studio.
Murthy's Violin Days
"I used to play the violin and I still do," he had said then, back in 2010 when this interview was done. The violin and Murthy went back a long way. When he was an eight-year-old, he thought, "Let me become another Chowdaiah" and he started going for violin classes even though, as he said, "I was the only boy in a class of girls". He graduated to giving solo 'kutcheries' for small audiences and in school.
"I was getting more prizes than money but I didn't care much about that," he said. Playing the violin was like a hobby then. He related a story:
"I was not an extraordinary violinist but whatever I was, I had practised Carnatic music with Hindustani style. I would improvise -- I went to a class where they taught Hindustani -- the teacher was busy with some students. He said, "Who are you?" I said, "I have come to meet you." He said, "I'll meet you after class". Then he met me and I said, "I want to learn Hindustani music." He told me, "Do you know any music? Please play". He was teaching 'Raag Kalyani' and I played the same. Then he stopped me and he said, "Hold on, have you come to learn or to teach?" Taken aback, I said, "Sir, I have come to learn."
The teacher took Murthy to a restaurant, where he told Murthy that he had to take his music talents elsewhere.
Dreams of Acting
As a 12-year-old, he dreamed of becoming a film actor. At 15, though, he thought he was unfit to be in films but was determined to get into movies. He thought of becoming a cameraman. He said, “I thought the cameraman, not the director, was the most important man”.
After completing a course in cinematography from the first batch of Sri Jayachamarajendra Polytechnic, Bangalore in 1946, he moved to Bombay. People then went either to studios in either Madras or to Bombay. He preferred going to Bombay because there was a relative there who could provide him with boarding and lodging. He says, "I was not a rich person. My father earned Rs.20 and was retired and could not afford to send me from Mysore to Bangalore".
Life in Bombay
In Bombay, Murthy got an opportunity to work as apprentice for two months but was unable to pay for the fees. "The fee was Rs.50 and I didn't have 50 paise. For the first time in my life, I wept, unlike even the time when my mother died. I had got a seat but could not pay the fees," he said. Then, V Srinivasan, a friend from Mysore in Bombay who worked as chief of accounts in Bhiwandiwale and Co, 'dal' wholesalers, told him, "For that you are crying? Tell me how much money do you need?" He looked after Murthy as his own brother, providing him with pocket money and getting clothes stitched for him. And so Murthy completed his course. He worked at Jayant Desai Studios, moving from fourth assistant to first assistant cameraman in two months.
At work, he would be asked by the directors, "I have taken a shot, I want a counter shot, Murthy, tell me where I can get it?" and he would tell them. "For each and everything they would ask me and I knew all the theory. The director, proprietor and cameraman all liked me," he said. Guess why he says he was good at the theory? That is because the cinema polytechnic in Chamarajpet taught him lots of theory as they had no equipment to teach the practicals!
Meeting Fali Mistry
"I learnt camera work from Fali Mistry. He is my guru,” said Murthy. He tells how in Bombay, he happened to see 'Amrapali' and was greatly impressed with the cinematography in the movie. He said, "At that time, that movie's photography was equal to that of Hollywood then. I saw the titles, noted the cinematographer's name and told my colleagues they should see that movie for its photography. And they said, "theek hai re." The cinematographer was Fali Mistry and Murthy thought if ever he had to learn photography, it had to be from him.
Soon enough, Mistry called him sending a message fro him thorugh his colleagues. Murthy thought it was a joke until he met Mistry.
Murthy remembers how he met his ‘guru’. Fali Mistry came in his car, got down, “looking handsome in spotless white trousers and shirt". He saw Murthy and said, "Are you Krishnamurthy? I heard you want to work for me? Come on." At the end of the first day’s shooting, Murthy was left happily speechless when Mistry told him, "I have had 23 assistants till today. You are the 24th and you are the best!" In one day, he told me that. I didn't know what to say, he said. Then Mistry
told him, "I am very happy. Did you talk to the manager (about the pay)?" Murthy said, "Don't bother Sir. I am here to work for you. It is my ambition". The manager had told Murthy an amount that was increased by Mistry, says Murthy, who worked with Mistry for four years as an employee of the studios. In those days, there was no freelancing like now.
Working with Guru Dutt
While working for the film ‘Baazi”, Murthy suggested a way of taking a lengthy shot full of movement. After that, Guru Dutt told him, "Next shot onward, you are my cinematographer. We will work together’.” Guru Dutt kept his word and Murthy worked as cameraman with all of Guru Dutt’s movies till the latter died. "He liked me so much. I used to do the lighting, arrange the shoots". Murthy was a permanent employee of Guru Dutt, who was a year younger to him. Murthy did not work with anybody else during that time.
“Guru Dutt and I had a very good understanding. My relationship with him was excellent. I had all the time (for lighting work). Guru Dutt took me for good photography. He committed suicide when he tried the third time”.
Murthy also did the photography for 'Jaal' for Guru Dutt. Guru Dutt’s best work is ‘Pyaasa’ though people say ‘Kaagaz ke Phool’. Though not personal, the movie was a story of many unsuccessful directors who suffered, Murthy said. Reluctant to speak about Guru Dutt's personal life, he described him. "He was a sort of melancholic person. He had an inferiority complex. He would suffer but never say it. I missed him very much”.
The 'jhagda' with Guru Dutt
Sometimes, Guru Dutt would shout. Once, he shouted at Murthy during the shooting of ‘Sahib Bibi aur Ghulam’ angry over something else. He told Murthy, "Kya 'lighting, lighting'. Abhi tak nahi kiya?" Murthy related, "I said, "Guru Dutt, to hell with that!” I took my bag and left the place". Guru Dutt and his assistant came till the main gate of the studios but I said, "He can't talk to me like that".
The next day, Shyam Kapoor, Guru Dutt's assistant would visit Murthy every two hours. Murthy would ask, "Kya Shyam?" and he would reply, "Aise hi, tabeeyat kaisi hai?" Murthy would reply, "Theek hai". Murthy says, "Shyam came three times and then I understood. He told me, "Please come to the studio"." On the third day, Guru Dutt himself came, sitting in his car in front of Murthy's house. Someone told Murthy, "Saahab aaye hain tumse milne ko." I said, "Call him in". Finally, Guru Dutt told him, "Abhi tak gussa hai kya? Tumhara gussa thanda hota hai na, tab waapas aana, film karenge".
He says some people were angry with him for talking to the boss like that. "Guru Dutt was one year younger to me. I was a permanent employee of Guru Dutt. I did not work with anybody else during that time. We had no misunderstandings," he said.
The Lighting Work
"In lighting, everything was mine," says Murthy. Normal cameraman were afraid of putting shadows on the wall. But according to him, that gave depth. He would want to put light on the faces of the actors. He had specially designed reflectors, giving a bulge to flat reflectors.
Many people followed Murthy with that improvisation. He used different kinds of paper such as architectural papers to give a soft light. Later on, thermocol was used as a reflector. He said, "I was a pioneer in doing such stunts!"
He did all kinds of shots never refusing saying "I can't take this shot". He would leave it to people to judge. "I used to be involved in my work", he said.
He related:
I remember a top cameraman of those days saying, "Murthy Saab, kya kar rahe hain?" I would say, "Kucchh experiment". Then he said, "Tera dimaagh chalta rahta hai. Abhi abhi aaya hai..." One should get involved with work. Necessity is the mother of invention.
Meena Kumari would say, "Murthy Saab, main acchi dikhti hoon with your photography".
Toil and Tears
"When "Kaagaz ke Phool" was screened the first time in Delhi, no one went to meet Guru Dutt. They came and congratulated me. The then Vice President of India Sir S Radhakrishnan was chief guest. When the film began, some front benchers started throwing 'chappals'. I had tears in my eyes. In my hotel room, I wept about the inaugural show of "Kaagaz ke Phool". Guru Dutt lost all the money in "Kaagaz ke Phool". He must have felt bad inside. I felt bad because people did not appreciate this movie. There were no collections, not for one week did the movie run.
Raj Kapoor gave a beautiful compliment when he said, "Guru Dutt, you have made this movie 15 years early". And as he said, today that movie is a classic, demonstrated to cinema students, shown at international festivals. How time changes".
The Camera-Shy Cameraman
Working for Guru Dutt meant being in the company of leading heroines of the day. But Murthy never got himself photographed with them. "I was camera-shy. I never got photographed with a beautiful heroine sitting next to me. I would feel bad. I would say, "Don't photograph me. The hero, heroine, director are there, take their photos".
• Though trained in photography, he began his career in cinema as a violinist in a recording orchestra.
• "I never thought of making money. A film requires a lot of money".
• “I am very, very happy. I never expected any award. I do my work. If people appreciate it, OK”.
• Shot Shyam Benegal's TV serial 'Tamas'.
• Govind Nihalani was his student in the Bangalore Polytechnic.
He liked Oswall Morris's work in 'Guns of Navarone' and he got an opportunity to see what goes on in a movie, how the photography is done in that film when he went as an observer to London.
Atma Ram, Guru Dutt's brother and Murthy were no great friends. They did not get along well. Murthy says, "He didn't like me and I didn't like him. But he is a good man". Atma Ram was not as good as Guru Dutt. I would take over and he would get upset and say, "Murthy mere saath cooperate nahi karta". I never said 'No' to anybody but if Atma Ram took silly shots, I would say, "Nahi, this is not the right way." He is a writer, not a cameraman...we didn't like each other.
Shooting for Hindi film "Suraj", (Venus Pictures, Madras), Vyjayantimala and Rajendra Prasad were flabbergasted to see that he used ordinary light and not the expensive 'gelatin colour' lights. "Do you see colour on people's faces? Colour lights are only for fantasy or dance scenes," Murthy would say. They agreed and the film was a super duper hit. END
You are one of few "creative" journalist. Keep up the gr8 stuff you are writing.
ReplyDeleteThanks Anand! :-)
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