06/10/2022
V.K.Murthy, one of the most influentials early cinematographers to have passed down the legacy of capturing the beautiful landscapes and artists of Indian cinema in black and white. His works deserve to be digitally restored.
Venkatarama Pandit Krishnamurthy, better known as V.K. Murthy, could arguably be credited with bringing on the screen a fully-formed, distinct and authorial aesthetic in the films that he shot for Guru Dutt. Of these 'Pyaasa' (1957) and 'Kaagaz ke Phool' (1959), of course, remain the most completely realised of their works, the fullest and most rhapsodic expression of the author's worldview.
Their partnership began with Dutt's second film 'Jaal' (1952), a noirish love story set in a small Goan fishing village. The same visual aesthetic was then rotated through the urban comedy 'Mr and Mrs. '55' (1955) before being utilised to the hilt in Raj Khosla's urban crime thriller, 'C.I.D' (1956). But it was in 'Pyaasa' that Murthy's expressionist visual style was taken beyond mere urban existence into a more existential comment on society and its attitude to a non-conformist that is, by turns, exploitative and apathetic. 'Kaagaz ke Phool' marked the apogee of Murthy's visual aesthetic, using light, shadow and space to convey solitude, entrapment, erotic allure and tragic parting, and often all at once.
The nearly nihilistic decadence of the feudal royalty of Bengal in 'Sahib Biwi aur Ghulam' (1962) was expertly captured by him. The portions of 'Sahib Biwi aur Ghulam' in colour including the memorable title track, too were shot by Murthy at Guru Dutt's insistence. After Guru Dutt's demise, Murthy worked primarily with Pramod Chakraborty in films such as 'Ziddi' (1964), 'Love in Tokyo' (1964), 'Naya Zamana' (1966), 'Jugnu' (1973) and 'Nastik' (1983).
His cinematography on the landmark 1971 Kannada film 'Hoovu Hannu' is widely acclaimed, as is his work on two of the most influential series ever on Indian television: 'Tamas' and 'Bharat Ek Khoj' (both 1988).
