Movies have always been an indispensable part of our lives. From trendsetting genres such as coming-of-age, rom com, horror and cerebral, and feel-good, movies have transcended their true purpose of entertainment, and have managed to establish themselves as a way of life and existence in general. Be it Bollywood or Hollywood, movies have successfully engaged the audience in not just a battle of visual imagery and tone-setting, but have also allowed the audience an outlet of emotions and feelings. These days, even regional movies, such as movies belonging to the Malayalam or Telugu language, have moved upwards from being the underdogs to being the centre runners.

When it comes to the psychological understanding of movies and the analysis that goes into it, one can successfully say that certain pieces of visual artistry have compelled the readers to look beyond the stage and engage themselves wholeheartedly into not just the making of it, but also the psyche behind it. Let’s take Guru Dutt’s “Pyaasa” as an example. Made at a time of political chaos and upheaval in the domain of arts, Dutt’s masterpiece establishes itself as an epitome of artistic mastery and visual greatness.

Filled with imagery, made in black and white, starring our enigmatic personality, Guru Dutt himself, the movie questions the ideas of love, arts, and the commercialisation of passion. Our protagonist, Vijay, is an aspiring poet, trying to make a mark in the world. The colour palette of the movie, with sepia tones establishing shadows, plays into the nitty-gritty’s of life. Vijay, desperate to make a living out of his poems, gets cheated numerous times in his life, but the worst comes from his past lover Meena, played by Mala Sinha. Ultimately, finding solace in the arms of a prostitute, Gulabo, played by Waheeda Rehman, Vijay sets out to find himself amidst the chaos of the world.

With close-up shots and beautiful imagery through the background score and soundtracks, “Pyaasa” establishes Vijay as a Christ-like figure. This analysis is best realised through Sahir Ludhianvi’s song, “Yeh Duniya Agar Mil Bhi Jaye Toh Kya Hai?”. In this song, Vijay rises like Christ, wronged by his blood, wronged by love, betrayal running its course in his blood. By the end of the movie, the audience is not just empathising with our fallen protagonist, but is searching for itself within his struggles. Aren’t we all like Vijay, searching for our individuality in the mundaneness of this world?

The psychological understanding and analysis of movies runs deeper than what is apparent, and forces the audience to interact with the media placed in front of them, relate to it, and find their identity within it. Moreover, the making of a movie plays an essential role in the psychological understanding of it. For example, the close-up shots placed craftily throughout “Pyaasa” is not just a way of artistic employment, but also showcases the emotional condition of our characters and how they viewed life.