Some cinema critics and academics sometimes levy this criticism against the denouement of Pyaasa: Vijay choosing to reject fake fame and recognition to turn to a place of solace. Just like Meena, his college sweetheart who chooses to marry rich rather than the struggling poet, who is horrified at his decision to spurn a two-faced society and urges him to stay, they opine that Vijay is not a fighter, he is not pragmatic.
Of course, Vijay is not world-practical. This is established in the opening sequence of the movie itself, when he is lying in a field, looking at the heart shape of the sky formed by the leaves of the surrounding trees, teasing out a poem from his spirit, looking somnolently blithe. His easy spirit is brought down to earth and crushed, when an equally happy and lazy bumblebee is squashed under a passerby’s feet no sooner than it lands on the ground.
Vijay is a humanist, an idealist, a purist, and most crucially, a truist. This is brought out time and time again, whether in the song where he laments the state of the nation 10 years after independence, in the song where he indicts a vacuous society’s emptier people, in his end counter-argument to Meena, where he expresses disappointment that those who commiserate with the sorrow of others are considered weak and inept themselves.
At the height of fame, something he seemingly desired through the course of the movie, Vijay chooses to leave it all go. Doesn’t that take greater courage? The courage to remain true to your core.