http://deccan.com/Sunday%%20Chronicle/Sunday%%20ChronicleDescription.asp#Cinema%%20of%%20homelessness
Pyaasa, Kaagaz ke Phool and Sahib, Bibi aur Ghulam function as a kind
of trilogy in much the same way that Ritwik Ghatak’s trilogy on
Partition — Meghe Dhaka Tara (1960), Komal Gandhar (1961) and
Subarnarekha (1962) do.
Unlike Satyajit Ray’s Apu trilogy, which focused on Apu’s passage into
adulthood, Ghatak’s trilogy dealt with the theme of the Partition of
the subcontinent, without the plots of the three films being related
to each other in any way. Dutt’s three films, too, form a set if
considered from the point of view of the theme that runs through all
of them, that of homelessness. If the films of the first phase had the
lead protagonists establish a strong bonding with the street, from
Pyaasa onwards the notion of home is problematised and assumes
thematic-stylistic importance.
