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Thread: Dilip Kumar: The Star of a Bygone Era.....

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    Dilip Kumar: The Star of a Bygone Era.....

    Dilip Kumar: The Star of a
    Bygone Era
    By Dr Asif Javed


    Williamsport, PA
    Way back in the 40’s, a producer approached
    DK--then a struggling actor--and offered the lead role in one of his stunt
    movies. DK was tempted: the money was very good and he was hard pressed
    financially so much so that he had asked his studio for a loan. There was one
    problem, however: stunt movies were considered C-grade stuff; Having thought it
    over, DK declined the role. Many years later, when he was making Koh-i-Noor, he
    found out about a scene that required him to play sitar in a song sequence.
    Naushad suggested that Ustad Jafar Khan would play sitar in the scene while the
    camera would focus on his fingers and the audience will not know. DK did not
    like that and instead spent months training himself on Sitar. When the day came
    for shooting, he was ready to play sitar. “Jadoogar Qatil” is the song that can
    be seen on you tube by those who wish to confirm this. So there you have it; DK
    knew early on how to be selective and had an unmatched dedication to his work.

    Yousaf Khan who was born in a conservative Pathan
    family in Peshawar, was forced to move to Bombay because his older brother fell
    from a horse and sustained a serious back injury. It so happened that the
    nearest back specialist available was in Bombay, so the whole family moved on to
    Bombay. As luck would have it, Ashok Kumar, the established star of Bombay
    Talkies, was about to leave the studio and Devka Rani, the owner was desperately
    looking for his replacement. Unbeknownst to his conservative father, Yousaf
    interviewed. It is not known exactly what impressed Devka Rani about the shy lad
    but he was hired. She chose his filmi name Dilip Kumar in preference to Jahangir
    and Vasudev. DK’s journey had begun and what a ride it has been! The horse in
    Peshawar as well as Devika Rani deserve our gratitude for their role in making
    DK out of Yousaf Khan.
    DK did not become a sensation overnight; he passed
    through a painful phase of successive flops. Film India, the leading film
    journal of the time almost gave up on him, calling him “an anemic addition to
    the actors whose acting effort was nil” in Jawar Bhata, his first
    movie. DK was not a born actor, as he has admitted on occasions. But he had
    something even better: a burning desire to excel. Over the years, he was to hone
    his craft by painstakingly studying the leading Hollywood stars—Paul Muni,
    Spencer Tracy, Henry Fonda, John Gielgud, James Stewart and Marlon Brando.
    Brando was a proponent of the method school of acting and DK seems to have
    acquired it too. DK became a colossus with his relentless pursuit for
    excellence. His attention to detail is legendary: for Ganga Jumna, his
    own production that was based upon a dacoit storey from UP, the dialogues were
    written in the local Purabi dialect at Naushad’s suggestion who came from the
    area. It took almost a super human effort to get the cast that included South
    Indian Vajantimala, deliver the lines in the local accent. Those who have seen
    Ganga Jumna, today best remember it for the dialogues.

    Cont on page 2.......

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    Cont from page 1...

    DK was soon to become synonymous with the tragic roles.
    Mehboob Khan’s Andaz started this trend that continued well in to the
    early 60’s. In that period, the tragedy king gave his admirer’s Deedar,
    Sangdil, Devdaas and Ganga Jamna among others. As
    time wore on, he started to move away from the tragic roles at the advice of his
    psychiatrist and began to accept lighter roles, the examples being Azad,
    and Leader. The staff at Bombay Talkies were encouraged
    to read. The studio had a well stalked library. Over the years, DK became fond
    of English classics, particularly the writings of Bronte sisters; he has done
    four movies based upon their novels—Sangdil, Arzoo, Helchel and dil
    diya dard liya
    ; it is sad that none of these did well at the box office but
    that may be a reflection of the taste of audience than of the movies.
    Over his long and distinguished career, DK has worked
    with most of the leading ladies of his time. Guess who impressed him the most?
    It wasn’t Nargis or Madhubala; it wasn’t the tragedy queen Meena Kumari either;
    it was Nalini Jayawant. He did only two movies with her: Shikast and
    Anokha Pyar; years later, he would remember her as, “punctuality
    personified who would bring extra warmth to her performance and would be
    extraordinary even in her first rehearsal.” When asked as to who does he
    consider his mentor, DK did not name Mehboob who had catapulted him to stardom
    with Aan and Andaz or Bimal Roy who directed him in Devdaas---that
    heart wrenching saga of the doomed love that many consider to be his finest
    role; Daleep instead named Nitin Bose who had directed him in Milan,
    and GangaJumna.
    A question is often asked as to which of his roles was
    the best one. Many will point to Devdas and Ganga Jumna being
    ones that defined him. DK himself has never answered this question. The
    consummate artist in him is perhaps too proud to choose one among many.
    DK had the reputation of being choosy about his roles.
    He took his time before making a commitment. Whereas, he generally made the
    right decision, there were roles that he turned down that with the benefit of
    hindsight, he should have accepted. His biographer Sanjit Narwekar reports that
    back in the early 60’s, DK was approached by David Lean and offered the role of
    Sharif Ali in his epic Lawrence of Arabia; DK asked for the lead for
    which the Irish actor Peter-o-Toole was already signed up. Besides, the role
    required a Caucasian. David Lean politely refused but may have wondered about
    the audacity of this Indian actor. The same role was then offered to Omar Sharif
    who accepted it. We are told that DK turned down Baju Bawra (given to
    Bharat Bhushan), Mother India(given to Sunil Dutt), Piyasa—a
    cult classic that ranks the highest, among all Indian movies, on the internet
    (done by Guru Dutt himself, a role tailor made for DK).

    Continued from page 2

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    His admirers include Amitabh Bachan who says that had
    DK been in Hollywood, he would surely have collected multiple Oscars. Shah Rukh
    Khan calls DK his ideal. But perhaps the best tribute to DK has come from Manoj
    Kumar. Manoj who had often been accused of being an imitator of DK said, “Tell
    me which actor in the last forty years has the guts to keep his hand on his
    heart and say that he has not imitated or tried to imitate DK.”
    Despite being reserved and very private person, DK has
    not been spared the gossip and scandals that is almost a job hazard in the movie
    industry. In the 50’s he had a well publicized love affair with Madhubala; her
    inability to choose between her stubborn father and DK ended it on a sour note.
    Before that, Kamni Kaushal, one of his early heroines, was ready to leave her
    husband for him. Well educated Kamini Kaushal, a graduate of Kinnaird College,
    Lahore and the daughter of the Dean of Punjab University. She was only dissuaded
    by Ismat Chughtai whose husband Shahid Latif was making Arzoo with
    Dilip and Kamini Kaushal at the time. Dilip remained single until 43 and then
    suddenly married Saira Bano. People were aghast: SB was considered a B-class
    actress, almost 20 years younger and had an ongoing affair with already married
    Rajinder Kumar. Besides, she had done some roles considered quite offensive for
    those times. She was the daughter of Naseem Bano, herself an actress from the
    early 40’s. Naseem’s mother had been a well known courtesan. Manto has written a
    sketch of Naseem Bano in his mater piece Gajay Farishtay. DK’s marriage
    with Saira Bano has survived although there was that bizarre Asma Begum incident
    in the early 80’s that did strain it. Asma was a divorced socialite from
    Hyderabad whom DK had married in secret. His repeated denials of second marriage
    were swept away when Nikahnama was published in news papers. The episode did
    tarnish DK’s image somewhat. Asma was eventually divorced. Dilip moved on and
    today, the episode is almost forgotten.
    DK naturally had his detractors too. Industry insiders
    have known for years that DK has a habit of changing the script to enhance his
    role at the cost of others. Sanjeev Kumar who worked with DK in
    Sungarsh was very vocal about this. Mahbook Khan refused to change
    Mother India’s script for DK’s role; DK was not thrilled but Mahboob
    refused to budge and gave the role to Sunil Dutt. AR Kardar, one of the senior
    and highly respected directors, always blamed DK for changing the script of
    Dil diya dard liya so much that the movie bombed. Kardar pointed finger
    at DK for the disaster that effectively ruined him. “DK was my Waterloo. He has
    never given happiness to anyone. He has always made life difficult for
    filmmakers”, Kardar said once.
    DK had a fair share of tribulations in his career: his
    one attempt at production, Ganga Jumna was stuck with censor board for
    almost a year. There were whispers that this was done to allow Raj Kapoor’s
    Jis desh mein Ganga bahti hey a free run in the market. DK had to go
    all the way to PM Nehru. Nehru saw the movie, liked it and cleared it. The
    episode so embittered DK that he vowed never to produce a movie again. He has
    been accused of being a Pak spy too and had to endure the indignity of a police
    raid on his house that came to nothing. His visit to Pakistan in the 80’s and
    acceptance of Nishan-i-Imtiaz created a furor in India. Undeterred through all
    that, DK has stood tall with poise and class of his own.
    The recent death of Dev Anand leaves DK the sole
    survivor of the famous triumvirate—Raj Kapoor having died many years ago—that
    ruled the box office from mid-forties through late- sixties. Nowadays, he lives
    quietly at Pali Hill, Bombay, leading a retired life. Years ago, there was a
    brief foray in politics as member of Rajia Sabah. The crowds of admirers are
    long gone as are the producers who were only too willing to pay him exorbitant
    amounts for roles he would usually decline. Like a lion in winter, he is quiet
    and slowly fading away. We are told he will celebrate his 90th birthday soon.
    From a fan of his who lives far away in North America, I say, happy birthday to
    the ever young hero of our rapidly diminishing generation.
    Duke of Wellington once said that he regretted not
    having thanked those who served him so well. On behalf of thousands of DK’s
    admirers who are scattered across seven seas, this writer therefore says, thank
    you Dilip Sahib for the happiness, excitement and the tears that you brought to
    our eyes. Despite your flaws, you have been and will always be remembered as
    truly one of a kind. You are the king, as late Khalid Hasan once described you.

    ( The writer is a physician based in
    Williamsport, PA and can be reached at [email protected] )

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