It was way back in 1960 when a very YOUNG and a very HARD
LOOKING ‘ HE-MAN “ walked into the heart of the Indian movie goers.He was from
Phagwara from a hamlet near by it and he was none other than Dharmendra
Raw, coot very young handsome debonair a bit less than what
he appeared but was vrty picturesque with his young look face He broke into a
movie by the name o f’ Dil Bhi Tera Hum
Bhi Teray “ and a song in it sung by Mukesh The song was “ Mujhkoh Is Raat Ki Tanhaee Mai awaaaz Na Doh “ maybel full of
TANHAIYAA in the film and in the song but that YOUNG HE MAN was the KING of the
HEART of many, many and many an Indian
Bimal Roy and few
brilliant Directors sign Dharmendra : Dharmendra is the HARD LOOK MAN WITH A
SOFT IMAGE
Pic : Bimal Roy
That was way back in
1960 The inaugural venture of Dharmendra in that movie or as we would call it
his debut film made many to believe that he was very raw in his dialogue throws
but had a talent which could be used as the leading man in the films to come
Dharmendra came from a hamlet background with a mix of
moffusil in it He was in tne city by the name of Bombay then. Bombay had a
mixed culture but it was a metropolitian then Obviously his dialects was
somewhat a hilarious gauntlet that one could understand but Dharmendra in him
was a picture of very sincerity and hard work That was the element he carried
and he was in the HEART of many many and many and ofcourse Bimal Roy
Ashok Kumar &
Bimal Roy agree to cast Dharmendra in “ Bandini “
Dadamuni Ashok Kumar was perhaps the FIRST actor who could
be termed as the ORIGINATOR of “
JHOOLA “ in which he sang the song ‘ EK CHATUR NAAR KARKE SHRINGAR “ the
song which was picturised in 11 hours and over by Manna Dey and Kishore Kumar
in PADOSAN with all different wordings. Leela Chitnis is said to be the second
heroine with whom Ashok Kumar acted in that movie. Obviously moving from the
era of mid thirties to the start of the sixties Ashok Kumar was to give his way
to the likes of Dilip Kumar, Raj Kapoor, Dev Anand, Shammi Kapoor , Raj Kumar
and Rajendra Kumar. Came in Dharmendra in between Obviously Ashok Kumar was
into the battle field of supporting and character actor by then
Bimal Roy was looking for a kind of a hero ie a role in the
form of the lead to play in bandini opposite Nutan. Nutan had a powerful and a
very heart touching role to play in Bandini.
The lead man ought to have a face full with innocence, ought to have a DASH in his look in terms of
being very MANLY but ought to
have a HEART as SOFT as the COTTON but very TOUGH
whe it came to being tough . Many search were made and Bimal Roy could not find
any in the entire film industry lest one fine day he took Dharmendra to Bimal
Roy and after the talks it was Bimalda who suggested to Dadamuni about how would it be if this man is cast in the
film, FANTASTIC it would be
said Dadamuni. And it was Dharmendra who
made his FIRST big entry in a banner under the banner of the Late Bimal Roy That gave Dharmendra a ROOOF in the
uncompromising arena and the world of Indian cinema The only hitch was
Dharmendra’s ENGLISH. ALLOPATHY would
be AALOOPOTHY when he pronounced it That was the only glare else it was
OK with Bimal Roy with Dharmendra
Roof Over The Head
but the “ STRUGGLE “ continues : Dharmendra only fights for survival and
struggles hard
Pic : Dharmendra : A
Young and raw talent but full of promise
Dharmendra gave a NEAT
and a very EFFICIENT performance in
the film Bandini but as said earlier this was a FILM of NUTAN, for NUTAN and all by means it was all by NUTAN
It was a film in which the HIGHLIGHT
of the INDIAN feminism was to be put on the 9th sky
and obviously all the credit of the film was taken off by Nutan and ofcourse
Bimal Roy was termed as the most PERFECT Director of the film industry after
the release of the film . Perfection by 100% is what Bimal Roy is in terms of
the Director is what the article and the headlines cried in various
international film critic magazine.
Dharmendra got a step to platform himself in the industry
and the roof that was shaky and uncertain to give him the shelter till then was
repaired Dharmendra was to stay in the Indian film industry but he ha the KING of DANCE then, Shammi Kapoor, the EVERGREEN Dev Anand, the GREATEST SHOW MAN Raj Kapoor and
the KING OF JUBILEE Rajendra
Kumar to rub his shoulder with and NOT to forget the EMPEROR of Dialogues RAJKUMAR
to throw the challenge to
The man who pushed them all the way far and as far as that
could be was Rajendra Kumar. He from 1955
when he acted in a film VACHAN
in which his screen name for the film was KISHORE
which was a Silver Jubilee he from that
film in 1955 to JHUK GAYA AASMAN that was released in 1968 gave as many as 25 FILMS in a row the honour to be
termed as the JUBILEE films. Rajendra Kumar was the JUBILEE KUMAR of the Indian screen and its world If that screen
name KISHOE was to give 25 films in a row as a Silver Jubilee, rose a man by
the name of KISHOREDA who was to
take it over from Mohammed Rafi as a singer to rule the world of music in the
Indian film industry Why the association of Kishoreda here in the article one
would ask me Well it was for the reason that Dharmendra was really struggling
to hit the BULL EYE He acted in
films like Kajal, Aayee Milan Ki Bela, Aankhen, and many more in between
including Bahaein Phir Bhi Aayengi
but none of his film could touch the jubilee line and that was the reason his
rate was not soaring high He was honest, very hard working and very punctual
but that tag of jubilee was not highliting him at all. Aayee Milan Ki Bela was a silver jubilee but the credit went to Saira Banu and Rajendra Kumar. Aankhen
was a Golden Jubilee but the credit
went to Nazir Hussain and Mala Sinha Dharmendra was really honest to his role
and the hard work but nothing in terms of JUBILEE
CREDIT was coming to him and slowly he was pushed in a corner where he was
losing his ground in the film industry
Duniya O Duniya : Dharmendra gives the JUBILEE & the
term a new meaning
In the mean time Mr Pramod Chakravothy was directing a film NAYA ZAMANA It had Hema Malini, Pran,
Aruna Irani, Mehmood and Nirupa Roy in the making Dharmendra was to play a role
of a leader in terms of a employee in a mill who was very INNOCENT but was full with PRINCIPLES
and the ideas that would always fight for the poor and poverty for their
rights. His fundamentalism was the golden lines of the famous Indian leaders
and there was the principles of those great Indian leaders which Dharmendra was
to follow in the film He had Hema Malini in the lead opposite to him as his
heroine
Era changing, S D
Burman wanted to create a MIRACLE with Kishore before giving him to his son Pancham
Everything in India
was changing The country was witnessing the change in the way of the dress, the
change in the taste; likings the change in the mindset of the Indians were
changing There was a diametric change as well in the industry which this film was
portraying and obviously there was a change coming in the Indiam music as well
which were the heart throbs of the films From the laid back Bhajan-Kirtan and
Mehfil the change was romantic songs-hotels-cabarets- college campus and no
walls between the rich and the poor This film had it all
The only magic that S D Burman wanted to create was to give
Dharmendra a very neww look as well as an image through the film as well as the
song He wanted to potray Dharmendra as a man who looks very hard, tough and
very off-the-beat but infact a man full of soft heart when it would be and very
romantic by nature when it could be mixed with intellect.
Dharmendra by that time was really needing and needed a
tonic to be amongst the forfront of the film industry He from 1960 to 1970 when
this film was completed and released was always there in the usiness but could
not manage to bargain for a heavy price. He too wanted a kind of a song that
would put him on the high end of what was needed to survive atleast for another
decade in the film industry
Well that song was composed and posturized on Dharmendra
with Kishorda lending his voice to it IT
WAS A I WOULD SAY A SONG THAT COMPLETELY CHANGED THE PARADIGM OF DHARMENDRA AND
THAT WAS THAT
Listen to the song and enjoy Visualise for yourself all
about the song This was the song that made Dharmendra the NUMBER THREE STAR ie seeded
number third in terms of the stars of the Indian film industry then, after Rajesh Khanna and Shammi Kapoor then and this was the place that Dharmendra held till
he was considerd as the leading male hero of the Indian film industry The number one place thereafter went to Amitabh Bachchan, the number two went to Vinod Khanna but Dharmedra
after the release of NAYA ZAMANA
till then when he could be termed as HERO
remained the STAR NUMBER THREE in
the annals of the Indian film and it’s history He was NEVER an actor he was a STAR
and a STAR who was the FIRST “ HE-MAN “ of the Indian film and
it’s history the second being Dev Kumar
who started as a hero but changed in to a villain and a very close friend of
Dharmendra
That song gave a NEW
LIFE to Dharmendra and that act of Dharmendra made everybody to feel
that TO PROLONG THEIR LIFE IN THE FILM IT WAS NECESSARY TO ADD KISHOREDA
TO THEIR LIFE AND TO THEIR THROAT EVERYYTIME Kishoreda would create a DEAD MAN into a GLITZS living and living with full of LIFE in terms of turning
them either as an STAR or an actor and the classic examples
were Dileep Kumar and Sanjiv Kumar
Well listen the
two songs the first over here clipped is from Naya Zamana and the second from
the film “PHOOL AUR PHATTHAR “ Just see how a RAW Dharmendra was changed into
a full scape MATURED actor by Kishoreda and the way Dharmendra acted in that
song
Dharmendra was a
STAR thereafter in the annls of Indian film industry and the combo of S D
Burman and Kishoreda were who made it
Regards
Shyamal
Bhattacharjee
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