Pic - :: A Still From The Film " Deedar " , the first Actor of Indian Film Industry, Ashok Kumar and the ONLY ACTOR of Indian Film Industry Dilip Kumar from a sequence of the film
“ OCEAN ” Has Dried Up- For There Would Be NO-LIFE
At All Anymore
I'M TOO SMALL A MAN TO DESCRIBE EITHER A SUN OR AN OCEAN ........
Though it is said that EVERYTHING BLESSED COMES TO AN END - it is also a fact that there are certain
things that people do not like to be cut off from it as their absence makes the
life a HELL.
JULY &TH 2021-
THIS WILL BE ETCHED AS THE MOST DESTRUCTABLE AND A BLACK DAY IN THE
ANNALS OF INDIAN HISTORY…..
It was on that day exactly at 7.30AM , so very early to
start the date and the day as, to hear that the TRAGEDY KING, Mr Yousouf Khan alias
Mr DILIP KUMAR is no more as he is dead.
Hearing to the news I felt that there was a HUGE BIG OCEAN,
as HUGE as the PACIFIC which has DRIED and dried in an manner that it CANNOT be
ever made up by water at all ….. for the LIFE that was connected to that OCEAN
is completely DRIED UP and DEAD ……
Dilip Kumar was NOT and NEVER an institution who was BUILT.
He was an INSTITUTION all by himself like the Great Kishore Kumar was . Nothing
that anybody had built them, it was all that THEY WERE SELF BUILT , the
ORIGINAL and perhaps having no parallel to them …..
Born at Peshawar on December 11th 1922 , SHEHZADA
SALIM had to do with another SHEHZADA of Indian cricket, Salim Durrani who also
was born on December 11th …. But in 1934 at Kabul, and only THAT
SALIM of cricket could really give this SALIM of Silver screen the kind of a
run of money for GLITZ and the glamour from the era of 1953 when Dilip Kumar
became a NATIONAL RAZE because of the film…… “ FOOTPATH ” and not only for the
POWERFUL film that it was for the acting and the dialogues that Dilip Kumar
threw in that film, and Salim Durrani for making the waves in the scenario of
Indian cricket by then. It is so TRAGIC that Dilip Kumar wanted to become a
cricketer but ended in becoming a Filmstar and Salim Durrani wanted to become a
FILMSTAR but ended becoming a cricketer.
Landing at Bombay all by a chance from Peshawar and going
back within a few months from then in 1941 Dilip Kumar once again landed at
Bombay in 1942 NEVER to go back to Pakistan and that changed the course of his
life. …..
Starting as a newspaper vendor for a short period of time he
changed his place to Pune where he started selling the confectioneries and
bakery item, when his permanent orders of supplying the sandwiches to the English
canteen gave him a purse of Rupees twenty per day….. not a bad income taking
that era into account…
One fine day he found a friend who was to travel to Bombay
then to meet a very famous actress of that era , Madam Devika Rani, Dilip Kumar
at the behest of the friend that he had at Pune and who was going to meet Ms
Devika Rani, took him to Madam Devika Rani the ultimate owner of BOMBAY TALKIE
.Madam Devika Rani was over-impressed by the looks and the personality that he
possessed and in one shot came an OFFER to Yousouf Khan then, and that was a
salary of Rs 1200=00 per month if he acts for all the dramas on the stage and
the movies that Bombay Talkies would throw to the public.
Earning Rs 20=00 per day and then hearing to the fact that
he would earn Rs 1200=00 per month, he again and again cleared the matter from
Madam Devika Rani before he became clear that he was going to be a actor on the
stage …..It was Devika Rani who suggested him to change his name to DILIP
KUMAR. He did that knowing fully well that a Muslim name will not bring any
crowd/audience to the stage and thus DILIP KUMAR WAS BORN TO THE INDIAN
DRAMATIC.
Soon a film by 1944 hit the Indian scene by the name of
JWARR-BHATA ” featuring Dilip Kumar and
Madam Devika Rani and Dilip Kumar was to become a FILM STAR, and that is how he
became a film star. …..
Initial Struggle
and advice from Dadamoni
During those days it was NOT THAT EASY to carve a NICHE in
the films. The Prodcuer Director then always would LOOK into the EPITOME of the
skill to act and acting and the screen presence too had it’s say. People would
not take any chances of failures then, and it became very hard fpr him to set
his feet on the film though the struggle was one. He happened to meet Dadamoni
, ie, Ashok Kumar on the set of a film which was to be shot at Bombay Talkie
and it was Dadamoni who gave him many a TIPS about how to succeed in the film
and Dilip Kumar took it very seriously. Dadamoni was a HOUSEHOLD name and a
SUPERHIT star of the Indian film industry then earning about Rs 1500=00 per
month from Bombay Talkie.When he first saw Dilip Kumar he was convinced that
the physical appearance that he possessed would take him far but the nuances
ought to be taught and that nuances was what Dadmoni gave it to him – he made
it very CLEAR to Dilip Kumar, NOBODY CARES FOR ANYBODY IN THE FILM
INDUSTRY AND THAT ONLY DISCIPLINE TAKES YOU TO THE GLORIOUS HEIGHT…..
1953 :: FOOTPATH
TOOK DILIP KUMAR BY FOOT TO THE PATH OF GLORY …..
There were initial hiccups and many a STRUGGLE but from 1944
to 1953 for about nine years he struggled a lot but picked up many finer points
of acting.Then came FOOTPATH- a movie which was the story of a RAG to become
RICH by all crooks and means , a character which he displayed so effectively
with the DIALOGUES DELIVERIES so EASILY piercing the HEART that the song-
SHAAM-E-GUM-KI-KASAM-AAJ-GUMGI-HAI-HUM and the film became an international
hit. He was first offered a small role in a HOLLYWOOD film thereafter which he refused
and then again he refused a film LAWRENCE OF ARABIA which won as many as SEVEN
OSCARS in 1974 .Two films from Hollywood to reject- ONLY A MAN OF THIS
CHARACTER COULD AFFORD TO DO IT.
Song :: U Tube Of The Song " SHAAM - E - GUM -KI-KASAM
The overall success of FOOTPATH in 1953 brought him opposite
his GUIDE, Dadamoni and the APPLE-OF-EYE
of Indian actress then Nargis in a film “ DEEDAR ” and the song “ DIL
ME CHHUPA KAR PYAAR KA TOOFAN “ in the film “ AAN ” in between in
1952, and his so powerful role in the film Deedar opposite Nargis and Ashok
Kumar made him the NATIONAL ICON and the CORNEA of the eye of every Indian
movie buff and since then there was no looking back ……
Here in the YOU TUBE inserted just click on the YOU TUBE as written on the clips and you would hear the song
Song :: U Tube Of The Song - Dil Mei Chhupakar Pyaar Ka Toofan Le Chalay
The “ TWO ” ORIGINAL “ SUPER ” , Dilip Kumar The Only “
Actor ” and Rajesh Khanna, The Only ………..“ SUPERSTAR ” did not act in the film Roti
Pic - :: Dilip Kumar and Rajesh Khanna in a studio at Bombay in 1974 above and in 2011
This photo above depicted here is of " 1974 " but wrongly it is mentioned as 1971 here.....
It was in 1974 when the two SUPER were to act in the film
Roti. Rajesh Khanna was at the PEAK and the HELM of SUPERDOM and the wave that
he created from 1968 to 1974 till the film Roti was released was unbelievable
.It does not appears to me that ANYBODY in the Indian Film Industry had created
that kind of a superdom in terms of success and the WAVE that he created and
that anybody will ever create that. Similiarly to me I DO NOT THINK WE WILL EVER HAVE SUCH A
ORIGINAL ACTOR LIKE " DILIP KUMAR " ANYMORE THOUGH " SANJEEV KUMAR " WAS SOMEWHERE NEAR
TO HIM AS AN ACTOR BUT NOT EQUAL TO HIM……
There was a song in that film Roti and that Was “ YEH PUBLIC
HAI, SUB JAANTI HAI , YEH PUBLIC HAI…..” which was to be screened on Dilip
Kumar with Rajesh Khanna to act on the same with Kishorda lending his voice…. However
the TREGEDY KING refused to act .The reason cited was the ONE who created such
a wave of SUPERDOM as a SUPERSTAR should not PRAISE an ACTOR who was just and
ACTOR and NOT a SUPERSTAR…… Many , many and many REQUEST of Rajesh Khanna to
Dilip Kumar to change his mind went to the drain and the DREAM of the SUPERSTAR
to act with the ACTOR, the ONLY ONE OF IT’S KIND was gone for ever. ……
Pic-:: Dilip Kumar Greets Rajesh Khanna and Dimple Kapadia on Their Marriage As Saira Banu Watches
In that small meeting Rajesh Khanna asked all about the nuances of acting from
Dilip Kumar and he got a lot of them. When the film AVINASH was
released with Rajesh Khanna acting in it and the Song … ………“ DIN MAHINO SAAL ,
GUJARTEY JAYENGAY , HUM PYAAR ME JEETAY JAYENGAY ….. those who saw it and those
who did see the movie in full were of the view that Rajesh Khanna on many a
sequence had potrayed Dilip Kumar in the film in terms of acting. For after
been lost in wilderness from 1974 to about 1982 in the film industry, that was
the movie which brought Rajesh Khanna back into the scene and that movie is
TERMED as the COMEBACK film of Rajesh Khanna……
Dilip Kumar and Madhubala
- ::
If there was
anybody whom Dilip Kumar loved very openly and naturally from the core of the
HEART- it was “ MADHUBALA ”
However this marriage could not come alive even Dilip Kumar
gave an assurance to her Father that if he marries Madhubala , he would bear
the expenses of the entire huge big family of Madhubala. Even this could not
convince Madhubala . The film NAYA DAUR
infact had Madhubala and Dilip Kumar in the lead but this film was to be shot
at Madhya Pradesh at the area of Chambal and Chambal being the centre,
Madhubala’s Father did not allow the MOST BEAUTIFUL FACE OF INDIAN SCREEN then
to shoot or go to the ravines for the
shoot. It is from this end the
association broke and when Vyajantimala was picked for the lead role opposite Dilip
Kumar , for all practical purpose everything
was over.
Dilip Kumar and
Saira Banu :: This marriage averted a HINDU-MUSLIM clash
Saira Banu had
made her film debut in “ JUNGLEE ” opposite Shammi Kapoor. This was a
SILVER JUBILEE hit . Then came a spate of films like April Fool, Aayee Milan Ki Bela, Shahgird and everyfilm
was a Silver Jubilee hit. However her film with Rajendra Kumar in aayee Milan
Ki Bela and Jhuk Gaya Aasman brought them so closer that it was that Rajendra
Kumar and Saira Banu had planned to get married. Rajendra Kumar was already
married to Shukla, the sister of O.P.Ralhan and was a Father by then ….
The news od Saira who was getting ready to marry Rajendra
Kumar broke all the HELL loose and it became a HINDU-MULIM affair with both the
Hindus and the Muslim about getting ready for the brawl. Both the communities
were DEAD against for the marriage and these kind of marriage. It was very hard
for JUBILEE KUMAR to say NO to this marriage and Saira Banu by every mean was
ready to marry Rajendra Kumar.
Dilip Kumar was told to intervene. He initially was NOT
interested to plunge and poke into the matter. However with many requesting him
and to douse the communal feeling, he went to saira to make her understand NOT
to plunge into this type of marriage.
When Di;lip Kumar entered the house of Saira Banu he found
Saira sitting at the house with her mother Madam Naseem Banu . Looking into
Saira and the BEAUTY that she possessed he forget as to why he had come there.
He spelt out saying that WOULD SHE MARRY HER. After saying this he turned to
Madam Naseem Banu and said YOUR DAUGHTER IS AN EPITOME OF BEAUTY AND SHE SHOULD
NOT MARRY ANYBODY OUTSIDE THE NORMS OF THE SOCIETY.
He by then had regained his composure and then he explained to
Naseem Banu all about the communal tension that might break if Saira marries
Rajendra Kumar who was married. A DEFIANT Saira who was a GREAT fan of Dilip
Kumar then put a proposal to Dilip Kumar saying that – IF YOU MARRY ME THEN I WILL
BREAK UP WITH RAJENDRA KUMAR.
Dilip Kumar by then was taken over by Saira and her beauty.
He said that he will and thus the marriage came off. It was 1966 when they got
married and this MARRIAGE saved what could it would have been the UGLIEST
HINDU-MUSLIM IMBROGLIO . This is how the two got married .
Acting was like BED TEA, BREAKFAST, BRUNCH, LUNCH and DINNER
for this ACTOR- the ONLY ONE in the annals of the Indian film industry till
date. If one has to really believe what ACTING could be, just watch either RAM
AUR SHYAM or that scene with Rakheee in SHAKTI where he enters the kitchen room
with Rakhee preparing the ALOO TIKIA and Dilip Kumar scooping about 70 tikia
before making the shot to be OK.When Rakhee said to him during the shoot- DILIP
SAHAB, SATTAR TIKIYA HOH GAYA HAI – OK KUB HOGA . In one shot thereafter he
made it OK saying to Rakhee that – AAP BANATEE HI ITNA ACHHA HAI KI MAI SHOT OK
KI JAGAH TIKIYA OK KARTA CHALA GAYA, which means you are such a good cook and
your preparation is si wonderful that instead of making the shot OK- I made the
savory gulping OK. He was such when he was in his mood to do a GREAT job, be it
tasting the food , or be it giving a shot. For Dilip Kumar it was all NATURAL……
The " JAWAR-BHATA" Of 1944 And The " JAWAR- BHATA " Of 1974
It was 1944 when Dilip Kumar made his film debut with Jawar-Bhata . This name was again replicated in the Indian film with Dharmendra and Saira Banu being the leads . The alphabet " D " with Dilip Kumar and Devika Rani were in the leads then, and again in 1974 when JAWAR-BHATA was again released it was Dharmendra with the alphabet " D " in the lead role , with Saira Banu , ie Mrs Dilip Kumar again that same alphabet playing the lead role . It had a song-::
DAAL ROTI KHAO, PRABHU KAY GOUN GAO ...... sung by Kishoreda which made the film very popular ......
This natural
star as natural an OCEAN has gone away and the dri-age that it caused- IT WILL
NEVER BE REPLACED OR FILLED WITH WATER ANYMORE .
In every manner a huge big OCEAN has got dried up and that would
never be anytime filled. There would be NO life at all now after his death .
That sums up it and that is all .....
Regards and THANKS
Pics
Shyamal Bhattacharjee
Mr Shyamal Bhattacharjee, the author was born at West Chirimiri Colliery at District Surguja, Chattisgarh on July 6th 1959 He received his early education at Carmel Convent School Bishrampur and later at Christ Church Boys' Higher Secondary School at Jabalpur. He later joined Hislop College at Nagpur and completed his graduation in Science and he also added a degree in B A thereafter. He joined the HITAVADA, a leading dailies of Central India at Nagpur as a Sub-Editor ( Sports ) but gave up to complete his MBA in 1984 He thereafter added a Diploma In Export Management. He has authored THREE books namely Notable Quotes and Noble Thought published by Pustak Mahal in 2001 Indian Cricket : Faces That Changed It published by Manas Publications in 2009 and Essential Of Office Management published by NBCA, Kolkatta in 2012. He has a experience of about 35 years in Marketing .
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