“ OCEAN ” Has Dried Up- For There Would Be NO-LIFE At All Anymore




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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