Dilip Kumar Biography

IF THE EXISTING HEROES then were mature men with whom the new, younger audiences could not have identified much longer, whatever may have been their charm. The handsomeness of the young boy of 'Mela' was entirely different. I lis facial contours, his expressions, his wide-ranging vocal modulations, his gestures, that puff of hair over his forehead, his whole being created a fresh image of the screen hero, which seized the fancy of audiences immediately. lie was Dilip Kumar — first seen on screen in 'Jwar Bhata' (1944). Four to five films old at the time of'Mela', Dilip Kumar's face had a transparent honesty. The entire sequence of the death of Mohan's (the lead character) father in 'Mela'was enacted on his face in the film. It was a face that could look innocent one moment, tough the next, submissive now, rebellious then. Here was a face that mirrored the hopes and aspirations of a growing generation. Thus, out of'Jugnu', 'Anokha Pyar', 'Mela' and especially after his teaming with Kamini Kaushal in 'Nadiya Ke Paar', 'Shaheed' and 'Shabnam' (1948-49) was born a youthful screen image passionately in love with love, life and tragedy — all of which Dilip Kumar, then only 2f>, came to personify. A star was born; and the love legend began to take shape. In quick succession came a number of romantic tragedies which were used by Dilip Kumar to harness his image, as the embodiment of unrequited love — a yearning shared by every heart. Millions of hearts throbbed when Dilip suffered rejection, separation or betrayal in love. Millions of eyes became moist and people sighed and cried with him in the darkness of movie theatres.

No actor had so suddenly and so intensely involved the audiences in his portrayals as Dilip did. While adorning millions copied him with unconcealed pride, Dilip Kumar vveui on making films, not as they came his way hut as he wanted them. Film after film, DiMp Kumar the actor, became a phenomenon, ever deeper and enigmatic, No one but he alone knew what he was doing, where he was going. After doing five films in one year and while riding the crest of popularity, he suddenly recoiled and began working in not more than 2 or 3 films at a time. Rejecting lucrative offers, he would turn away queries of producers and then come out with all his effulgent brilliance in his chosen roles. He shunned publicity, lived in magnificent isolation, rarely seen in public, guarding his private life, every bit of this adding to the mystery of the man. His two strapped chappals, his white shin and white pants, every bit of his outward self was an object of adulation. What was happening to Dilip himself was even more fascinating. While in the public mind, the legend was growing into a human ideal, Dilip, the actor, was constantly reappraising and reshaping himself into a finely chiselled artiste, role after role. No one knew thai beyond the studio walls, he was busy studying Stanislavsky, classical and contemporary theatre, philosophy, comparative religious and cultures, and much more. While many of his colleagues were practicing the theory of making hay while the sun shines, Dilip was evolving a style, experimenting with it and was growing within. 'Andaz', 'Jogan', 'Deedar' and 'Hulchul,' had become the new histrionic lighthouses for other aspiring actors. The 'Nastik' of 'Jogan', the blind singer of 'Deedar', and the hungry job-seeking youth of'Hulchul1 drove a whole generation crazy. But he never looked back. He had no time for it.

Came 'Daag' and the alcoholic Shankar became a talked-about character. With utter unconcern, Dilip turned up as Vijay of 'Aan1, Mehhoob's musical extravaganza. "A new Dilip!" cried a thrilled industry. Dilip continued to develope new moulds, new patterns and new techniques, Each subsequent film added to the succession of studied performances with complex acting techniques. A line-up of three exquisitive films — 'Amar', 'Footpath' and 'Shikast' came and proved, if proof was needed, that the highest-paid actor, was also the histrionic phenomenon of India. I Ms millions of fans were taken by complete surprise by Dilip when he appeared in extreme contrast, one as the sell-tormenting 'Devdas' and next as the Dare De Dil Azad. Leaving audiences spellbound, Dilip took a huge leap forward and came up with 'Naya Daur', 'Madhumati' and 'Paigham', Then came 'Ganga Jumna' and all earlier identities and images were obliterated, as though the vibrant, virile 'Ganga' brought about a new apogee in screen acting and an ideal of perfection and excellence. From "Oil Diva Dar I.iya' to 'Amar' to Daastan', he created a series of vivid, contrasting portraits of the human mind. From an emotional experience, his acting now became an intellectual exercise and an aesthetic delight. Producers continued to offer him fancy prices, but he would not barter his excellence. He was an actor 'felt' by his audiences. He gave torment a face, grief a voice and emotion a colour. He raised acting to the level of fine art. He was the ideal and the inspiration of every undergraduate in acting. To act with him had been the ambition of every heroine. He was the star for all the directors. Producer-director H.S. Rawail, announcing the commencement of 'Sanghursh' in full page ads in the film-trade journals stated that he was fulfilling the ambition of a lifetime by being previleged to direct Dilip Kumar in 'Sunghursh'. R.K. Nayyar, protesting against Dilip's refusal to work for him, cried to him: "Why do you stand between me and immortality!" Unlike Raj Kapoor and Dev Anand, who set up their own production banners, Dilip Kumar always remained a star-for-hire all through his long and memorable career — excepting when he produced 'GangaJumna' under younger brother Nasir Khan's name, a film in which he virtually did everything himself — scripting, directing, acting and producing. 'Ganga Jumna1 was also one of the many blockbusters that Dilip starred in with hT most successful co-star, Vyjanthimala. The others being 'Devdas', 'Naya Daur', 'Marihumati', 'Paigham', "Leader'and 'Sunghursh'. Dilip's other favourite actress was the dazzling Madhubala, with whom he shared a close emotional bonding as well. In fact, Dilip's greatest hit 'Mughal-E-Azam' was with Madhubala and the film almost immortalized their real-life love story as well. Dilip has also done some memorable movies with Wahccda Rehman, like Ll)il Diya Dard I.iya', 'Rani Aur Shyam'and 'Aadmi'. But he was never as close to her as he was to Saira Banu, who was his co-star of 'Gopi', 'Sagina' and 'Bairaag'. She was also the woman the eventually married. After 'Bairaag' (1976).

Dilip Kumar look a long break from acting and resurfaced five years later withManqj Kumar's "Kraut i'. That was the beginning of his new innings. Thereafter, he delivered some superlative performances in movies like 'Shakti', 'Vidhaata'.'Mashaal', 'Karma' and'Saudagar'. Dilip was no longer the younger tragic-hero — with age, he had matured like fine wine. But even those stellar characters are impossible to forget. Dilip has often been regarded by younger actors as an institution. Actors like Amitabh Bachchan and Shah Rukh Khan, who drew inspiration from Dilip and modelled their careers on his lines, ended up becoming superstars of their respective eras. Actors like Rajendra Kumar and Manoj Kumar who also borrowed his style went on to become major stars as well. Well, maybe that's why Dilip Kumar is such a great legend, after all.