Most of these films also backfired at the box office.ĭilip Kumar and Raj Kapoor in 'Andaz' (screen grab).Īround this time, a watered down version of Wuthering Heights, Dil Diya Dard Liya (1966), won the fans back. Comedy, in his fine wiring, became slapdash and had no soul. On the advice of the psychiatrist, he decided to play goofy characters in films-like his role in Gopi in 1970. In London, he visited a psychiatrist after a spell of depression. Grief swelled between the lines he delivered there was nothing playful or spontaneous about Dilip Kumar’s acting.īy the 1960s, he had established himself as the “tragedy king” of Hindi cinema. The great actor found his energy in this doomed combination-ego, defiance and self-pity. Dilip in Andaz, Ashok in Babul, Vijay in Jogan, Shamu in Deedar, the eponymous Devdas, Devendra/Anand in Madhumati, Gunga in Gunga Jumna-they are carefully chiselled heroes and characters.Īcutely self-aware, egotistic as well as rebellious, what sets these characters apart is an intricate self-pity. The Dilip Kumar characters that every fan will remember are from the late 1940s to 1960. In the late 1940s, Mela and Andaz swung his career around. In 1944, when Dilip Kumar’s first film Jwar Bhata, a musical romance, released, critics were largely indifferent. Ashok Kumar even gave him formal lessons on acting. Owner of Bombay Talkies, Devika Rani, christened him in the early 1940s at her Bombay Talkies office, then in Pune, because at the time, a Muslim name was anathema to producers. In 1940, when he took up a job at Bombay Talkies, he watched Ashok Kumar on set every day. And because of his devotion, Hindi cinema of the 1940s, 50s and 60s allowed him that toil and celebrated that toil through his unquantifiable oeuvre of more than 60 films.Īcting was Ashok Kumar’s gift to Dilip Kumar. He was a fussy and passionate man who tried hard to make cinema and the world his own. Legions of great Indian actors, including Naseeruddin Shah, Amitabh Bachchan and Kamal Haasan have said they have emulated Dilip Saab in some way.ħ5 films that capture a million different ideas of Indiaĭilip Kumar’s gaze was always inward. Directors and actors who have worked with him have recounted in books and film magazines how painfully “method” he was-before Marlon Brando, who was two years younger than he, made method acting mainstream aspirational for actors around the world. Tabloid press has written reams about his affairs with Madhubala, Kamini Kaushal and the short marriage to Asma Rehman, whom Dilip Kumar dismissed in his memoirs as “a lapse of judgement”.īut Dilip Kumar wasn’t easy to love on set. But he was, like the other two men, no less a ladies’ man. His deep-set eyes deepened more when he smiled. He was tall and wiry with a high forehead that amplified his intensity and gravitas. Udaya Tara Nayar, the journalist who co-wrote the memoir Dilip Kumar: The Substance and the Shadow had told me years ago when I met her for an interview, that Saira still often called Dilip “chico”, a name that stayed with the actor from his days as a sandwich stall owner in his late teens at Pune’s Wellingdon Club-ladies who visited the club fondly called him “chico”, meaning “lad” or “boy” in Spanish.ĭilip Kumar wasn’t handsome the way the other two stars of the Nehruvian hero triumvirate of the 1940s, 50s and 60s-Dev Anand and Raj Kapoor-were handsome. In his quiet second life, he had Saira Banu, his partner, wife, caretaker and former star, by his side.
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