Today, Dec 11, is the centennial birthday of arguably the best actor to ever grace the screens of Indian cinema.
How do I form words to celebrate this stalwart, this thespian, this encyclopedia of everything that's acting, this role model for every actor from Amitabh Bachchan to Shahrukh Khan to Ayushman Khurana?
Perhaps I should begin with my own personal DK journey.
I must admit (very shamefully) that I wasn't always his biggest fan. My dad was and would watch his movies diligently with an awed smile on his face at his theatrics. And I would scoff at him because I'd rather watch Amitabh Bachchan, Shashi Kapoor, Rishi Kapoor, Shammi Kapoor or Dev Anand. Because Dev Anand had swag, Shammi Kapoor was funny, Shashi and Rishi were cute, and Amitabh, of course, was Amitabh.
And all Dilip Kumar did was look deeply pained and speak some heavy dialogues under his breath. Who cared about that stuff? That stuff = everything good about acting but I didn't know that then.
In my defense, I had only seen him in Deedar (where he pokes his eyes out after pining for a woman who gives two hoots about him) or Uran Khatola (another misery fest with Nimmi as his costar for God's sakes!) or Devdas (where he gets drunk and pines for a woman he cannot have) or Daag (where he just stays drunk the entire time).
Hah! I didn't want to wallow in the same misery that his characters did! Who wanted that kind of angst when I could watch Rajesh Khanna and AB merrily cavort with their heroines whom they woo and win successfully? Or even Kishore Kumar with his brand of madcap humor?
It took some more years and a heavy dose of maturity for me to learn to appreciate the style, sophistication and substance that was Dilip Kumar. And it was only fitting that it did because he's not for the frivolous or the shallow. Though I daresay he can be absolutely goofy and do screwball that could give Cary Grant and the Marx Brothers a run for their money. Recall the mirror scene from Kohinoor? In fact it was that very same movie that my dad dragged me by the ear and sat me down to watch one Saturday evening when it aired on Doordarshan.
Of course I was determined not to like it - or him (Yes, yes by now you must have gathered that Teenage Me was an idiot!) but I found myself cackling at his insane antics and the sheer nonsense he spouted with such unquestionable panache. But I wasn't about to admit it. I quickly schooled my face into a neutral expression lest my dad should see how much I was enjoying it. Then grudgingly said it was 'not bad' when it was over.
Little did I know that was only the beginning. DK had slowly sneaked his way into my heart and was making a space there unbeknownst to me - slowly winning me over with each character he portrayed.
I watched Naya Daur and fell for Shankar's rustic but winsome charm. Then came Madhumati and I was so deeply moved by the passion and love that Anand had for his Madhu. I was in agony in the scene where he finds out that she jumped over the cliff to escape Ugranarayan's clutches. I cried when she led him over the same cliff so they could be together in the afterlife after he had gotten her justice.
My DK initiation was sealed, signed, completed, delivered. I was hooked, lined and sinkered. Or so I thought.
Then I watched Tarana and Azaad. Fell some more.
But there was still more to come from this complex, multi-layered artiste and justifiably so.
Yes, I hadn't yet seen Mughal- e-Azam, only heard about it from my dad and finally did. And though Prithviraj Kapoor and Madhubala had the meatier roles, it was DK with his quiet intensity that commanded the screen whenever he was in it.
Aan, I think, was the movie I lost my heart to him completely. The heroic, handsome and swashbuckling Jai Tilak and his undying, legendary love for Rajkumari Rajeshwari was right up my romantic fantasy alley. Though this movie has definitely not aged well and would be considered problematic in this day and age, DK shines (and looks soo good!) as Jai with all his impishness and arrogance. Even now when I watch 'Takra gaya tumse', and that smile shining through despite the pain she inflicted on him, I want to do something nasty to Nadira.
The way she tries to break him and the way his love remains loyal and steadfast and eventually breaks her? I think I was Rajkumari Rajeshwari in this scenario (metaphorically of course!). My heart that had been holding out from admitting his brilliance finally melted and I caved. DK now ruled my heart for good. Forever.
I don't think there are any films of his from the 50s and 60s (and late 40s) that I haven't watched. And some I still rewatch. Over and over. Footpath, Babul, Jogan, Sangdil, Andaaz, Shaheed, Aarzoo, Dil diya dard liya, Paigham, Musafir, Insaniyat, Yahudi, Leader, Sanghursh, Ganga Jamuna, Ram aur Shyam, Amar, even Gopi, Sagina and Bairaag... I watched them all.
I finally understood what people had been saying about Dilip Kumar and why he's still considered an institution to learn and imbibe from to this day. Some actors act with their entire bodies and that's great for them but this man? He could convey his character's feelings with only his eyes. How did he do it? And then he would move a tiny muscle in his face and another gazillion emotions would come into play. What magic was this? What pull did he now have over me that I sat mesmerized watching him with the same awed smile on my face that I used to scoff at my dad for displaying?
I wish he had done Sherif Ali's character in Lawrence of Arabia (The role that eventually went to Omar Sharif and made his career). I would have liked that movie more.
Born in Peshwar as Mohammad Yusuf Khan, in a family of twelve, he was schooled in Deolali in Maharashtra after which he moved to Pune for a while. His father was a fruit merchant. DK and Raj Kapoor were friends in Peshawar where they grew up in the same neighbourhood. He moved to Bombay to work in a British Army canteen where he was noticed by Devika Rani whose husband, Himanshu Rai, gave him his first break. He adopted the stage name Dilip Kumar out of fear of his father who did not approve of the profession.
He started with Jwar Bhata (1944) but it was four films later with Jugnu (1947) opposite Noor Jehan that he really made a mark. And then there was no looking back. He ruled the 50s and 60s.
After a brief hiatus in the 70s he returned with a bang in Manoj Kumar's Kranti and went on to do several memorable character roles such as those in Shakti, Vidhaata, Karma, Mashaal, and Saudagar.
Winner of 8 Filmfare Best Actor Awards, A lifetime achievement award, The Dadasaheb Phalke Award, the Nishaan-e-Imitiaz (Pakistan's highest civilian award), DK has had no dearth of accolades.
He's still considered the pioneer of Method acting, ahead of Hollywood stalwarts like Marlon Brando. He was an inspiration to not just his peers that include formidable heavyweights such as Balraj Sahni, but to every generation of actors until the present day.
Happy Birthday, DK!
Hope you're mesmerizing the heavens with your acting muscles which is every muscle you own!
So today, on this revered actor's centenary, I invite you all to post some tidbits: what you like/ enjoy most about his acting, your DK favorite songs/ scenes/movies/ roles, trivia or anything at all about him that you'd like to share!
Kyunki Saas Bhi Kabhi Bahu Thi 2
Geet - Hui Sabse Parayee
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