In films, as the lines appear on the face of the actor, his voice also reaches very clearly; Dilip Kumar was the first to introduce this new technology in India.
Decades before the beginning of acting schools and colleges in India, Dilip Kumar became the Vice Chancellor of the ‘University of Acting’ of Indian films. Even after a long and full-time career spanning six decades, the actor retained his belly for three decades and his acting skills were considered a role model for every great artist in the field of painting. Dilip Kumar’s acting changed the color and light of Indian painting and had a profound impact on everything from its layout to its content. So most of the actors in each next generation worked hard to be able to act like them. Dilip Kumar is a classic example of how acting can and should be done in a medium like film. But there was always a difference between Dilip Kumar and others. Many others – like most recently Naseeruddin Shah, Irrfan Khan, Manoj Bajpayee, Pankaj Kapur or Pankaj Tripathi – had to ‘act’ – with respectable exceptions. The role of Dilip Kumar was played by Oghane. As noted by Nasreen Munni Kabir in the documentary on Dilip Kumar, the difference between Dilip Kumar and others was the difference between ‘doing’ and ‘being’.
The glory and magic of this name would not have been seen by anyone born in this century, but the name of Dilip Kumar belongs to everyone who is new to this field, whom today’s elders look up to as a role model. it is said. . Born in Peshawar, present-day Pakistan, Yusuf Khan did not try his luck at the door of a studio in Mumbai at the time. They all spontaneously came together and literally turned silver opportunity into gold. Raj Kapoor was her classmate at Khalsa College in Mumbai. These two are college friends. But the credit for bringing him in the film goes to Devikaran. The credit for making Yusuf Khan Dilip Kumar also goes to him. The film ‘Jwar Bhata’ released in 1944 did not attract much attention of this actor. Baburao Patel, a well-known film critic of the time, had slammed Dilip Kumar in ‘Jwar Bhata’. His description of Dilip Kumar’s first screen appearance is, “Someone must feed him before he delivers the next film.” A true artist always criticizes the critics. Dilip Kumar did not do this. He rebuked all the critics. Dilip Kumar’s name came into limelight with his next film ‘Jugnu’. But because of Mehboob Khan’s ‘Anuman’, Dilip Kumar became Dilip Kumar. Nargis on one side and Kovala on the other, Utful Raj Kapoor and Kovala with her but Pokat Dilip Kumar is Triveni Sangam in 1949. In the next three years, it will be 75 years. But the Kumbh Mela of film fans at this confluence is still filled with enthusiasm. Whether it is the incident of these three on the steps of the house or Dilip (whose name is also Dileep in the film) loves us. The most velvety of these is the murmur and murmur of Vendhalya Madhubala in front of Dilip Kumar, the smart contractor of ‘Tarana’. Of these, Dilip Kumar’s form is a life-giver for every youth (even today) and Madhubala’s form is a life-giver in him – of course even today. In the four years after independence and the three years after that, this ‘tarana’ is the ‘immortal’ of these two. But for ‘Mughal-e-Azam’, both of them remain in the mind of many people. But it is worth remembering the Vrindavan Gardens of Mysore. You cannot even dream of making such a garden. Also, Salim in ‘Mughal-e-Azam’, looking back, etc. are excellent. He is alright. This is just history. But in ‘Naya Daur’ Dilip Kumar, who sings ‘Ude Jab Jab Zulfe Teri’, ‘Pani Lene Ke Kehne Aaj…’, feels that his ‘Bas Ki Baat’ has noted actors below the poverty line. should go). His dance in the song ‘Nain Lad Jai Hai’ from this or ‘Ganga Jamuna’ has become the basic truth of the hero’s dance even today. In both these films, Dilip Kumar has fun on the pain of Vyjayanthimala.
Indian films began to speak, yet the set of actors who acted in them came from plays. Therefore, it can be said that all early films were made with this kind of acting. At that time only the actors had to sing in the film, as the film did not have the technology to create a separate soundtrack. When this technique of playback recording arrived, acting became free. Like every line and line on an actor’s face in this new medium, his voice also reaches very clearly. Dilip Kumar is the first actor to understand this new technology. He kept his voice low. Just as the reason behind this is that there is no need to speak loudly, its formula was that this time the voice increases the intoxication of face acting. While everything was at an experimental stage, Dilip Kumar had the honor of setting a standard. “It is not necessary to act in a deaf voice, to stretch the nerves on a sentimental occasion, to murmur and pour oil on the front ear,” was his theory. He is visible in his acting till the end. Extremely restrained acting remained his enduring feature. ‘Give the audience a lot. But even after giving he must feel something else from the actor’ is his acting motto. Actors like Raj Kapoor and Dev Anand, who were equally popular in the silver world at the same time, should be one to envy too. Dilip Kumar has played a variety of roles in his career spanning almost six decades. Many films, ranging from serious to fiery and witty, were hugely successful at the box office, but their recognition was tragic. His identity as ‘Devdas’ remained a shadow with him and he never shied away from this image. This sadness then sat on his wrist and when it started bothering him, he decided to make a comedy film for a while to end it.
Success ran behind Dilip Kumar who had been on the silver screen for the past two decades in the sixties and seventies. New movies like Naya Daur, Udaan Khatola, Madhumati, Daag, Mughal-e-Azam, Ganga Jamuna were shown one after the other and even then the description of the actor applies to them. Because they never had to ‘do’ it. Secondly, he set the standard for Indian cinema that even a great actor becomes immensely popular. The career began in 1944 and ended in 1998. However, the classic acting behind Dilip Kumar has not diminished at all. In the ten years after 1970, Indian cinema was changing and audience interest was also changing. Seeing this change, the actor returned to the eighties with a new life and cemented his position. Dilip Kumar proved his acting skills as a character actor in movies like Kranti, Vidhata, Mashal, Kanoon Apna Apna, Karma, Saudagar. In such a long time, Dilip Kumar has produced very few but very high quality films in this very useful painting. More than just chasing after money and fame, this artist who loved his art stood as a beacon for generations to come! His deep voice and every line on his face, every movement of his body has become the subject of acting school.
There isn’t much to say about them. But saying so, there is no need to give a calendar of films. Remembering Dilip Kumar even today. The importance of one’s work lies in the chronology of its existence, before and after it. The history of Hindi films will be divided into previous and later films of Dilip Kumar. This is a very realistic description of Amitabh Bachchan. There can be no greater tribute than this. From Sanjeev Kumar, Amitabh to Irrfan, Shahrukh Khan among the many heroes who left their mark and there is still one left is Mohammad Yusuf Khan aka Dilip Kumar who passed away today. He was honored by the Loksatta family.
First published on July 8, 2021 at 3:16 am
web title: Loksatta editorial pays tribute to legendary actor Dilip Kumar 70
Copyright © 2021 The Indian Express [P] Ltd. All Rights Reserved.
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