Dilip Kumar passed away on 7th July, 2021. And what a void he left — a chapter closed for the Indian cinema. Considered a method actor, a school of acting, and an institution in himself, he holds his charisma even to this day. Probably one of the most revered, loved, and adored personalities in the film world, he continued to inspire many generations of actors and they unabashedly admitted he was the original whom they saw and imitated. He was a perfectionist with an impeccable dialogue delivery, never over-playing, or over-exposing himself. Though physically he is not with us anymore, he continues to regale and enamor his fans around the globe with his unforgettable silver screen performances, and the songs which were picturized on him.
They say he acted in only around 50 movies but what an outstanding contribution he made to the cinema world. Almost like Don Bradman of cricket who played in only 52 tests and scored 29 test centuries, including 12 double hundreds and two triple centuries, with an overall average of 99.94 runs. With his string of silver, golden and diamond jubilees Dilip Kumar was comparable and rode the film world like a Colossus. As it is said there cannot be a second Bradman, we can say there cannot be a second Dilip Kumar.
Why did Dilip Kumar make so much news with all the cine stars singing eulogies and all — time greats like Amitabh Bachchan, Dharmendra, Shah Rukh Khan, Aamir Khan, Salman Khan, Naseeruddin Shah and many others confessing he was one of the greatest they had seen. Such awesome was his aura and influence that when the famous Mehboob Khan who was looking for a male lead for “Mother India” and wanted to approach Dilip Kumar, it is said Nargis objected and commented if he takes Dilip then the film will have to be renamed to something else other than “Mother India” because the entire focus will then shift to him as he will steal the show and limelight. Such was the honour and prestige of Dilip Kumar.
Some glimpses of Dilip Kumar’s exquisite cinematic journey are depicted below through the songs picturized on him:
Shaheed, 1948 — As the song “Watan ki raah mein watan ke naujawan shaheed hon” was played as a background song on him, the nation rose with watery eyes to welcome the new emerging star on the screen firmament.
Andaz, 1949 — As a dejected lover, he sang his heart out in “Tu kahe agar jivan bhar main geet sunata jaoon”, Jhoom Jhoom ke nacho aaj” expressing his anguish as well as the travails and tribulations of a love trio which was depicted excellently by him, Raj Kapoor and Nargis. Mukesh had sung beautifully the songs composed by Naushad which was magnified manifold by the realistic acting of Dilip. Film was a super duper hit and a trend-setter.
Daag, 1952 — In the song “Ae mere dil kahin aur chal, teri duniya se dil bhar gaya”, he transports you to a different world altogether which is free from the intrigues and machinations of a cruel world. Song was a super hit sung by Talat and music by the evergreen Shankar Jaikishan.
Footpath, 1953 — “Shamey gham ki quasam” – when he sang the melodious nazm in a serene environment sitting in a rocking arm-chair, he captured the pain and pathos of a lover.
Devdas 1954 — Considered a veritable hallmark and illustration for the learners of acting, the film created maximum impact on the cinegoers. When the forlorn Dilip sings “Mitwa-Mitwa lagi re ye kaisi anbujh aag” , he delivers a pang of pain or when lying in the gutter as a totally sozzled hapless lover murmurs” Kisko khabar thi kisko yakeen tha” he touches a vital chord in the viewers. No wonder the ultimate acting won him the nickname of “Tragedy king”. Talat and S D burman created magic in this one of the best tragic movies of all times.
Udan Khatola, 1955 — In “Mohabbat ki rahon mein chalna sambhal ke” and “O door ke musafir” sung beautifully by Rafi, Dilip Kumar emerges as a romantic lover.
Naya Daur, 1957 — A runaway hit saw many popular numbers like “ Ude jab jab zulphen teri” and “ Maang ke saath tumhara” picturized on Dilip and sung by Mohd Rafi.
Madhumati, 1958 — A classical Bimal Roy film with haunting melodies composed by Salil Chowdhury became a trend-setter of mysterious music-oriented movies. When Dilip emerges on the screen singing “Suhana safar aur ye Mausam haseen” he enchants all by his presence in the hills and seems to orchestrate the sylvan setting at will. The magic of Mukesh, Lata and Salil Chowdhury appeared to enrapture the audience. Not to forget “Toote hue khwabon ne” sung excellently by Rafi to express Dilip’s lamentations in the latter part of the movie.
Kohinoor, 1960 — Dilip Kumar carried on his light romantic comedy role with elan in Kohinoor especially when he sings “Madhuban mein Radhika nache re”, one of the most popular classical songs sung by Rafi under the Music composition of Naushad. It is said he played the sitar onscreen like a virtuoso for which he took training for nearly six months.
Leader, 1964 — While his naughtiness in this film when he teased the heroine Vyjayantimala with “Tere husn ke kya tareef karoon” was enthralling, his expression of love in “Ek shahanshah ne banwa ke haseen Tajmahal” with classical notes (Rafi and Lata) wove magic.
Ram aur Shyam, 1967 — His first double role was a romantic hilarious comedy signifying victory of good over the oppressive tyrant singing “Ayi hain baharen mitey zulmo sitam” was a thorough entertainer and also a trend setter.
Sagina,1974 — As rebellious youth he acts an uncouth upstart and sings” Saala main to sahab ban gaya”. Dilip excelled in this movie also which was a remake of his Bengali “Sagina Mahto”.
Dilip Kumar surprised all with his range and versatility. From his earlier tragic roles where he earned the sobriquet of “Tragedy King”, he also lived up to his comic roles with equal finesse. He was a passionate and natural actor who never went after numbers. As a perfectionist, he never settled for a second-rate performance of “Chalta hai” type. His variety, controlled dialogue delivery, captivating personality was a unique combination hitherto unseen in the India film industry. He was a rare star who won critical and commercial acclaim simultaneously. Probably one of the few actors who reigned supreme in the hearts of the people the world over and who will continue to stay there forever.
In my view what could be a better parting commemoration gift to the Legend other than dedicating a couplet to him by his favourite poet Faiz Ahmad Faiz which says:
“Ik sukhan aur phir ye rang-e-takallum tera Harfe sadah ko inayat karey ajaz ka rang”
Which means “First the speech or dialogue then your oration simply turns mere words into a miracle”.
The writer can be reached at Prasad.amritanshu@gmail.com