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The writer is Dawn’s correspondent in Delhi.
ONE sees a few good reasons to miss Dilip Kumar every Aug 5, starting this week. It was on this day that his most popular movie Mughal-i-Azam was released in 1960 depicting a halcyonic blend of Hindu and Muslim cultures during Emperor Akbar’s rule (1556-1605). It’s an essential beauty of Akbar’s rule that regressively tutored Hindus and Muslims bear equal malice for his fabled secular worldview. The film’s story was largely mythological like Camelot but Mughal-i-Azam was crucially told from a Nehruvian lens that romanced the coming together of popular lore with the secular sensibilities of a newly independent multicultural democracy.
This is with reference to the article ‘Dilip Kumar and Sher-O-Sukhan’ (EOS, July 18), which, as one can sense, is an elegy of Dilip Kumar, the great thespian. The article has quoted an incident in which the Padma Shri-decorated actor Tom Alter asked Dilip about what made the latter churn out such ubiquitous magic and excellence on the silver screen. Dilip’s answer was simple: “Sher-o-sukhan”, meaning poetry and literature.
This is also a befitting reply to many of our science and technology buffs, who in their ignorance wonder what good is the study of poetry and literature in this age. It was certainly the in-depth study of poetry and literature that made Dilip unique amongst his peers.
Dilip Kumar is not merely the screen name of a single historical individual, Yusuf Khan of Peshawar. It designates a cultural phenomenon, a wave, a meteoric spectacle and a creative jet.
He was all around us in my younger days; one recalls his gigantic posters in front of cinema halls, with endless lines of unruly sometimes rioting ticket hopefuls, lines reminiscent of the Great Wall of China, and around these lines black marketeers fluttering, multiplying the ticket prices as much as sixfold. In every alley, ordinary folk would sing songs masterfully lip-synced by this giant.
My uncle used to boast that he was among those champions who saw the very first screening of Aan, India’s first film shot in 16mm Gevacolor and blown up in 35mm Technicolor, a film created by the legendary Dilip Kumar-Mehboob Khan-Naushad trio. In fact, this Dilip-enthusiast uncle of mine would tell us his winner’s tale: he had prevailed upon his friends in the entertainment tax department to interced
Daily Times
The legacy of Dilip Kumar that would live long Dilip Kumar s early grooming and eclectic education enabled him to make a seamless transition as a polyglot between his native Pashto, which he spoke fluently with Punjabi
July 11, 2021
Superstar, trendsetter and tragedy King, iconic film actor Yusuf Khan alias Dilip Kumar left us on Wednesday as he breathed his last at the age of 98 in Mumbai from where he started his flamboyant career that spanned over half the century.
The Peshawar Born actor reached the peak of acting and got the status of an acting virtuoso; he was among the pioneers of the Indian film industry. The actor will be best remembered for his roles in films like Madhumati, Devdas, Mughal-e-Azam, Ganga Jamuna, Ram Aur Shyam, and Naya Daur in a career spanning over six decades. Dilip Kumar and Saira Banu, who married in 1966, starred together in Sagina Mahato, Gopi, Bairag, and Duniya. In India, Dilip Kumar was honoured with the Padma Bhushan in 1991 and