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Thursday, July 9, 2009

DILIP KUMAR'S THOUGHTFULNESS AND RESPECT FOR HIS MOTHER-IN-LAW, NASEEM BANU (REVISED).





Naseem Banu, in her heydays, was known as “Pari Chehra” (fairy-face). In Eastern folklores and Muslim literatures, fairies are supposed to be the most beautiful and desirable females on earth, just as a howri (‘Hoor’) is a desirable species of Paradise (‘Jannat’) Coming from a wealthy family, Naseem Banu was endowed with beauty, grace and elegance that charmed the people around her. She was “the most ravishingly beautiful actress ever” and had the most gorgeous eyes: large, round-shaped and heavy lidded. She did not need any fine silk or satins or jewels to attract attention but was the original Beauty Queen. Beginning her filmy career in 1935, (KHOON KA KHOON) she went on playing the heroine roles for almost twenty years, till 1953 (BAGHI). Being one of the finest actresses of her time, Naseem Banu left her imprints in many movies, including KHOON KA KHOON or HAMLET (as Ophelia), TALAAQ (as Roopa), BASANTI,  CHANDNI RAAT, CHAL CHAL RE NAUJAWAN (as Sumitra),  SHEESH MAHAL (as Ranjana Singh), AJEEB LADKI, ANOKHI ADA, SHABISTAN, and a swashbuckling adventure movie, SINBAD THE SAILOR (remember the song ADAA SE JHOOMTE HUWE?) and of course the classic 1939 flick, PUKAR, where she portrayed the role of Empress Noor Jehan and wife to Jehangir (the grey-green eyed Chandramohan). She was the first female Super Star of her time.

The second phase of Naseem Banu's filmy career began with her donning important supporting roles from NAUSHERWAN-E-ADIL (1957) where she played the role of the mother of actor Rajkumar, but still looking beautiful as the Mallika-e-Iran and wife to Nausherwan (Sohrab Modi,) till 1972 (PAKEEZAH) and beyond (KABHIE KABHIE - 1976). In the meantime, beginning 1964 (APRIL FOOL) she took charge of costume designing and the costume and wardrobe department for her daughter, Saira Banu, in many memorable movies, such as PADOSAN, JHUK GAYA AASMAAN, PURAB PACHHIM, VICTORIA 203, JWAR BHATA, POCKETMAAR, RESHAM KI DORI, CHAITALI, BAIRAAG right up to KALA AADMI (1978). The sarees, the mini-sarees, the mini-skirts, the bathroom towels, two-piece towel wear, the pearl strings, the mink stoles, chokers, the tom-boyish pants and shirts, silver anklets, the daring décolletage, that we have seen Saira Banu wearing in most of her movies, were all designed by Naseem Banu. In the early Sixties, Naseem Banu also dabbled in film production along with her son, Sultan Ahmed. As a teenager I remember seeing in "Screen" and "Cine Advance" (both prestigious Weekly film Papers) an entire page being devoted to the promotion of that film called PALKON KI CHAAON MEIN. Unfortunately, for some reasons or the other this film never took off.

It was Naseem Banu who had taken active steps in getting Saira Banu married to Dilip Kumar, who certainly needs no introduction. Besides being an inspiration for generation of actors in India, he is also a philanthropist, a great human being, and one of the most revered and multi-dimensional personalities in India. Dilip Kumar being the most eligible bachelor of his time, Saira Banu was thrilled beyond words at the marriage prospects. So thrilled was she that she did not mind surrendering the 35 movie projects , including the English version of the film GUIDE, and JEWEL THIEF, as well as Mehboob Khan’s (d.1964) HABBA KHATUN, that she had in her hands.


Soon after the marriage, Dilip Kumar, too, for the love of his wife, spent most of his free time or rather began living in Saira Banu’s Bungalow where his mother-in-law, Naseem Banu, also resided.
Dilip Kumar’s own landmark Bungalow is at a distance of couple of minutes’ walk or so from Saira’s. By the way, Dilip Kumar’s Bungalow (48/B, Pali Hills) has always been a reference point for the traffic moving about the Pali Hills which had acquired the equivalence of Hollywood’s Beverley Hills. As for Naseem Banu, she remained with them till her dying day and as long as she was alive, she supervised the going-abouts in their home, including the repairing of the wear and tear of the walls and bricks and furniture. She was a past-master at selecting the right colour for painting the walls and often gave tips to the contractors and painters on how to arrive at the correct shades of the desired colours – much to their surprise and delight. She was also an expert in interior designing, and in fact, the spacious foyer inside the Bungalow was designed by Naseem Banu.

Naseem Banu used to celebrate Dilip Kumar’s birthday in a grand style, by decorating their home with fragrant flowers and inviting guests to a sumptuous feast and making every bit of supervision to make that occasion a great success. She and Saira Banu would pamper Dilip Kumar silly. Saira Banu’s devotion to her hubby, Dilip Kumar, is well known. But some aspects of that devotion are not known and should in fact make for interesting reading in a separate blog article.

That Dilip Kumar is a doting husband is universally known. What is generally not known about one of the facets of Dilip Kumar is his thoughtfulness and care for his mother-in-law, Naseem Banu, too. Of course, Saira Banu was very fond of her mother and looked after her with great care and affection. Dilip Kumar had great respects for his mother-in-law whom he used to address as “Aapa Ji”. He used to listen to her whenever the occasions demanded. Whenever he came to come out of his room in order to go down the hall, he, like an obedient son-in-law, never failed to wish Salaam to Aapa Ji: “Salaam Alaykum Aapa Ji”. Naturally, what would appear as insignificant and mundane, assumes significance for us when it is associated with the original On-Screen Legend, Thespian Dilip Kumar. In this regard, I would like to bring on record an incident of the late 1970’s, that was narrated by a friend of mine.

It appears that one day Naseem Banu wanted to go out somewhere for which she needed a car. To her dismay, she found that all the cars had been taken and she was left with no car. So much unhappy was she at her plight, that this piece of news instantly reached Dilip Kumar. That was the time when Dilip Kumar used to sit in his office which was located in his own Bungalow. As soon as he learnt that Naseem Banu had no car to take her out, he came to her immediate rescue like the knight in the shining armour. He began making phone-calls from his office. Within no time, a fleet of 19 cars were lined up outside the Bungalow. More were coming. Word was sent to Naseem Banu that the cars were ready. Naseem Banu was pleasantly surprised at the fleet of cars at her disposal. She selected one and went away happily, elated at the thoughtful gesture of her son-in-law, Yusuf Khan – also known as The Dilip Kumar.

Naseem Banu was born on 4th July, 1916 and died on 18th June, 2002. On this occasion of the death anniversary of Naseem Banu, we pray that may her soul rest in everlasting heavenly peace.

NASIR

8 comments:

  1. Dear Mr Nasir

    I hope I am not going to offend you if I write the truth about my feelings regarding "Dilip Kumar" - Yusuf Khan. Out of all the actors I have watched in films produced in many countries: Russia, Italy, France, the UK, the US and Honkong, my best actor has always been Dilip Kumar, who had the style of a Marlon Brando, but only until Sagina when I felt so disgusted with that film and at the very bad quality of his roles that I stopped altogether watching his films. I tried a few times again, and I was more and more disappointed at not only his very poor acting, but also about his Hinduised manners (like most Indian actors and actresses - 99.9%!), and his boot-licking attitude regarding the racist "Hindu" government and institutions.

    What made me more disgusted with him was that he showed no interest in Islam at all in all the films I watched by him - as if he was scared to show himself as a Muslim, or as if he was not a Muslim at all, and made no film to show Muslims or Islam in their proper light - not even once.

    Kind regards
    Basheer Ahmad

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    1. Dear Mr Soormally,
      Your negative comments regarding Thespian Dilip Kumar are based on wrong perception and misinformation. Dilip Kumar is the most revered personality in Hindi film industry. The problems and difficulties that he has been facing throughout life is because he is a Muslim who has practically demonstrated courage to oppose the tyrant forces. You say he is afraid to show himself as a Muslim. Then why did he travel to the United States to raise money for Bosnian Muslims? As reported by the Los Angeles Times, Dilip Kumar stated: "The killing and manslaughter of numerous men, women and children and all done under the title of some kind of process of purification of man and society--ethnic cleansing--how could I not get involved?" At the same time, Dilip Kumar has stated: What I have observed in the media of the West is that Muslims are shown as fanatics with little concern for human values. I have noted that even our own films have restricted the portrayal of Indian Muslims to burqa-clad women, bearded men in sherwanis, with nothing to do except listening to qawwalis and ghazals. Then we have inebriated nawabs and dancing girls. The outstanding achievements of Muslim philosophers, thinkers, scholars, scientists, artists and reformers have been underplayed by the media. On the contrary, rabble-rousing statements by some clerics are highlighted. There's lot to say but this is no place for it. Shortly stated, Dilip Kumar is an artiste and true to his profession and love for humanity. He is the world’s first method Actor and a perfect one at that. He is loved and respected by all the communities.

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  2. The second paragraph by "Basheer Ahmad", kindly state the names of few actors spanning international arena, who have 'shown' and 'promoted' interest in Islam in films. What does this statement mean?
    Can an actor reflect his personal interests in a commercial film?

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  3. FYI sir, the film Sagina is about the dangers of Communism and mass movement of easily influenced poor people for wrecking damage. As 'ugly' as you may find the film, it is reflective of the ills of many mass movements being faced in the world today. Inability to understand is, is reflective of the gap between the haves and the have nots, and lack of awareness of what is transpiring under ones noses.

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  4. Hi Nasir,
    That's a fitting reply to the Basheer Ahmed's of the world. Lining or not liking a person as an actor, can be an individual choice. However qualifying his image with religious colours is absolutely incorrect. Mr. Basheer Ahmed, you will find more Hindu admirers or Dilip Kumar than the Muslims and religion has nothing to do with it. I would like to go on and on, but let me end this by saying that whatever character Dilip Kumar has portrayed on/ off Screen has always been loved and admired by people.

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  5. Excellent Nasir Saheb!!Apka lekh padhkar tabiyat khus hogaya!!THANKYOU NASIR SAHEB!!

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    Replies
    1. Shukriya Narendra ji.
      Bahot mashkoor hooN.

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