836. Filmy Devotional Song of Rafi: Aana hai toh aa raah mein....

Movie: NAYA DAUR (1957)


Music: O.P. Nayyar

Lyrics: Sahir Ludhianvi

Main Movie-Hall where first released in Bombay: Minerva Cinema.



Filmy Devotional Song of Rafi: Aana hai toh aa raah me.n…..
Roman Transliteration/English Translation of the original Hindi Lyrics:


aana hai toh aa,
PROCEED! IF YOU NEED TO COME,


raah me.n~~~~ kuchh pher nahee.n hai,
THERE’S NO TWIST ON THE WAY,


bhagwaan ke ghar, der hai,
IN GOD’S HOUSE THERE’S DELAY,


andher nahee.n hai…
BUT NOT INEQUITY!


aana hai toh aa
PROCEED! IF YOU NEED TO COME,


raah me.n, kuchh pher nahee.n hai,
THERE’S NO TWIST ON THE WAY,


bhagwaan ke ghar der hai,
IN GOD’S HOUSE THERE’S DELAY,


andher nahee.n hai,
BUT NOT INEQUTY!


aana hai toh aa
PROCEED! IF YOU NEED TO COME,


raah me.n, kuchh pher nahee.n hai,
THERE IS NO TWIST ON THE WAY,


bhagwaan ke ghar der hai,
IN GOD’S HOUSE THERE’S DELAY,


andher nahee.n hai,
BUT NOT INEQUITY!


aana hai toh aa~~~
PROCEED! IF YOU NEED TO COME!


jab tujh se na suljhe.n tere uljhe huwe dha.ndhe,
WHEN YOU FAIL TO SOLVE YOUR KNOTTY AFFAIRS,


jab tujh se na suljhe.n tere uljhe huwe dha.ndhe,
WHEN YOU FAIL TO SOLVE YOUR KNOTTY AFFAIRS,


bhagwaan ke insaaf pe sab chho.D de bande,
LEAVE EVERYTHING TO GOD’S DECISION,


Khud hee teree mushkil ko voh aasaan karegaa,
HE ALONE WILL RESOLVE YOUR DIFFICULTY,


Khud hee teree mushkil ko voh aasaan karegaa,
HE ALONE WILL RESOLVE YOUR DIFFICULTY,


jo tuu nahee.n kar paayaa voh bhagwaan karegaa,
WHAT YOU COULDN’T ACHIEVE, GOD WILL DO THAT,


jo tuu nahee.n kar paayaa voh bhagwaan karegaa,
WHAT YOU COULDN’T ACHIEVE, GOD WILL DO THAT,


bhagwaan Karegaa,
GOD WILL DO THAT!


bhagwaan Karegaa,
GOD WILL DO THAT!


aana hai toh aa
PROCEED! IF YOU NEED TO COME,


raah me.n, kuchh pher nahee.n hai,
THERE IS NO TWIST ON THE WAY,


bhagwaan ke ghar der hai,
IN GOD’S HOUSE THERE’S DELAY,


andher nahee.n hai,
BUT NOT INEQUITY!


aana hai toh aa~~~
PROCEED! IF YOU NEED TO COME!


kehne kee zaroorat nahee.n, aana hee bahot hai
THERE’S NO NEED TO SAY IT, ENOUGH IS YOUR PRESENCE,


kehne kee zaroorat nahee.n, aana hee bahot hai,
THERE’S NO NEED TO SAY IT, ENOUGH IS YOUR PRESENCE,


is dar pe teraa sees jhukaanaa hee bahot hai,
BOWING YOUR HEAD AT THIS THRESHOLD IS SUFFICIENT!


jo kuchhh hai tere dil me.n voh sab uss ko Khabar hai,
WHATEVER’S IN YOUR MIND, HE KNOWS IT ALL,


jo kuchhh hai tere dil me.n voh sab, uss ko Khabar hai,
WHATEVER’S IN YOUR MIND, HE KNOWS IT ALL,


bande tere har haal pe maalik kee nazar hai,
O DEVOTEE, THE LORD OBSERVES EVERY STATE OF YOURS!


bande tere har haal pe maalik kee nazar hai,
O DEVOTEE, THE LORD OBSERVES EVERY STATE OF YOURS!


maalik kee nazar hai,
THE LORD  OBSERVES!


aana hai toh aa
PROCEED! IF YOU NEED TO COME,


raah me.n, kuchh pher nahee.n hai,
THERE IS NO TWIST ON THE WAY,


bhagwaan ke ghar der hai,
IN GOD’S HOUSE THERE’S DELAY,


andher nahee.n hai,
BUT NOT INEQUITY!


aana hai toh aa~~~
PROCEED! IF YOU NEED TO COME!


bin maange bhee miltee hai.n yahaa.n mann kee muraade.n,
EVEN WITHOUT INVOCATION, HEART’S DESIRE GET FULFILLED,


bin maange bhee miltee hai.n yahaa.n mann kee muraade.n,
EVEN WITHOUT INVOCATION, HEART’S DESIRES GET FULFILLED,


dil saaf ho jin kaa woh yahaa.n aake sadaa de,
LET HIM WHO’S PURE OF HEART COME AND INVOKE HERE!


miltaa hai jahaa.n nyaay voh darbaar yahee hai,
‘TIS THE COURT WHERE JUSTICE IS OBTAINED!


miltaa hai jahaa.n nyaay, voh darbaar yahee hai,
‘TIS THE COURT WHERE JUSTICE IS OBTAINED!


sansar kee sab se ba.Dee sarkar yahee hai,
THIS IS THE WORLD’S GREATEST GOVERNMENT!


sansar kee sab se ba.Dee sarkar yahee hai,
THIS THE WORLD’S GREATEST GOVERNMENT!


sarkar yahee hai,
THIS IS THE GOVERNMENT!


aana hai toh aa
PROCEED! IF YOU NEED TO COME,


raah me.n, kuchh pher nahee.n hai,
THERE IS NO TWIST ON THE WAY,


bhagwaan ke ghar der hai,
IN GOD’S HOUSE THERE’S DELAY,


andher nahee.n hai,
BUT NOT INEQUITY!

aana hai toh aa.

PROCEED! IF YOU NEED TO COME!

NASIR.

lyrics

translation

HOW COMEDY CAME KNOCKING AT THE DOOR OF TRAGEDY KING, DILIP KUMAR: Part 2 of 2.

HOW DILIP KUMAR LANDED THE ROLE IN PAKSHIRAJA'S “AZAAD” (1956).



By the time “Azaad” was in the offing, Dilip Kumar had become the undisputed icon of the Indian screen but also earned the epithet of “Tragedy King”.  These roles, however, took a toll on the psyche of Dilip Kumar to such an extent that he had no option but to visit a psychiatrist for counsel and treatment. When Guru Dutt's Pyaasa (1957) was offered to him, Dilip Kumar did not want it  since he felt that that the character of Vijay in Pyaasa was an extension of  Devdas, and a bit too morose.  Doctors had advised him to take up lighter or comic roles in future so that the tragic aspects of his reel life did not overshadow his personality in real life. Thus the clouds of freedom from tragic roles began looming over him quite fortuitously.


The curtain of our drama unfolds way back in 1945 when SM Sriramulu Naidu (1910-1976) started Pakshiraja Studios at Pullakulam. A decade later, Pakshiraj Studios produced multi-lingual movies, cutting across the language divides and geographical boundaries. The Studios produced Malai Kallan (1954) in Tamil, featuring M.G. Ramchandran and Banumathi; Aggi Ramudu (1955) in Telugu with N T Rama Rao and Banumathi; Bettada Kalla (1957) in Kannada; Taskaraveeran (1957) in Malayalam; Soorasena (1957) in Sinhala; and the hindi movie Azaad (1956) that had Dilip Kumar and Meena Kumari. It is said that Mr. Naidu’s six-films phenomenon has not been repeated by anyone in the world.


How “Azaad” was finalized with Dilip Kumar is known comparatively to a very few persons in the Hindi film circle but the facts are gathered from the word of mouth of a person who was a witness to the entire meeting. It appears that Mr. Naidu happened to meet a personal friend of Dilip Kumar and told him that he intended to make comedy movie with Dilip Kumar. At the first blush, the proposition indeed appeared as a strange one: A South Indian Producer wanting to cast the Tragedy King of Bollywood as the hero of an adventurous comedy movie! However, it was not the first time that Mr. Naidu had had a brush with Hindi films. Earlier, he had dubbed the Madhubala-Premnath starrer Badal (1951) in Tamil (Puratchiveeran) and Malyalam (Desabhaktan) films. He requested him to let Dilip Kumar know about his plans. He requested that Dilip Kumar should meet him in his studio’s office. Mr. Naidu made it known that over and above his fees, all the sundry expenses including the to and fro airfare plus the hotel charges would be borne by him happily throughout the making of Azaad.  Dilip Kumar was not the one who could be swayed by just a lucrative offer. As he had once said, “Dilip Kumar is a precious commodity.” It has always been his principle throughout the life that he took up roles that he believed in and which would give him professional satisfaction.


For some reasons or the other nothing seemed to happen for some time. Mr. Naidu persistently pursued the common friend to persuade Dilip Kumar who, by this time, had already received a warning from his shrink that he should take a break from the tragic roles and venture into lighter roles. Now here was Mr. Naidu’s offer, a comedy role, that had come knocking at his door. So finally, Dilip Kumar relented and met him. He had a long list of conditions and demands. Mr. Naidu was a genius film-maker and go-getter who had done a thorough homework. As soon as Dilip Kumar would put a condition, Mr. Naidu would immediately agree to it one after the other. He left no scope for any disagreements. Mr. Naidu even agreed to willingly pay him a much higher fees than what Dilip Kumar usually charged for a movie. Even the signing amount and the contract were kept ready. Mr. Naidu had just one condition: and this was the time-frame within which the movie was to be completed. Since all his demands were accepted by Mr. Naidu, how could Dilip Kumar refuse the offer! The contract was signed on the spot.  Mr. Naidu took Dilip Kumar around many bungalows since there was not a single star-hotel in Coimbatore then. He also offered him the many rooms in his own  Pakshiraja Studio. The legend chose to sojourn in the studio. Meena Kumari followed suit. Azaad, the first Hindi movie in the region was shot in just three months in three schedules lasting 20 days each. Thus Dilip Kumar landed his first comedy role with a bang.

Azaad was a huge success and broke all box-office records. It was a breakaway movie for the Tragedy King Dilip Kumar where he played various roles of Kumar, Abdul Rahim Khan and that of the adventurous Robin-Hood of a Azaad where he sings KITNA HASEEN HAI MAUSAM to his lady love Shobha (Meena Kumari) in the wilderness after saving her from the kidnapper  Chander (Pran). The respectable but fun-filled role of Khan Sahaab who keeps a tab on the police and uses the information to his advantage and the way he as the bearded Khan Sahaab professes his love to the incredulous and shocked Shobha is a treat to watch. Hunting with the hounds and running with the hares seems to be the subtle underlying motif of this comedy called Azaad. Dilip Kumar’s costumes and his fighting sequences are a natural delight. Just observe how he rapidly swings his boxing fists at the villain, Pran. I daresay that such a professional style I have hardly seen in any movie unless it happens to portray the character of a martial artists. How Azaad triumphs over evil and how he as Khan Sahaab causes many a confusion to the characters around him are the stuff of comedies in this movie. The cine public were not used to see Dilip Kumar in such a role and therefore the movie made great waves at that time.   In 1957 he won the Filmfare Award in the Best Actor’s  category for his role again after Devdas. 

In passing, C.R. Ramchandra had given a melodious music and all the songs were great hits. I remember how a classmate of mine, named Mukta Jaitley, sang RADHA NAA BOLE NA BOLE RE in the inter-class competition and won the award as the best female singer in the school. JAA RI JAA RI O KAARI BADARIYA and DEKHO JI BAHAAR AAYI are other foot-tapping numbers. As for the qawwali, MARNA BHI MOHABBAT MEIN KISI KAAM NAA AAYAA is especially watchable for the tantrums of the Khan Sahaab. As for the song, APLAM CHAPLAM, which is a Lata-Usha duet, there is an interesting anecdote about how the lyrics of APLAM CHAPLAM came to be written. It seems that the lyricist, Rajinder Krishan was at his wit’s end hunting for words to suit the tune of that song. Pressed for time, C. Ramchandra was growing impatient with him as days passed by. One day, Rajinder Krishan left his home for the recording studio when his young daughter who could hardly speak told him to bring her “apam chapam”. She meant that she wanted Chappals or slippers. At once those words struck Rajinder Krishan as heaven-sent. He got what he had been seeking for days on end. Excitedly he went to C. Ramchandra and narrated the lyrics: APLAM CHAPLAM CHAPLAYI RE DUNIYA KO CHHO.D TEREE GALEE AAYEE RE AAYEE RE AAYEE RE.... The music director was pleased as a punch. The picturisation of the song was equally brilliant. The scintillating dance performance by the Sisters Subbulaxmi and Sai against that song is still fresh in the minds of cinegoers who went wild as soon as the song hit the screen. In her live performance, Lata Mangeshkar alway made it a point to sing that number to please her “elder brother” Dilip Kumar who graced such occasions. Even a couple of months back, while judging a certain dance competition, Jeetendra made it known to the competitors about those magical steps involved in the ‘aplam chaplam’ song. He, too, still remembers! A mention may also be made that the movie was first offered to Naushad for music compositions.  However, the conditions of haste were not acceptable to Naushad and he declined the offer.  It was then that C. Ramchandra was roped in since he was ready to churn out the numbers well in time but at the cost that the producers had first offered to Naushad. 

 Years later,  in an interview, Meena Kumari recalled how when shooting for the movie AZAAD Dilip Kumar had rescued her and himself from the jaws of death.  That happened during the scene where Dilip Kumar after saving her from the clutches of Pran's henchmen and kidnappers, tries to reach her home.  He takes her by a rope-trolley which navigates from one side of a mountain to the other at the height of some 300 to 400 feet above the valley.  Both she and Dilip Kumar sat in one trolley while in another trolley sat the Director and the Cameraman to capture the scene.  When her trolley reached midway, she felt a jerk as the rope began to give way because of the load of two trolleys carrying four people.  Sensing that the rope would break any time, Meena Kumari got panicky and she created lots of commotions.  However, Dilip Kumar’s calmness and solace gave her strength to remain calm and composed.  Finally, they reached the other end and were thus out of danger.   Meena Kumari could not forget that Dilip Kumar’s sheer presence of mind and calmness during such a disastrous situation had saved the day for them all!  

As a kid, I happened to watch Azaad in 1956 at Bombay’s Minerva Cinema where it was premiered. I remember that Azaad ran to full houses for all the shows (3 p.m., 6 p.m. and 9 p.m.) for some 38 weeks at the Minerva Cinema and left an indelible mark in the annals of the golden era of Hindi Cinema as the first comedy attempt and a successful one at that, by the Tragedy King, Dilip Kumar.


NASIR

HOW COMEDY CAME KNOCKING AT THE DOOR OF TRAGEDY KING DILIP KUMAR! Part 1of 2.

Dilip Kumar has been the “perfectionist” actor of the golden era of Hindi cinema, just as Amir Khan is addressed as Mr. Perfectionist in the current era of Bollywood. Another common appellation that is attached to his name is that of “Tragedy King.” We all know that by some quirk of fate, the initial career of Thespian Dilip Kumar took him through the portals of the many tragic roles in such movies as Jugnu (1947), Shaheed, Nadiya ke Paar, Mela (all 1948), Andaz (1949), Babul (1950), Deedar (1951) and Uran Khatola (1955) - to name just a few. While most of the roles ended in the death of the protagonist, some stories portrayed the hero as the living dead, as in Uran Khatola where his beloved is sacrificed to appease the tooth and claws of nature. Dilip Kumar’s transition to comedy happened only after Devdas (1955) that was yet another tragedy role that crowned Dilip Kumar as the King of Tragedy. It is for this reason that a small discussion about Devdas becomes imperative.


Speaking about Devdas, it was sometimes in mid- Nineteen Fifties that the ace director, Bimal Roy, cast Dilip Kumar in one of the most challenging roles ever. Dilip Kumar picked up the gauntlet to play Devdas - a character in Sarat Chandra, famous novel of that name. Of course, earlier in 1935, K.L. Saigal had donned the garb of Devdas. However, that Devdas is remembered more for the immortal songs of Saigal Saab. With the consummate artistry, Dilip Kumar was able to lend such intensity and realism to the role of the alcoholic and self-defeating Devdas that the character became larger than life and is  remembered even after 55 years of the film’s release.  Dilip Kumar’s acting prowess fetched him yet another Filmfare Award in the Best Actor category. Also, no Bollywood actor dared to enact a full-fledged role of Devdas, though down the years that was done in snatches or as a parody or even symbolically. Thus the critics have noted that the role of Sikandar, played by Amitabh Bachchan in Muqaddar ka Sikandar during his mega-star days, has the shades of a Devdas what with his wooing of  the courtesan  (Rekha) at her ‘Kotha’. Dharmendra too had dropped the idea of enacting the role of Devdas.


For Bimal Roy, Devdas was the labour of love and it rightly won him critics’ acclaims and the movie has passed on to the Hall of Fame as a Bollywood “Classic”. The flip side was that Devdas did not earn money for Bimal Roy who was therefore drained financially. The silver linining to that dark cloud, however, was that Bimal Roy toyed with the idea of making Madhumati, a heroine-oriented romantic story of rebirth, with Dilip Kumar and Vyajayantimala in the lead. When Madhumati was released in 1958 not only was Bimal Roy laughing his way to the Bank, but had even accumulated as many as nine Filmfare Awards – a record that was surpassed only in 1995  by  Dilwaale Dulhaniya Le Jaayenge.

When I had watched Devdas at the Bombay’s Swastik Cinema in 1955, I was just a kid who had no sense of the seriousness of the movie or about its huge star-cast:  Dilip Kumar, Suchitra Sen (Paro his childhood love) , Vyajayantimala (Chandramukhi the courtesan)  and Motilal (Chunni Babu who leads him to the 'Kotha'though reluctantly) .   I did not understand that the rigidity of the caste-system creates a great chasm between the hearts of men.   Nor could I then understand how  a failed childhood love should drive someone  so crazy that he would drink himself to death!  Why should a ravishing courtesan who is the cynosure of all eyes (though lusting eyes) give up her smiles and laughter plus a lucrative business for a man whose heart and soul belongs to some other woman who has been married off to a much older man whose children belong to the same age-group as Devdas.   Was that some vicarious love of Paro with which she hoped to win over the hopeless alcoholic?  His mere presence had changed everything not only from the outside but also from the inside of Chandramukhi.  He was the first man in her life who had given her a wad of hard currency without demanding anything from her in return.  Who was more praiseworthy?  Chandramukhi?  Or Paro,  who is crushed under the wheels of filial obedience but who nevertheless musters enough courage to sneak after mid-night to meet Devdas, a 'Mard' to speak about the marriage  only to be turned down by him since he lacks the courage to rebel against his parents and escapes to Calcutta.   Both Paro and Chandramukhi are ready to serve Devdas in their own way;  but Devdas has a promise to keep.  A promise to  visit Paro sometimes.  He does that.  He dies at her doorstep! 

Youngsters would hardly find anything of interest there that would be suitable to their age.  However, I had to revise my opinion when many years ago I read an article by an eminent female film journalist (since deceased).  She recounts that as a teenager how she and other girls used to bunk their school off and on to watch Dilip Kumar as Devdas at the Swastik Cinema. Since they had no money to purchase tickets for the movie, they used to move inside the movie-hall on the sly, only after the movie started. A “friendly” usher readily helped them find vacant seats in the dark hall  but at a price. While guiding them to the seats in the dark, he would fondle the girls at the wrong places. The girls did not mind as long as they could watch Dilip Kumar on the screen!  It is not surprising therefore that girls of impressionable age too fell for his on-screen charm. Unknown to him, his future wife, Saira Banu, had a crush on him since she was twelve!     Evidently, Dilip Kumar’s persona was not less of a lady-killer even in such a  movie as Devdas where he dons a sombre, drunken  and brooding  look  almost all the time. 

More than four decades wouId pass before someone could think of re-making Devdas in earnest. Sanjay Leela Bansali decided to re-make Devdas with Shahrukh Khan in the title role. Though Sanjay Leela Bhansali’s Devdas was a box-office hit, it wasn’t a faithful adaptation of the novel. Nor did it have a stark realism of the older black- and-white version.  Compared to the rustic version, the new Devdas was a glamourised version which looked more of a costume drama that had lavish sets and was packaged in gaudy colours, artificial histrionics, and contrived sub-plots, such as the non-existent meeting of Chandramukhi (Madhuri Dixit) with Paro (a younger Aishwarya Rai) and and their mega song-and-dance sequence. The liberties taken by Sanjay with the original novel rightly had the purists fuming.


As for Shahrukh Khan, he had the explicit blessings of  Dilip Kumar and Saira Banu. In fact, it was Saira Banu who stated that if anyone could do Devdas it would be Shahrukh Khan. Shahrukh Khan must have certainly found it tough to do justice to the role for it is said that he often took to drinking on the sets to bring realism to his role of the drunkard.  According to Shahrukh, "My Devdas is just a tribute to Dilip saab 's performance. I hope that a lot of youngsters would watch me and then go back to watch Dilip saab as Devdas."   That was sweet of him to say!   However, while comparing the roles of Dilip Kumar and Shahrukh Khan, Vyajayantimala stated that Dilip Kumar had acted as Devdas while Shahrukh Khan acted as himself.

Reference to Devdas was a must, since the character had taken a toll of the psyche of Dilip Kumar and it was imperative that his humours were restored.  It was at this moment that Azaad, a non-tragedy film,  appeared to be God-sent. 


To continue...

NASIR

SO ASHA PAREKH DOESN'T LIKE DILIP KUMAR! A REVELATION INDEED!

An Article by Nasir Ali:

According to PTI reports, when Asha Parekh was asked why the audience did not see her and Dilip Kumar romancing on the screen, the former replied: “Who I don’t like, I don’t work with.” She was being felicitated by the IFFI at Panaji for her completion of 50 years in Bollywood.

Yes, everyone has a right to his or her dislikes, including Asha Parekh. However, this was one of the most unexpected statements coming from an actress who is only 3 three years away from 70. In normal course, such statements when they come in a package labeled, “Grapes are Sour” should be consigned to the trash-can. However, her statement forces me to rewind to the past to examine the merit of her said statement. The question is, whether any role was offered to her at all opposite Dilip Kumar. Or rather, did Dilip Kumar need an Asha Parekh.

When Asha Parekh was born in 1942, Yusuf Khan (Dilip Kumar) was in jail overnight, he refused to have his breakfast of eggs, toast and tea that was offered to him the next morning because that day Mahatma Gandhi was on on fast. The nation was busy with the Quit India Movement of 1942, for driving out the British Raj. During the next two years life was to take unexpected turn for Yusuf Khan when Devika Rani, the lady boss of Bombay Talkies, offered him a contract to act in her films. After initial hiccups Yusuf Khan accepted the offer and thus landed a role in Jwar Bhata (1944) under the name that the First Lady of the Indian Screen selected for him – Dilip Kumar - the name that was to cast spell on generations of film goers and fraternity for the next six decades. Thus he made his debut as an actor opposite Mridula and Shamim under the direction of Amiya Chakarborty. Dilip Kumar did two more films, Pratima (1945) and Milan (1946) after Jwar Bhata.

Now, when Asha Parekh started out as Baby Parekh in Aasmaan (1952) which is only remembered for the full-fledged musical debut of the king of rhythm, O.P. Nayyar (after scoring background music in Kaneez 1949), Dilip Kumar had mesmerized the nation with his powerhouse of acting talent and charisma in the following movies: Jugnu (1947), Ghar Ki Izzat, Mela, Shaheed, Anokha Pyaar and Nadiya Ke Paar (all 1948); Shabnam and Andaz (1949); Jogan, Babul and Arzoo (all 1950); Hulchal, Tarana and Deedar in 1951; Aan, Sangdil, and Daag (1952). Daag which was inspired by the 1950 Marathi movie, Mee Daaru Sodli, won for Dilip Kumar his first Filmfare Award in 1953 for his stellar performance of an alcoholic who having set out to purchase medicines for his dying mother, instead succumbs to his temptation and buys liquor for himself, and who finally manages to give up his drinking habits for good. In 1953, Dilip Kumar featured in Shikast and his favourite Foot-Path “where stark reality was mingled with thought-provoking romanticism.”

Baby Parekh got a small role in Kishore Kumar-Usha Kiran starrer, Dhobi Doctor (1954). The same year, Asha Parekh was noticed by Bimal Roy who cast her in Baap Beti (1954) when she was twelve.

At that time, Bimal Roy was busy shooting with Dilip Kumar his prestigious Devdas which was based on the Bengali novel of Sharatchandra Chattopadhyay.

In 1954, Mehboob Khan released his Amar, starring Dilip Kumar, Madhubala and Nimmi. From 1955 till 1959 Dilip Kumar starred in such movies as Devdas and Udan Khatola, (1955); Insaniyat, and Azaad (1956); Naya Daur and Musafir (1957), Madhumati and Yahudi (both Bimal Roy’s – 1958). During these years, Dilip Kumar won the Filmfare Best Actor Awards for his roles in Devdas, Azaad and Naya Daur! He also got the nomination for the said Award in Madhumati. Dilip Kumar did Paigham (1959) along with Raj Kumar, Vyjayantimala and B. Saroja Devi. He was cited for the Filmfare Best Actor Award nomination.

Asha Parekh was doing uncredited roles in some films, and Aasha (1957) was one of them. She continued her schooling and later joined the Filmalaya School of Acting. This school belonged to Sashadhar Mukherjee who was once a producer in the famous Bombay Talkies of Devika Rani and Himanshu Rai. In 1943, he left the Bombay Talkies to form his own Filmistan Studio at Goregaon, Mumbai, in partnership with Rai Bahadur Chunilal, Gyan Mukherjee, and Ashok Kumar whose brother in law he was, having married the only sister of the last-named Super Star of that era. Nasir Hussain was one of the regular writers with Filmistan. Sashadhar Mukherjee gave Nasir Hussain an opportunity to direct Filmistan’s Tumsa Nahin Dekha (1957), starring Shammi Kapoor and Ameeta. This movie proved to be a great hit, especially for the hero who tasted success after his nine films had flopped in a row. When Sashadhar broke away from Filmistan to set up his Filmalaya Studio at Amboli, Mumbai, he again asked Nasir Husain to direct a movie for him. This time it was Dil Deke Dekho (1959). In the meantime, Asha Parekh tried her luck for a heroine’s role in Vijay Bhatt’s Goonj UThi Shehnai (1959) but was rejected since according to the film-maker she was not a heroine material. That role went to Ameeta – also known as the Tumsa Nahin Dekha girl. The very next day, Sashadhar Mukherjee asked Nasir Husain to choose between Sadhna, and Asha Parekh, and Nasir Hussain chose the latter for the tomboyish role in Dil Deke Dekho. Thus she landed her first role as the leading lady opposite Shammi Kapoor.

Nasir Hussain’s choice of Asha Parekh as against Sadhna for the heroine’s role in Dil Deke Dekho set off a long term of relationship between them, on both professional as well as personal level. So when Nasir Hussain also turned producer by establishing his own production house under the banner of Nasir Hussain Films he never failed to take Asha Parekh as his leading heroine right from Jab Pyaar Kisise Hota Hai (1961) till Caravan (1971). His other films with Asha Parekh were Phir Wohi Dil Laya Hoon (1963), Teesri Manzil (directed by Vijay Anand, 1966), Baharon Ke Sapne (1967), and Pyar Ka Mausam (1969). After 1971, he turned in favour of younger heroines such as Zeenat Aman, Kajal Kiran, Padmini Kolhapure, Dimple Kapadia and Jaya Pradha for his films. Nasir Hussain was already a married man with wife Ayesha, and a daughter Nuzhat and son Mansoor Khan who took over the reins of direction from Nasir Hussain for Qayamat Se Qayamat tak pairing the almost-debutantes, Amir Khan and Juhi Chawla.

Asha Parekh acted in some 85 Bollywood movies. It is from 1960 onwards that Asha Parekh began getting the lead roles in films such as Hum Hindustani and Ghunghat. Of course in Ghunghat she was totally eclipsed both in acting and beauty by her senior heroine, Bina Rai. Her most successful movies are the ones mentioned above. Her other hit films include Ziddi (1964), Mere Sanam (1965), Love in Tokyo (1966), Aaye Din Bahar Ke (1966), Shikar (1968), Kati Patang (1970), being the most prominent. As a young heroine, her roles have mostly been glamorous except in a few movies such as Do Badan (1966), Kati Patang (1972), Chiragh (1969), Bahaaron Ke Sapne (1972) and Main Tulsi Tere Angan Ki (1978) where she has short role, which was in fact the last of her roles as the film heroine. Thereafter her roles were limited to that of a supporting actress and that chain continued till 1995 when Andolan was released. She also became a Distributor with the release of Bahaaron Ke Sapne which had its premier at the Apsara Cinema in Mumbai but that film did not click as it was not in the league of the usual Nasir Hussain movies. She also continued with her classical dances and performed live on stage especially during 1972-73 when she went abroad. She also dabbled in TV show production line.


As for Dilip Kumar, in 1960 he had two releases: Kohinoor and Mughal-e-Azam. He again won the Filmfare Best Actor Award for Kohinoor.

In 1961 he wrote and produced and acted in Ganga Jamuna which was a trend-setting movie in many respect. This mile-stone of a movie elicited a very powerful performance from Dilip Kumar.
This was the role that not only swayed the entire film industry but was also to inspire the future Super-Stars Amitabh Bachchan and Kamala Hasan. In the west, it was Sophia Loren, the two times Oscar Winner, who was influenced profoundly.  Astonishingly, Dilip Kumar did not win the Filmfare Award. He was of course nominated under that category.

After a three-year hiatus, Dilip Kumar accepted the role of Leader (1964) for Sashadhar Mukherjee. He also wrote the film-story which is as relevant today as it was then. His comedy role fetched him another Filmfare Award in the Best Actor Category. His other movies in the Sixties are: Dil Diya Dard Liya (1966); Ram Aur Shyam (1967), Sungharsh, and Aadmi (both 1968). . He was nominated in the Best Actor Category in all the four films. In Ram Aur Shyam Dilip Kumar played the full-fledged double role for the first time and his impact in the movie was such that it won many acclaims, including the prestigious Filmfare Award for his diverse, sensitive and powerful performance. His adverse critics, who thought he was finished, were deservingly dealt a serious blow.

In Nineteen Seventies we have four Dilip Kumar movies: Gopi (1970), Dastaan (1972), Sagina (1974) and Bairaag (1976). All the three movies, excluding Dastaan, had his better-half, Saira Banu, as his heroine, while B.R. Chopra’s Dastaan which was a remake of Afsaana (1951) had Sharmila Tagore.  Anokha Milan (1972) had Dharmendra along with him. In the Seventies he also had a guest appearance Phir Kab Milogi (1974) – a Mala Sinha-Biswajeet starrer. 

Sagina Mahato (1970) was his diamond-jubilee hit Bengali film which was directed by Tapan Sinha.   It created box-office records in Bengal.  Regarding Dilip Kumar's performance in Sagina Mahato,  Uttam Kumar the versatile, charismatic and the most popular Bengali film-star had this to say to Tapan Sinha later in July 1972:  “Tapan da, thank God you did not cast me as Sagina.  It would have been a blunder as I could not have matched Yusufda who has brought Sagina alive on screen.”

 In Bairaag, Dilip Kumar had triple roles, that of a father and his two sons. Bairaag additionally had the beautiful Leena Chandavarkar also as his heroine. This was the last movie of Dilip Kumar where he was the hero. Thus from 1944 to 1976 he played the roles of a film hero for 32 long years.

When Dilip Kumar came back to the silver screen after five years in Kranti (1980) it was his second innings but a successful one too. Stories were written by contemplating him in a central role. Thus we have Shakti and Vidhata (1982), Mazdoor (1983), Duniya and Mashal (both 1984), Karma and Dharam Adhikari (Both 1986), and Kanoon Apna Apna (1989), Izzatdaar (1990)) and Saudagar (1991) and Qila (1998). In Shakti Dilip Kumar had Amitabh Bachchan, the super-star of the time, pitted against him. However Dilip Kumar came out with such a brilliant performance that it won him yet another Filmfare Award in the Best Actor category. He was also nominated for the said Award in Mashal and Saudagar.  Dilip Kumar's performance in Mashal was again a trend-setter and his AY BHAI....scene has been emulated in many Bollywood movies. 

In 1993, Dilip Kumar was given the Filmfare Award for Lifetime Achievement. The Government of India awarded him the Dadasaheb Phalke Award which is given for cinematic excellence in India. In 1997 the Pakistan Government awarded him the Nishan-e-Imtiaz which left him traumatized though the highest civilian award was also awarded to Morarji Desai much earlier. The NTR National Award was given to him in 1997. He was also awarded the Phalke Ratna Award in 2007 and the CNN-IBN Indian of the Year Lifetime Achievement Award in 2009, along with hosts of many other awards.

For the sake of brevity, we have omitted mentioning the cameo roles down the decades. We have not mentioned the names of the films that were shelved, except one which we shall presently broach. Similarly we have not mentioned the other Awards won by the Thespian and Asha Parekh.

Dilip Kumar movies have gone on to become great classics of Indian Cinema. In his early films, Dilip Kumar mirrors the frustration of youth in upholding life’s values and ideals. For him, it was not the case of “Everything is fair in love and war.” For him, being noble was more important than winning love by aggression or deception or crossing the limits of civility. His romantic losses and longings endeared him greatly to his generation and the next who did not want any shades of grey in the roles he played as in Amar (1954) and Qila (1998). His swashbuckling roles in Aan and Azaad sent the message of fighting evil with will and determination, taking pains in strides. When he came on the screen the hearts missed the beat and the entire audience hall lighted up at the very sight of him. There is something enthralling about him, his mutterings, his pauses, meaningful shifting of eyes, furrowed forehead, gesturing hands, short chuckles, smiling lips, inspiring speeches, tragic monologues, Heathcliffian determination, rustic innocence, romantic disposition, and the face that expresses tragedy of the mind and happiness of the heart. No doubt, then that he has been the inspirer of generations of film stars such as Rajendra Kumar, Manoj Kumar, and Amitabh Bachchan who very openly profess their admiration for his style of acting and even the younger generations of film stars who don’t deny his immense stature.

As for Asha Parekh most of her roles were glamourous ones, requiring her to look pretty and tomboyish, with little emotions and histrionics. Again, most of her heroes such as Joy Mukherjee (1961 - debut in Love in Simla), Biswajeet (hindi debut in Bees Saal Baad 1961), Jeetendra (debut in Geet Gaayaa Pathron Ne - 1963) and Rajesh Khanna (debut in 1967 in Raaz/Aakhri Khat) were junior to her. Even Dharmendra (debut in 1961: Dil Bhi Tera Ham Bhi Tere) and Shashi Kapoor (minus his roles as a child-artiste in Forties-Fifties; debut in Char Diwari in 1961) were her juniors acting-wise. The film directors other than Nasir Hussain who cast her in films were Shakti Samanta, Vijay Anand, Raj Khosla, Mohan Sehgal, Pramod Chakravothy, Raghunath Jhalani and J.P. Dutta.

Her role in Chiragh won her the nomination while that in Kati Patang won her the Filmfare Best Actress Award. Incidentally, in her interview with Jitesh Pillai, published in Film Fare magazine of September 2001 Mumtaz  stated:  "I should have won the Best Actress Award for Tere Mere Sapne. I really deserved it. Instead it went to Asha Parekh for Kati Patang in which she wore white and stood in front of piano doing precious little. Khair, jaane do (let it go). God has given me so much..."  Earlier, the Kati Patang role had been offered to Sharmila Tagore who turned it down for "some silly reasons."

The other movies that won Asha Parekh the Filmfare nominations in the Best Supporting Actress category were Udhar ka Sindur (1976) and Main Tulsi Tere Angan ki (1978). She won the Filmfare Lifetime Award in 2002.

Dilip Kumar was the most eligible bachelor of his time. When he finally tied the knots with Saira Banu he was 44 years old and she just 22 . Despite gloomy predictions and some unexpected happenings, this marriage has remained as one of the most enduring ones in the film industry.

Asha Parekh never married though according to her nothing is more therapeutic in life than companionship. She confides that men found her unapproachable. Even Shammi Kapoor who is her favourite and who played hero opposite her in four films, Dil Deke Dekho (1959), Teesri Manzil (1966), Pagla Kahin Ka (1969), and Jawan Mohabbat (1971) used to call her Bhatijee (“Niece”) while she addressed him as “Chacha” (i.e.Paternal Uncle).

She admitted that she had had a longtime boy friend and it was good while it lasted. Dev Anand was the other senior actor who paired with her in Jab Pyar Kisise Hota Hai which did silver jubilee at the Alankar Cinema in Mumbai.

To take the bull by the horns: What prompted Asha Parekh to make such a sweeping statement? Was it her comparative past youth? Was it her past beauty? Was it acting talent?

On seeking the answers to the above questions, we find that Dilip Kumar, even in his Fifties, has romanced a much younger and beautiful actress viz., Leena Chandavarkar when she played the role of heroine opposite Dilip Kumar in Bairaag (1976).

Again, his spouse Saira Banu was 2 years younger than Asha Parekh and 22 younger than Dilip Kumar at the time of her marriage in 1966. Then there’s the case of Rakhee who acted opposite Dilip Kumar as his wife in Shakti (1982). She is twenty-five years younger than Dilip Kumar and five years younger than Asha Parekh. Then we had the gorgeous Rekha acting opposite him in the shelved Aag Ka Darya (1982) and later in 1998 in Qila as his romantic interest where she is even “raped” by him. She is 32 years his junior. One can see some twelve-year old Rekha along with many other children, twisting away to the song and music of AAYEE HAIN BAHAAREN MITE ZULM-O-SITAM in Ram Aur Shyam. So what was it? Dilip Kumar has acted with beautiful actresses such as Madhubala and Saira Banu to name just a couple. Being an institution of acting unto himself, Dilip Kumar has acted with most powerful actresses such as Nargis, Meena Kumari, Nalini Jaywant, Vyjayantimala, Nimmi, Waheeda Rehman and Nutan. So we can conclude that there was no question of youth or beauty or acting talent involved in the reported statement of Asha Parekh that she doesn’t like Dilip Kumar.

Was it something personal then? Nasir Hussain had announced a movie, called Zabardast, starring Dilip Kumar  (not the one that was later directed by him in the Mid-Eighties).  But this one did not see the light of the day and was shelved.  This much we know. (see the poster below: courtesy my FB friend Rajesh bhai)

Maybe Asha Parekh was selected as the heroine as usual by Nasir Hussain, along  with other star-casts.  Maybe she refused to work with Dilip Kumar, we don't know.   Sadly, there are no details.  The loss is ours!  If it was Dilip Kumar who refused then we can only conclude by quoting Congreve: "Heaven has no rage like love to hatred turned / Nor hell a fury like a woman scorned."
(
based on information from internet sources)
NASIR.

BAIRAAG KE BAARAATI

Dilip Kumar & Leena Chandavarkar in Bairaag (1976)

BAIRAAG KE BARAATI.

by Nasir Ali: 
This is not a review of the movie but merely some information for the dear readers about Bairaag.


Bairaag was released in 1976. This was Dilip Kumar’s next movie after Sagina (1974) which itself was the next movie after Dastaan (1972).


Dilip Kumar was acting in a triple role for the first time: A rich father (Kailashnath) becomes blind. His wife dies delivering twin boys, one of whom is blind. He retains only one, and asks his doctor to kill the blind one. The kind doctor (played by Nasir Khan) abandons the blind infant at a temple far away in a countryside. The two sons grow up in their respective environments. The city-bred becomes a playboy (Sanjay) and the other (Bholenath) the visually-impaired simpleton, lives the life of a Bairaagi (Ascetic) whose prime duty is to serve Lord Shiva at the temple, and the secondary duty is to serve the daughter of the house Tara whom he respectfully addresses as “Chhoti Malkin” or Little Mistress (Saira Banu), in some remote countryside home.

Dilip Kumar, as usual was able to do full justice to the three full roles. “Full” because others had attempted such roles before but they were in bits and pieces. Dilip Kumar, despite his 54 years, looks very handsome and charming in both the sons’ role. How many of our heroes can carry off such a role at that age? His pairing with the lovely Leena Chandavarkar was so attractive and flirtatious, with Sexy Helen in tow! PEETE PEETE KABHEE KABHEE YOON JAAM BADAL JAATE and SAARE SHAHAR MEIN are simply unforgettable numbers by Mohammed Rafi. As for Saira Banu, she had the serious role, except when she teases Bholenath or when she sings the number, CHHOTEE SEE UMAR MEIN LAG GAYAA ROG...which song has been exploited in a number of remixes. Then we have Madan Puri and Prem Chopra doing their villanish bits among others. The young Paintal doesn't suit a bit.


Despite the shortcomings, Bairaag proved to be a cult movie. Dilip Kumar’s performance in the triple roles actually set off the trend of triple roles as when Amitabh Bachchan did a triple role in Mahaan. This was repeated by Rajnikant in John Johny Janardhan, and by Kamal Hassan in Apu Raja. Just as Amitabh Bachchan, Manoj Kumar, and Rajendra Kumar derived inspiration from Dilip Kumar for their mannerisms and many of their roles, Govinda, too, seems to have derived lots of inspiration for his roles where he portrays himself as a country bumpkin.


I learnt that a business magazine, “Economist” had the Dilip Kumar-Saira Banu filmshot of Bairaag on its front cover in 2001 while publishing the story of ten-years of liberalisation in India. Bairaag was not a flop as some would like us to believe. Dilip Kumar was nominated in the Best Actor category of Filmfare Award. Yes, by Dilip Kumar’s standard it didn’t do too well. The cine-goers were used to seeing his films celebrate silver and golden jubilees at the theatres. Anyway, let’s come to our main story.


The city was Bhopal. The citizens were impatiently waiting for the release of Bairaag at the Krishna Talkies. There was a delegation from one of the city’s localities, Shahjahanabad Mohalla, before the Manager of the theatre. They had come to his office for the advance booking of Bairaag. After the Manager assured them, the delegation left the theatre. All were eagerly waiting for the day of release of Bairaag.


On the day of the release, a full crowd of some 300 dwellers of that part of the city alone made themselves ready to leave for the Krishna Talkies where Bairaag was to be screened. A big banner carried by the bearers unabashedly screamed: BAIRAAG KE BAARAATI. What they really meant was “Dilip Kumar ke Deewaane.” A musical band was employed to accompany these crazy ones all the way to Krishna Talkies. People thronged the way to have a glimpse of this motley crowd. It looked as if the bridegroom was on his way to bring back his bride. Such was the joyous air around the city of Bhopal. That was the day when Bairaag was released in Bhopal.

Remember, those were not the days when such promotions as we find today are done. Nor was there any TV around. It was only by 1977 that the TV stations began functioning for the common public entertainment. So my Bhopali friend took the Urdu newspaper cutting all the way from Bhopal to show it to Saira Banu at her Bungalow. We all know that adulations, reverence, hero-worship and idolization are what Dilip Kumar has been used to all his life, especially after the 1947 flick, Jugnu. My friend was carrying with him a humble tribute and sentiments of the citizens of Bhopal. When the cutting was shown, Saira Banu asked him to show it to Dilip Kumar. He looked at it, smiled gently, nodding his head in approval, and sent him back to Saira Banu who asked him to read out the news item. Her infectious smile told him how much she appreciated the sentiments of the Bhopalis. The fact remains that the entire nation loves Thespian Dilip Kumar.


NASIR

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

A Short Article by Nasir Ali: 


Naseem Banu (Roshan Ara Begum), in her heydays, was known as “Pari Chehra” (fairy-face). In Eastern folklores and Muslim literature, 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.  When she was still a school-girl, Sohrab Modi signed her for the role of Ophelia in his prestigious KHOON KA KHOON (1935) on a monthly contract of Rs. 3,500/- per month.  It is said that she was so shy on the sets of her first movie, that her mother, Shamshad Begum, had to be roped in and offered the role of Queen Gertrude.  Thereafter, 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), MEETHA ZAHAR, ANOKHI ADA, BETAAB, 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). Her song, "zindagii kaa saaz bhii  kyaa saaz hai..."  was very popular.   It was her winning and graceful performance in PUKAR that endeared her to millions of her fans in the sub-continent.  Along with her husband, Mian Ehsan-ul-Haq, she produced films such as UJALA (1942), BEGUM (1944), MULAQAT (1947), CHANDNI RAAT (1949),  and AJEEB LADKI (1952) under the banner of Taj Mahal Pictures.  She was the first female Super Star of her time

The second phase of Naseem Banu's film 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,).  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 CHHAAON MEIN. Unfortunately, for some reasons or the other,  this film never took off, though a song in Lata's voice had been recorded.

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 generations 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 where Dilip Kumar was to play the role of Yusuf Shah Chak the then Ruler of Kashmir and husband of Habba Khatun, during Emperor Akbar's era. 


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 a 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-about 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 downstairs to 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 was 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.  We pray that may her soul rest in everlasting heavenly peace.

NASIR

DILIP KUMAR AND NISHAN-E-IMTIAZ - 2.

DILIP KUMAR AND NISHAN-E-IMTIAZ -
THE SAGA OF BRAVEHEART DILIP KUMAR ...continued...2.

- by Nasir.


Further, in the meantime at Mumbai, the Cine and TV Artistes Association condemned the sustained slandering and maligning of Dilip Kumar by the Shiv Sena. Also, the activists of the National Youth Congress went on a one-day token strike at Azad Maidan. Their banners and placards read:

DILIP KUMAR MUMBAI KI SHAAN,
PYAAR KARE SAARA HINDUSTAN.

The activists appealed to Dilip Kumar that he should not succumb to the “communal forces” and he should not return his Nishan-e-Imtiaz Award.

The BJP constituent of the NDA Government were fully aware that Dilip Kumar was not the first recipient of the Nishan-e-Pakistan Award. Much before, Morarji Desai who was the Prime Minister of a coalition government had also been given that Award. The Sangh Parivar was an important part of that government and neither they nor the Shiv Sena then had objected to the Award at that time. The Vishwa Hindu Parishad (VHP) therefore, opposed the calls by the Shiv Sena and other political parties who wanted the Thespian to return the Nishan-e-Imtiaz. VHP President, Mr. Vishnu Hari Dalmia stated that it was a matter of pride for us that a fellow Indian was given the highest civilian award by a foreign government. He minced no words when he said about Dilip Kumar:

“He is an Indian to his finger-tips. Does he need to prove his patriotism by returning the award which has nothing to do with the ongoing conflict in Kashmir. Since the award is about his personal accomplishments, why negate his contributions?”

Ultimately, the BJP left it to Dilip Kumar whether to retain or return the Award. The then party General-Secretary, Narendra Modi said: “It is best left to the wisdom of Dilip Kumar.”

Dilip Kumar finally met the Prime Minister who told him:

“Nobody should doubt your patriotism and your commitment to the nation.”

Mr. Vajpayee made it clear that no one should put any pressure on Dilip Kumar who has served the nation throughout his long film career. He also told Dilip Kumar:

It is your Award. Do whatever you wish to do with it. The government has no objection.”

Exhibiting amazing energy, strength and focus for a 77-year man who had just had a heart surgery, Dilip Kumar met with the then President of India, Mr. K.R. Narayanan and apprized him of his talks with the Prime Minister. He met the Vice-President, Mr. Krishna Kant as well. He also met many other politicians, including the Bihar Chief Minister Rabri Devi, and her husband, Mr. Laloo Prasad; the CPI General Secretary, Mr.A Bardhan, the entire CPI central secretariat, and others, including friends, Javed Akhtar and Shabana Azmi. During those six days, Dilip Kumar also met with the Union Home Minister, Mr. L.K. Advani who instructed the Chief Minister of Maharashtra, Mr. Narayan Rane, to beef up security for Dilip Kumar and members of his family at his Bandra residence in Mumbai. Dilip Kumar expressed the hope that he would be allowed to stay peacefully in Mumbai.

That was not the end of a task for our hero. Before leaving for Mumbai he made it a point to visit the injured Kargil soldiers at the Army Hospital at Delhi Cantonment. This visit was a morale-boosting and nostalgic one for one and all there. Dilip Kumar finally returned to Mumbai on 16th July, 1999 with his wife, Saira Banu, having survived one of the most despicable "Patriotism Test" in recent memory.

Saira Banu said that she saw no reason why her husband should return the Award. She explained to the reporters that the said Award was given to Dilip Kumar for excellence in the field of art for his contribution in social work and community service and for spreading peace and harmony among the peoples, cutting across religions and ethnic differences. She, too, said that the conflict in Kargil had nothing to do with the going-ons in Kargil. She felt that the issue was being given a communal colour and asked why after having lived all their lives Mumbai they were being asked to prove that they are Indians. She parried: Was it because they were born Muslims? Other communities were not asked to prove their loyalty. She stated that Dilip Kumar was being targeted only because of his religion.

Dilip Kumar, the Brave-Heart and darling of the Indian nation, said that he could sacrifice anything for India. “After all,” he responded, “What’s an award? All that one possesses can be laid down for one’s country and its prestige. Anything can be sacrificed.” Much before the Nishan-e-Imtiaz issue, Dilip Kumar had already made a secret contribution of Rs.1,00,000/- (One Lakh Rupees) by cheque, in response to an appeal by a daily, MIDDAY, for the Army Central Welfare Fund. If we did not hear of it before it was only due to the unwillingness of Dilip Kumar to make this public for it was "no big deal" according to him. The covering letter, attached to the cheque, read:

“For the most worthy cause Midday has espoused, herewith is my humble contribution for the valiant Jawaans and Officers for their supreme sacrifice in the name and for the honour of their motherland – their country.”


It is painful and strange that Dilip Kumar whose film career began with Jwar-Bhata in 1944 and whose fore-fathers did business in India, particularly in Bombay City, should be looked upon with suspicion and subjected to the ignominy of proving that he is a patriot. The star of SHAHEED, LEADER, NAYA DAUR AND KARMA and many other movies whose objective has always been to cultivate patriotism, pro-establishment culture, family values, as well as philanthropy, and perfection in all fields in both reel and real life, is an ever-shining icon whose life has undoubtedly inspired generations of actors and the general populace. It is very appropriate that he is conferred with the Bharat Ratna which he singularly so richly deserves.

CONCLUDED.

Nasir.