Many Moods of Dilip Kumar...

He was the last emperor and last word in acting acumen. Although his first movie 'Jwar Bhata' bombed at Box office, Dilip Kumar later on created an aura of legendary proportion, and compelled the critiques to idolize his kind of method acting. Dilip Kumar was the first (and perhaps only) Method actor.Traditional theater acting is loud, stylized and flamboyant as practiced by Prithviraj Kapoor, Sohrab Modi, Saigal to name a few.Method Acting attempts to recreate the impression of reality where the actor "becomes" the role.  There are two ways of "becoming" the role.

a) By physically living the role, for example, by starving oneself to play a beggar's role. This method is controversial and often denigrated as "but the actor is not acting".

b) By understanding and internalizing the role - the Stanislavski Method - based on the idea that great acting is a reflection of "truth" conveyed both internally and externally through the actor.

Dilip Kumar is a practitioner of the Stanislavski method. Although he was adjudged as 'Tragedy King', he played a variety of roles depicting wide spectrum of moods, ranging from happy to sulky. Here are some of the songs wherein Dilip Kumar is seen in many moods...

1. Praising /wooing mood

Ye hava ye raat ye chandni - Talat Mahmood - Sangdil 1952- Lyricist - Rajendra Krishna - Music Sajjad Hussain.

Sangdil has Madhubala in heroine role, so this song would have suited, if addressed to her.Every word seems to describe her mesmerizing beauty. I was however distraught to see that on screen, Dilip tries to praise actress Shammi. Sangdil was an adaptation of Charlotte Brones film ' Jane Eyre'. Sajjad Hussain's songs were difficult to sing. This song is no different. An eminent composer like Madan Mohan also could not resist to copy the tune in " Tuze kya sunaoo Mai Dilrooba". Talat has rendered the composition so ardently that the song remains itched into the mind of listener, long after it is over.

2. Romancing mood

Kitna hansi hai mausam - Lata Mangeshkar and Ram Chitalkar - Film Azad 1955- Rajendra Krishna - Music C. Ramchandra.

Actually, this song was meant for Talat - Lata duet. However due to illness, Talat could not sing it. Therefore C. Ramchandra filled the vacuum. He tried to imitate Talat and frankly speaking, he succeeded in it. Azad was a refreshing change for Dilip from tragic roles to light roles.

Vagabond

3.Suhana Safar hai ye mausam hansi - Mukesh - Film Madhumati 1958- Lyricist Shailendra - Music Salil Choudhary.

A Bimal Roy magnum opus, Madhumati was not only a mystery wrapped in enigma but ghost story and love story of a estate manager Anand (Dilip Kumar) and a Tribal beauty Madhumati, (Vaijayntimala) wrapped in reincarnation tale, as told in flashbacks by Devendra Kumar ( Dilip Kumar again). Here in flashback tale, Anand is going to join Estate Farm. On the way, he is mesmerized by the refreshing nature landscape and could not help admiring it. The sweet chirping of the birds and sounds of shepherd, in the prelude, sets the mood of the song.

4. Yearning mood

Shame Gham ki kasam - Talat Mahmood - Film Footpath 1953-Lyricist Ali Sardar Jaffri - Music Khayyam

The non descript film Footpath is remembered only because of this immortal song of Talat mehmood, in which Talat pours his heart to create an Ambience of intense yearning and longing. A master piece of Talat and Khayyam well complemented by touching lyrics by Sardar Jaffri.

अब तो आजा के अब रात भी सो गई

ज़िन्दगी ग़म के सेहराव में खो गई

ढूँढती हैं नज़र तू कहाँ हैं मगर

देखते देखते आया आँखों में ग़म

शाम-ए-ग़म की क़सम

5.Repenting mood

Insaf ka Mandir hai ye -Rafi - Film Amar 1954- Lyricist Shakeel Badayuni - Music Naushad.

As in other films of Director Mehboob khan, like 'Aurat'',' Son of India', this film also depicts the tale of  women, who had resilience and indomitable courage to stand up against the adversity and injustice with grit. Amarnath (Dilip Kumar), a successful lawyer with high moral values is engaged with an educated activist Anjoo (Madhubala). In a stormy night, the milkmaid Sonia (Nimmi), asks Amarnath for shelter to escape from villain Sankat (Jayant). Ignited by sheer lust, Amarnath rapes Sonia. What follows afterwords is the saga of undercurrents of guilty conscience and penitence resulting into Repentance , and a  remorse heartbreak. Although Dilip Kumar and Madhubala were the lead pair, the film bombed at box office, because viewers could not digest the hero, raping side heroine and then sacrificing the heroine for the sake of guilty conscience. In a way, the film was way ahead of times. Here in this song, Anjoo takes Amarnath to temple for confession and repentance.

6.Philosophical mood

Sukh Ke Sab Sathi - Rafi - Film Gopi 1970- Lyricist Rajendra Krishna - Music Kalyanji Anandji

Normally I select the songs from 1950-65, the Golden era songs. However, this song is so fascinating in it's profound meaning lyrics and captivating tune, that I can't resist to include in the list. Here Dilip Kumar professes an all embarrassing universal truth, that happiness has all takers but sorrow is often orphan.

जीवन आनी-जानी छाया
झूठी माया झूठी काया
फिर काहे को सारी उमरिया
पाप की गठरी धोई
सुख के सब साथी दुखःमें ना कोई....
ना कुछ तेरा ना कुछ मेरा
ये जग जोगी वाला फेरा
राजा हो या रंक सभी का
अंत एक सा होई
सुख के सब साथी दुखःमें ना कोई....

7. Nostalgic mood

Bachpan ke din bhoola naa Dena- Rafi and Shamshad Begum - Film Deedar 1951- Lyricist Shakeel Badayuni - Naushad.

Deedar was a trend setting multi - starrer film that certainly evoked awe in its heyday. It established Dilip Kumar as a tragedy king. Even today, despite its heavy dose of pathos, it  gets admiration because of two over-riding factors: Dilip Kumar's effortless enactment of a doomed lover and pristine singing by Mohammed Rafi. In fact, Rafi's tear drenched voice enhances Dilip's lovelorn persona. Deedar was essentially a tale of childhood love, ending in tragedy.

8. Separation mood

Seene mein Sulaghate hai Armaan - Talat Mahmood and Lata Mangeshkar - Film Tarana 1951- Lyricist Prem Dhawan - Music Anil Biswas

Master piece from composer Anil Biswas! . Lata and Talat complementing each other splendidly. Prem Dhawan's lyrics superb. All time classic song, bringing forth the pangs of separation.

सीने में सुलगते हैं अरमां आँखों में उदासी छाई ये आज तेरी दुनिया से हमें तक़दीर कहाँ ले आई है
सीने में सुलगते हैं अरमां
कुछ आँख में आँसू बाकी हैं जो मेरे ग़म के साथी हैं
अब दिल हैं ना दिल के अरमां हैं
बस मैं हूँ मेरी तन्हाई है सीने में सुलगते हैं अरमां

What makes the film worth watching, though, is the chemistry between Dilip Kumar and Madhubala. It is mischievous, voyeuristic,  tender and so personal and so real.You can witness the intensely palpable intimacy between Dilip and Madhubala both on screen and off screen.....

9. Sulky / Dejected mood

Aye Mere Dil kahi aur chal - Talat Mahmood - Film Daag 1952- Lyricist Shailendra - Music Shankar Jaikishan

Anil Biswas continued to bat for Talat Mahmood even in films he was not connected with. When Shankar–Jaikishan decided to use Mukesh as Dilip Kumar’s voice in Daag, it was Anilda, who steered them towards Talat Mahmood. The film’s winner was easily 'Ae Mere Dil Kahin Aur Chal’ in three versions— two Talat solos and a Lata solo. In the fast version, Talat’s quiver sounds a little strained, but in the slow version he is completely at ease and at his intoxicating best.

10. Patriotic mood

Watan ki Rah mein - Film Shaheed 1948-Rafi ,Khan Mastana - Lyricist Raja Mehendi Ali Khan - Ghulam Hyder

Shaheed was the film depicting the tale of India's independence. This song was the first patriotic song in a film after independence. Composer Ghulam Hyder had already migrated to Pakistan. He completed the music of the film on coming back to Mumbai.

11. Incence / furious mood

Na Aadmi ka Koi Bharosa - Aadmi 1965- Lyricist Shakeel Badayuni - Music Naushad

Love triangles have dominated human lives since time immortal and , Hindi films have been no exception.

Aadami is a film that explores the psychic conflict of guilt and obsession, thru' a simple yet spell bound story. it depicts subtle interplay of human emotions amidst conflicting situations. The story revolves around an insecure and possessive wealthy man Rajesh (Dilip Kumar). In his childhood he has killed a neighborhood boy for mishandling the doll he is so obsessive about. Grown up Rajesh falls in love with Meena (Waheeda), and gets engaged with her. An automobile accident confines him to wheelchair. Rajesh's best friend Shekhar ( Manoj Kumar) has an affair with Meena. When Rajesh learns about the affair, his violent passions are aroused again, though he is still tormented by his past guilt of a murder. The subsequent conflict within his heart forms the basis of the story. Rajesh sings this song when he comes to know the love affair. Notice the wide spectrum of Facial expression showing sarcasm, pain, guilt and rage. Truly a superb performance from the legendary actor....

(The film has a Song by Talat and Rafi 'Kaisee haseen aaj baharon ki raat'. On Manoj Kumar's insistence, in the film Talat's voice was replaced by Mahendra Kapoor, for which Talat never forgave Naushad till his death)

12. Heart break mood

Ye Mera Deewanapan hai - Mukesh - Film Yahudi  1958- Lyricist Shailendra - Music Shankar Jaikishan

A Bimal Roy production, Yahudi was a tear jerker drama of love affair of a jew girl Lydia (Meena Kumari) and a Roman Prince Marcus (Dilip Kumar), set in an era of Roman Empire. The prince woos Lydia pretending he is a jew. However when she comes to know the deceit, she gets enraged and banishes the Prince from her life. Hence the song. The Song effectively creates the mood of heart break and the pangs of pathos following it. Shailendra got the Filmfare award of best Lyricist for this song.

13. Drunken mood

Muze Duniya walon sharabi na Samjho - Rafi - film Leader 1964- Lyricist Shakeel Badayuni - Music Naushad

"An intelligent man is sometimes forced to be drunk to spend time with the fools." -- Ernest Hemingway

Dilip Kumar is  seen here in drunken mood, in order to unearth culprit in a political assassination plot. A refreshing change from tragic mood and a lighter one as well.

Less known facts about Dilip Kumar:

> He used to sell fruits in Deolali cantonment area in Nashik  and later at Pune.

> Actress Devika Rani was instrumental in inducting him to film industry. In fact, she coined the name Dilip Kumar for him. Uday Kumar and Vaaman Kumar were the other two names being considered, before the name Dilip Kumar was finalized. Ashok Kumar was his mentor.

> 'Ganga Jamuna' was the only film produced by him. All outdoor scenes were picturized at Deolali (Nashik), because of his familiarity with the location.

> He refused the roles in films 'Mother India' (Sunil Dutt's role), Sangam ( Rajendra Kumar), and Hollywood film' Lawrence of Arabia'

> He visited Pakistan clandestinely to diffuse Kargil war tensions ( Ref : Pakistan ex-foreign Minister Khurshid Mohammad Kasuri's book 'Neither a Hawk nor a Dove')

>  He is the only Indian actor to receive Pakistan' s highest civilian award 'Nishan-E-Imtiaz''

> Frequent playing of tragedy roles, began to have telling impact of stress and behavior on Dilip Kumar. The doctors prescribed for him acting in lighter, comedy roles. Therefore he accepted the roles in costume films like Azad and Kohinoor.

> Satyajit Ray adjudged him as an ultimate method actor.

> He speaks in Marathi fluently.

His love affairs :

Actress Kamini Kaushal. Failed because her brother's opposition. ( Different Religions)

Actress Madhubala : Although there was unmatchable chemistry between them ( 'There was everything in her Sprite and  vivacious personality a man aspires for' says Dilip Kumar in his autobiography " Dilip Kumar : The substance and Shadow"), the affair ended in bitterness.

Actress Vaijayantimala : The love affair never acknowledged by both.

Actress Saira Bano : Earlier he had refused the hero role opposite Saira due to age difference (22 years), but later on  married with her.

Hyderabad beauty Asma, the marriage did not last long.

POST SCRIPT : Dilip Kumar now lives with Saira happily at Bandra in Mumbai and she takes care of him. However barring a few, access for him is restricted for others

Photo Credits : Times of India and The Hindu photo achives