#Dilip Kumar and Indian cinema

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Amar (1954) | dir. Mehboob Khan

[ Madhubala and Dilip Kumar ]

[ishq4jhumkas]

Madhubala (1933-1969) as Anarkali in blockbuster Mughal-E-Azam (1960)

fun fact : Maduhbala was an active philanthropist ! She donated to relief services for refugees from what was then East Bengal ( and is now known as Bangladesh ). She also donated to relief funds for the Jammu and Kashmir conflicts as well as children suffering from polio, earning her the nickname "the queen of charity" as she was called that by editor Baburao Patel.

[autailome]

Madhubala and Dilip Kumar in Sangdil (1952), a Hindi-language version of Jane Eyre

[husn-e-bahar]

Forbidden Love of Salim-Anarkali Mughal-e-Azam (1960)

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Anarkali grieving her love for Salim

i wish i hadn’t loved you. o i wish it was anyone but you. everything that im made to go through, hurts me less. but the thought that if you realised the intensity of my pain, how much will you lament? it keeps me awake at nights. my pain is this severance, this distance, your absence. but yours will be all that and my ailing will shred you to pieces. i wish the world wasn’t so cruel. they keep us apart and think we wouldn’t find a way. so what if he sees us today? beloved, let him see us and take my head. i cannot go another step with this heart laden with such sorrow & regrets. but if something was so happen to me just how will you survive? your heart might beat, your tongue might speak but you wouldn’t be truly alive. o dear god, what is my plight? i cannot live without him but for me to die is also his demise.

[myluckyerror]

Kamini Kaushal and Dilip Kumar

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Waheeda Rehman and Dilip Kumar

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★ Pathaan and The  SUPERSTARS Of Indian Cinema!

February 8, 2023

Pathaan has smashed records at the box office and it should put into no doubt who are the superstars of INDIA are. The film confirms the box office clout of Shahrukh Khan which had not gone anywhere despite the last decade not being as kind as the decade before. There was a box office change towards the end of 2000-2010 decade where digital prints allowed far wider releases on day one and as this process got bigger and bigger it meant the genre which was the forte of Shahrukh Khan was never going to get record numbers. But through the 2010-2020 decade the numbers coming with films which were not action films were still huge.

Pathaan had a guest role for Salman Khan and the public response has to seen to be believed and this should be enough for the naysayers who have appreaed due to his last few films not doing as well as expected. Stardom does not dissapear with a few films failing at the box office, just like it does not come overnight and takes many films to establish.

The Hindi film industry is probably the most secular place there is in India but the fact that the biggest stars of India over the last two decades are Muslim has not sat well in some quarters of the country and the media over the last few years. In fact the third biggest also with Aamir Khan though this is arguable with Hrithik Roshan and Akshay Kumar in the fold as well. The cinema going audience does not care one bit about religion and within the industry nobody notices the religion baring when things get bought up from the outside. There are these non secular voices also within the industry but the way the industry has functioned for decades these people soon become outcasts and work will just dry up.

The last few years has seen this Pan India thing pop up so you have regional stars names being put up as the biggest superstars of the country laughable as it may seem. There are no doubt some great directors in the Southern industries so it is possible their films can do well in the Hindi belts but that hardly means the actors in these films become stars and superstardom is far away except for the regional one which they probably have already..

India has seen seven stars achieve megastardom and two of them are Salman Khan and Shahrukh Khan. The others being Dilip Kumar, Rajendra Kumar, Dharmendra, Rajesh Khanna and Amitabh Bachchan. There is not one name in sight from regional film industries and yet today you see names like Prabhas, Yash, Allu Arjun and others put up with there with two superstars who are not only the biggest superstars of the day but among the biggest ever.

This is not to say that someone from the regional industry cannot become a huge superstar tomorrow because if the public takes to you then anything can happen but to reach the level of above names will take some doing not only for the regional stars but even for Hindi filmstars.

The simple reason why the the big superstars have come from the Hindi film industry is because the language has a wider reach. If other languages had a reach as wide as Hindi then maybe it would be a different story. Yes movies can be dubbed but that is the film reaching out and not the actor.  

Basically the negativity towards the Hindi film industry has led to many claims as to which is the biggest film industry and who are the biggest stars and when the national media is like this you get the regional one badmouthing Hindi cinema as and pushing their own which is natural. But at the end of the day nothing much has changed despite the claims as the HINDI film industry easily remains the biggest film industry in India as content may go wrong but that does not change the reach.

 As for the stars, Salman Khan and Shahrukh Khan remain the biggest stars in India and that does not look like changing for sometime yet even though the starpower may not be as big as it was other points in their careers

[aarifboy]

Dilip Kumar Movies List with Male Superstars of Bollywood. Ashok, Amitab...

[munsifurdu]

دلیپ کمار کا 100واں یوم پیدائش، اسپیشل فیچر

ہندوستانی فلمی دنیا کے سب سے قدآور فن کاریوسف خان یعنی دلیپ کمار اگر آج حیات رہتے تو صدسالہ سالگرہ منارہے ہوتے،لیکن ۹۸ سال کی عمر میں انہوں نے داعی اجل کولبیک کہہ دیا۔ #MunsifUrdu

ممبئی: ہندوستانی فلمی دنیا کے سب سے قدآور فن کاریوسف خان یعنی دلیپ کمار اگر آج حیات رہتے تو صدسالہ سالگرہ منارہے ہوتے،لیکن ۹۸ سال کی عمر میں انہوں نے داعی اجل کولبیک کہہ دیا۔بہت سب لوگ جانتے ہیں کہ دلیپ کمار نے فلموں کے ساتھ ساتھ ،تعلیمی، فلاحی اور سیاسی سطح پر بھی سرگرمیاں دکھائیں بلکہ مہاراشٹر کے شولاپور ضلع میں ان کی والدہ کے نام سے ایک اسکول ہے جس کی دیکھ بھال ان کے چھوٹے بھائی احسن خان کرتے…

[bollywoodirect]

Tribute to Hindi Cinema's Legendary Singer/Actress Tun Tun on Her Birth Anniversary Today (11/07).

She gave us beautiful music and made us laugh. Starting as a young singer and later becoming the well-loved comedian Tun Tun, her impact is unforgettable. Born Uma Devi Khatri in 1923 in a small village in Uttar Pradesh, she lost her parents early. Her uncle raised her in a strict Punjabi family. Despite not having formal music training, she learned to sing from the radio. During a time when girls' education was rare and their ambitions were often discouraged, Uma Devi bravely taught herself to read and write Hindi, and even some Urdu and English, to help her singing career.

At 13, she ran away to Bombay to follow her dreams and challenge the singers she admired. She wanted to sing for Naushad, a composer she thought was the best. After many attempts, she finally sang for him and impressed him with a song by Noor Jehan. Her career began with the hit song "Afsana Likh Rahi Hoon" from the movie Dard in 1947. But her success didn't last long.

The chaos of India's partition affected the film industry, and as the Mangeshkar sisters became popular, Uma Devi's opportunities decreased. She knew her voice couldn't compete with theirs, and she had gained a lot of weight. Naushad, her Rakhi brother, saw her talent for comedy and suggested she try acting.

This led to her successful second career. She made her acting debut in the film Babul, produced by Naushad, with stars like Dilip Kumar and Nargis. She was given the name Tun Tun, which became famous. As the first well-known comedienne in Indian cinema, she entertained people in movies like Aar Paar, Pyaasa, Mr. and Mrs. 55, and Mom Ki Gudiya.

Tun Tun is remembered as one of the few artists who successfully switched from singing to comedy, leaving a lasting legacy in Hindi films.

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Sunghursh (1968) | dir. Harnam Singh Rawail

[ Vyjayanthimala and Dilip Kumar ]

[postersdecinema]

Palatak

(Paraíso Frágil)

IND, 1963

Yatrik (Tarun Majumdar, Dilip Mukherjee, Sachin Mukherjee)

7/10

Fuga em Frente

Palatak é mais um melodrama musical indiano, ao velho estilo de Bollywood. Baseado numa história de Manoje Basu adaptada por Tarun Majumdar, que também realiza, juntamente com Dilip e Sachin Mukherjee, sob o pseudónimo coletivo de Yatrik. O filme teve assinalável sucesso, tendo recebido prémios de melhor ator, Anup Kumar, e de melhor atriz secundária, Ruma Guha Thakurta.

Falado em bengali, constitui hoje um clássico do cinema da região.

Trata-se da história de um segundo filho, rico e mimado, de uma família brâmane, que não quer assumir as responsabilidades da sua posição social e decide correr mundo, quase como um vagabundo, em busca de experiências e conhecimento. E se digo, quase como um vagabundo, é porque, embora não tenha preconceitos em dormir ao relento, ou num estábulo, ou de se juntar a uma trupe de músicos e bailarinas de feira, ele não só está sempre bem provido de dinheiro, para qualquer necessidade, como não hesita em fazer uso da sua casta e do nome de família para ser bem acolhido, onde quer que passe, mostrando até arrogância, com frequência, no modo como usa e trata os seus "inferiores" solidários.

Palatak, que poderia traduzir-se pelo fugitivo errante, é precisamente uma espécie de anti herói, que troca a riqueza pela liberdade, apenas para descobrir, afinal, que o que sempre buscou, estava ao seu alcance, quase sem sair de casa. Era apenas o conforto e o amor da constituição da sua própria família.

A história é moralista, mas o personagem é complexo e bem interpretado por Anup Kumar, dando o filme uma visão pitoresca e socialmente colorida (apesar de ser a preto e branco) de uma Índia remota e tradicionalista, fortemente marcada pelas divisões sociais, decorrentes do sistema de castas.

Escape Forward

Palatak is another Indian musical melodrama, in the old style of Bollywood. Based on a story by Manoje Basu, adapted by Tarun Majumdar, who also directs, together with Dilip and Sachin Mukherjee, under the collective pseudonymous of Yatrik. The film had a significant success, receiving awards for best actor, Anup Kumar, and best actor second, Ruma Guha Thakurta.

Spoken in Bengali, constitutes today a classic of the cinema of the region.

It deals with the story of a second son, rich and beloved, from a Brahmin family, who does not want to assume the responsibilities of his social position and decides to wander the world, almost like a vagabond, in search of experiences and knowledge. I say, almost like a vagabond, because, although he has no shame in sleeping under a tree, in a stable, or of joining a troupe of musicians and fairground ballerinas, he is not only always well provided with money, for any need, as he does not hesitate to use his caste and family name to be accepted, wherever he passes, even showing arrogance, frequently, with the ones that help him, and he treats as "inferior".

Palatak, which could be translated as a fugitive errant, is precisely a kind of anti-hero, who exchanged wealth for freedom, only to discover, at last, that what he always sought was within reach, almost without leaving this home. It was just the comfort and love of establishing one's own family.

The story is moralistic, but the character is complex and well-interpreted by Anup Kumar, giving the film a picturesque and socially colorful (despite being a black and white movie) vision of a remote and traditionalist India, strongly marked by social divisions, caused by the system of castes.

[husn-e-bahar]

Mughal-e-Azam (1960)

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DILIP KUMAR - THE TRAGEDY KING OF INDIAN CINEMA | CINEMA TALKIES |