#Sahib Dilip Kumar

[richdadpoor]

On Raksha Bandhan, Saira Banu Shares Beautiful Story On Lata Mangeshkar And Dilip Saab's Bond

Published By: Dishya Sharma Last Updated: August 31, 2023, 11:00 IST Dilip Kumar and Lata Mangeshkar’s relationship lasted more than seven decades. (Photo Credits: Instagram) Saira Banu pays tribute to the enduring bond between her late husband, iconic actor Dilip Kumar, and his rakhi sister Lata Mangeshkar. On the auspicious occasion of Raksha Bandhan 2023, esteemed actress Saira Banu…

[gazetteweekly]

When Young Sanjay Dutt 'Proposed' to Saira Banu: A Heartwarming Memory

On Sanjay Dutt's birthday, July 29, yesteryear actress Saira Banu shared a delightful story from his childhood. Taking to Instagram, she reminisced about the time when a young Sanjay “proposed” to her, capturing the sweet bond they've shared over the years.

Saira posted a touching photo of Sanjay with her late husband, the legendary Dilip Kumar, and wrote, “@duttsanjay has always been like family to me. From Ammaji to Aapaji, to Sahib, and to me, we’ve watched him grow from a tiny toddler into the remarkable person he is today.”

Saira and Dilip Kumar enjoyed a close relationship with Sanjay’s parents, Sunil Dutt and Nargis Dutt. She recalled, “When Nargis Aapa would come to our house for functions, he would accompany her – this cute, good-looking kid… Nargis Ji would then shake his hands and say, ‘Chalo, Saira Ji ko bolo tum kya bolte ho mujhe? (Tell Saira ji, what you keep telling me)’. And then Sanju would look at me and say, ‘Main Shaila Banu se shaadi karunga’ (I’ll marry Saira Banu) in a cute little voice. So adorable! I believe Sharmila Tagore and I were Sanju’s top favorites.”

She concluded her heartfelt note with, “Many hands make light work. We’ve all cherished being part of his journey. He holds a special place in my heart. With all my love and blessings, I wish him a very happy birthday.”

Sanjay Dutt, who turned 65 on Friday, was recently seen in a cameo in Shah Rukh Khan’s Jawan. He will next appear in filmmaker Prem’s multilingual pan-India film KD – The Devil, where he is introduced as ‘Dhak Deva’.

[blogynews]

"A Shocking Revelation: Unveiling an Unexpected Bolt from the Blue!"

Renowned actor Saira Banu shared her memories of her engagement to the legendary Dilip Kumar on October 2, 1966. She expressed that this day marked the realization of her long-held dream of becoming Dilip Sahib’s wife. Taking to her Instagram account, Banu posted pictures with the acclaimed actor and wrote in the caption, “This date is of utmost significance to me because on August 23, 1966,…

[blogynewz]

"A Shocking Revelation: Unveiling an Unexpected Bolt from the Blue!"

Renowned actor Saira Banu shared her memories of her engagement to the legendary Dilip Kumar on October 2, 1966. She expressed that this day marked the realization of her long-held dream of becoming Dilip Sahib’s wife. Taking to her Instagram account, Banu posted pictures with the acclaimed actor and wrote in the caption, “This date is of utmost significance to me because on August 23, 1966,…

[blogynewsz]

"A Shocking Revelation: Unveiling an Unexpected Bolt from the Blue!"

Renowned actor Saira Banu shared her memories of her engagement to the legendary Dilip Kumar on October 2, 1966. She expressed that this day marked the realization of her long-held dream of becoming Dilip Sahib’s wife. Taking to her Instagram account, Banu posted pictures with the acclaimed actor and wrote in the caption, “This date is of utmost significance to me because on August 23, 1966,…

[common-man]

Tribute 756.

Tribute to Director B.R.Chopra. Today, I am going to pen another memorable writer, producer, and director of Bollywood who is none other than Late B.R.Chopra of B.R.Films, which is known for its respect and image in the Film fraternity. B.R.Chopra has produced many memorable films and an unforgettable serial called Mahabharat. He has directed a couple of movies with his directorial touch. Films that i have seen include Daastan, Pati Patni aur woh, Kanoon, Dhund, Humraaz, and Karm are remarkable. Thespian Dilip kumar's action in Daastan was a huge hit. Kanoon was another masterpiece from this director. Pati patni aur woh was also a successful one in which, if i remember correctly, late Sanjeev Kumar had acted. Play back singer Mahendra Kapoor was associated with his films. He had wonderful technicians in his unit, including his cinematographer and brother Dharm chopra and director brother Yash Chopra. Serial Mahabhart made another landmark for his banner in a small screen, which is not exaggerated. Late Rahi mazoom raza was the Dialoque writer for this serial. Mahabharat gave wonderful actors to Bollywood, which included Mukesh Khanna, Punit Isarand, and many more. He has produced many successful films like Waqt Dhul ka phool, and Chandni Chowk was among them. Bagh Baan story was this stalwart's all three chopra brothers dominated in B.R. Films Banner. He was awarded the Highest Indian Cinema Award, Dhada Sahib Phalke, which is important. Even though he is not with us today, his banner, B.R Films flag, is flying high in the wood Map. Today, I am happy to tribute this director. Regards. K.Ragavan. See you next week

6-2-23.

[euro-journal-english-news]

Friend's riposte: A national treasure lost to the cult of money (Book Extract)

Friend’s riposte: A national treasure lost to the cult of money (Book Extract)

By Khwaja Ahmed Abbas Dilip Kumar has many virtues and one of them is his frankness. After watching the premiere of ‘Gyara Hazar Ladkian’ (1962), he asked me a question in front of a crowd of people, “Abbas Sahib, why did you make this inane film?” I answered, “I made a mistake. It won’t happen in the future!” I didn’t say this out of any complaint or humility. Though I had directed the film, I…

[bollywoodirect]

Saira Banu remembers Dilip Kumar on 56th wedding anniversary (11/10)

"This October 11 is the 55th wedding anniversary of my Love and Kohinoor Dilip Sahib and I. I am writing this to especially express gratitude to the multitude of well wishers, dearest friends and family who have so lovingly and thoughtfully sent us remembrance of this magical day for both of us. Dilip Sahib and I, when time stood still and the sky was lit with a million happy sparkling stars... our wedding, the beginning of a sharing of a life of ecstatic togetherness... and now no matter what, we still walk together hand-in-hand, in our thoughts and being until the end of time. Dilip Sahib has been that iconic guiding light not only for me but for all those generations who've stepped forward in their lives exemplified by his gracious presence and personality. Dilip Sahib is forever... Aameen. May Allah always keep him in his love and blessings... Aameen.”

Courtesy Hindustan Times

[shankarjaikishanfansassnintl]

51 fascinating facts about Bollywood from the age of Classic Cinema

resented by Chandrakant Pednekar

Perhaps you’ve heard some of these before, perhaps not. We’ve found some really interesting facts about Bollywood since the very beginning, for your nostalgic pleasure.1. THE GOLDEN AGE OF INDIAN CINEMA DAWNED IN 1947 WITH INDIAN INDEPENDENCE. THE PERIOD BETWEEN 1947 AND 1961 IS CALLED ‘THE GOLDEN AGE’ BECAUSE IT USHERED IN NEW IDEAS AND VALUES WITHOUT IGNORING THE BASIC CHARACTERISTICS OF INDIAN CINEMA, A SPLENDID COMBINATION OF THE OLD AND NEW, WHICH ALSO PASSED INTO THE 21ST CENTURY AND HAS CONTINUES TO THIS DAY.2. More and more films began to be made with every passing year. In the process, landmark moments and films began to be created and linked with those years. 1949 was one such revolutionary year that gave rise to several landmark films. The topmost among them being Andaz (1949), the first big-budget love triangle starring Dilip Kumar, Raj Kapoor and Nargis.3. Mahal directed by Kamal Amrohi and released in 1949 was the first suspense thriller made in India. Originally planned with singer/actress Suraiya, the film finally went to Madhubala who became a star with the haunting song ‘Aayega aayega aayega anewala aayega…’, along with its playback singer Lata Mangeshkar. Lata reinforced her position in 1949 with R.K Films – ‘Barsaat’, which revolutionized the world of film music with the entry of the musical duo – Shankar Jaikishan.4. Mohd. Rafi emerged as a prominent male playback singer in 1949 with another Madhubala starrer Dulari with the hit number “Suhani raat dhal chuki…”. The last year of 1940s proved to be a watershed year for film music, as it prominently gave rise to the playback system wherein professional singers sang for the actors on screen who just had to move their lips without worrying about the ‘sur’ and ‘taal’ of the songs.5. Raj Kapoor’s Awara (1951) not only signaled a change in the grammar of film-making but also brought India prominently on the world map. He grabbed the script of Awara from under the nose of the legendary Mehboob Khan and launched it on a big scale. With “Ghar aaya mera pardesi…” shot on a massive set, Awara became the mother of all dream-sequences.6. Bimal Roy started his career in Calcutta and introduced Bengali Literature to Hindi Cinema and transformed the latter in many ways. Greatly influenced by the neo-realist Italian films and other post-war films he saw at India’s first international film festival in 1952, Bimal Roy’s Do Bigha Zameen (1953) remains a landmark film that has influenced several films including Lagaan (2001). One can find echoes of “Hariyala sawan shol bajata aaya…” from Do Bigha Zameen in “Ghanan ghanan ghir aayee…” from Lagaan.7. Debonair Dev Anand used to model himself on the lines of famous Hollywood star, Gregory Peck. During the making of Taxi Driver (1954), Dev Anand proposed marriage to his heroine, Kalpana Kartik. Both walked across to the registrar of marriages during a shooting break. Both signed the register and came back to resume work. Hardly anybody was aware that they were now husband and wife. Kalpana Kartik decided to quit films after marriage but not before doing 2 more films with her husband Dev – House No. 44 (1955) and Nau Do Gyarah (1957).8. Saratchandra’s Devdas has always been a favourite with film makers. The silent version was made in 1927 by Naresh Mitra with Phani Burma in the lead. P.C.Barua made it in 1935 with himself in the Bengali version and with K.L.Saigal in the Hindi version. Bimal Roy directed his version with Dilip Kumar in 1955 while Sanjay Leela Bhansali had his own interpretation of the novel in 2002 with Shahrukh Khan.9. Chandramukhi’s role in Bimal Roy’s Devdas (1955) was rejected by Nargis, Bina Rai and Suraiya. Vyjayanthimala, who finally did the role refused to accept Filmfare’s Best Supporting Actress Award for Devdas, stating that her role was as important as Paro’s. Years later, Reena Roy too, rejected Filmfare’s Best Supporting Actress trophy for Apnapan (1978), citing that her role was leading and not supporting.10. Truly Chaplin in form, content and treatment, Raj Kapoor’s Shree 420 (1955) remains his most socially significant comedy to date. It was a tremendous hit in India and overseas, especially in Russia, Egypt, Middle-East etc. “Ichak dana…” and “Mera joota hai japani…’ were rewritten in the languages of various countries and sung as local songs.11. V. Shantaram’s Do Aankhen Barah Haath (1957) was inspired by the story of an ‘Open Prison’ experiment in Satara. The film portrays a young jail warden, Adinath, who rehabilitates six deadly prisoners released on parole into persons of virtue. During the shooting of the film, V. Shantaram battled with a bull and hurt his eyes and affected his vision. During the period of temporary blindness, he visualized some unseen colours of life which resulted into the making of his colourful Navrang (1959).12. Dilip Kumar initially refused to be part of Naya Daur (1957) but then, his friend Ashok Kumar, who heard and loved the story, convinced him to accept it. Madhubala was the female lead in this movie but when B.R. Chopra decided to shoot the movie in Bhopal, Madhubala’s father, Ataullah Khan, refused to let her go citing personal reasons. Finally, Madhubala had to be replaced with Vyjayantimala who entered a new phase of her career with the super hit – Naya Daur.13. Guru Dutt wanted Dilip Kumar to play the leading role in Pyaasa (1957). The Tragedy King declined because he thought this role was similar to his Devdas (1955). So, Guru Dutt himself decided to play the role. Similarly, Madhubala and Nargis were his first choices for the leading ladies, which were eventually played by Mala Sinha and Waheeda Rehman. Pyaasa went on to become a cult film in the history of Indian cinema.14. Mehboob Khan’s Mother India (1957), was the colour remake of his own Aurat (1940) which featured his wife Sardar Akhtar. Aurat was inspired from Pearl S. Buck’s novel “The Mother”. Nargis got the role of her lifetime in Mother India which fetched her the Best Actress Award at the Karlovy Vary festival. Mother India was nominated for the Oscar as the best foreign film but it lost to Fellini’s Nights of Caberia (1957) by a single vote.15. Kishore Kumar apparently made Chalti Ka Nam Gaadi (1958), hoping it would fail commercially. He wanted to show losses in his income, to avoid paying a huge tax to the authorities. So he made two films – Lukochuri (Bengali) and Chalti Ka Nam Gaadi, and waited eagerly for them to collapse. However, both went on to become box-office successes. Kumar was so disgusted with this that he gifted Chalti Ka Nam Gaadi and all its rights to his secretary Anoop Sharma, who retained the copyright.16. Anari (1959), directed by Hrishikesh Mukherjee, brought together the sublimity of Raj Kapoor’s pairing with the timeless Nutan, celebrating the rich-poor divide through a story that saluted Raj Kapoor’s own Shree 420 (1955). Incidentally, Raj Kapoor’s brother Shashi Kapoor also starred in a film called Anari directed by Asit Sen in 1975. Later, Raj Kapoor’s grand-daughter Karisma Kapoor did another Anari in 1993 with the southern star Venkatesh.17. India’s first CinemaScope film Kaagaz Ke Phool (1959) was directed by Guru Dutt who also played the lead in the film. Apparently, Guru Dutt was so upset by the poor (box office) response to his film, that he thereafter never took credit as ‘Director’ for any of his later films such as Chaudhvin Ka Chand (1960), or Sahib, Bibi aur Ghulam (1962) even though they retain the unmistakable stamp of his direction. Though Kaagaz Ke Phool was a disaster in its time, it was later resurrected as a cult classic.18. Hrishikesh Mukherjee’s Anuradha (1960) was a movie much ahead of its time and featured debutante Leela Naidu in the title role with Balraj Sahani. A relative of the national leader Sarojini Naidu, Leela Naidu, was crowned Femina Miss India in 1954, and was featured in Vogue along with Maharani Gayatri Devi in the list of ‘World’s Ten Most Beautiful Women’. The film’s classical-based music was composed by Sitar maestro Pt. Ravi Shankar.19. K. Asif’s Mughal – E – Azam (1960) was actually planned in the 1940s. The political tensions surrounding India’s partition and independence in 1947 stalled the film’s production. Shortly after The Partition, financer Shiraz Ali migrated to Pakistan, leaving Asif without finance. Subsequently, the film’s lead Chandramohan suffered a heart attack and died in 1949. Ali had previously suggested the name of business tycoon Shapoorji Pallonji for financing the film. Pallonji did not know anything regarding the production of films, but he took a keen interest in the project and agreed to produce it due to his strong interest in Akbar’s history. Thus, began the saga of the magnum opus – Mughal–E–Azam!20. The Song “Pyar kiya to darna kiya…”, from Mughal – E – Azam (1960) has an unusual history to it. Naushad rejected 2 sets of lyrics made by Badayuni. Late in the night, Naushad remembered a folk song from Eastern Uttar Pradesh with the lyrics going as “Prem kiya, kya chori kari hai…”. The song was converted into a ghazal and subsequently recorded. As there was no technology to provide for the reverberation of sound heard in the song, Naushad had Lata Mangeshkar sing the song in a studio bathroom.21. A female-centric movie, based on a Bengali novel by Jarasandha, Bandini (1963) is the last directorial venture of Bimal Roy, a master of realism and regarded by many as his crowning achievement. Bimal Roy persuaded Nutan, who had given a magnificent performance in his Sujata (1959), to come out of her post-nuptial retirement and play the strictly raised, poetry-loving village girl, ‘Kalyani’. He convinced her to do Bandini, which went on to sweep all the top awards then, and is still considered a landmark movie of all time.22. Dosti (1964), a non star-cast film directed by Satyen Bose was made under the Rajshri banner and was biggest surprise hit of the year. The film focuses on the friendship between two boys, one blind and the other a cripple. Despite being released with Sangam, a blockbuster hit, Dosti was amongst the top ten grossers of 1964. It stands as a landmark in the career of Laxmikant-Pyarelal as this won them their first Filmfare Award and also made them popular in the film industry. Incidentally, R. D. Burman has played the harmonica throughout the film, which Ramu (one of the characters) plays throughout the film.23. Initially, Dilip Kumar was approached by Raj Kapoor to play the role of ‘Gopal Verma’ in Sangam (1964). Dilip Kumar agreed to play either one of the two male roles, with the condition that he was given the right to edit the final copy of the film. Since Raj Kapoor could not accept Dilip Kumar’s condition, he then approached Dev Anand for the role. The latter also declined the role citing date problems which ultimately went to Rajendra Kumar. Sangam ranked as the second highest grossing film of the decade.24. Brij Katyal’s script for Jab Jab Phool Khile (1965) was turned down by three top Producers. However, Director Suraj Prakash felt it was a beautiful story and accepted it, which went on to become his greatest hit. To prepare for his role as ‘Raja’, Shashi Kapoor would spend days with the boatmen in Kashmir to study their lifestyle. Sometimes, he would have meals with them. The original climax from the script had Raj beating up the bad guys. However, Suraj Prakash rejected it, and after watching Love in the Afternoon (1957), settled with Rita (Nanda) leaving everything behind to go back to Kashmir with Raja. Incidentally, Jab Jab Phool Khile (1965) got remade 3 decades later as Raja Hindustani (1996).25. B.R. CHOPRA HAD ORIGINALLY PLANNED WAQT (1965) WITH PRITHVIRAJ KAPOOR AND HIS THREE SONS, RAJ KAPOOR, SHAMMI KAPOOR AND SHASHI KAPOOR. EVENTUALLY, ONLY SHASHI KAPOOR WAS CAST, ALONG WITH RAJ KUMAR & SUNIL DUTT AS HIS ELDER BROTHERS, WHILE BALRAJ SAHANI PLAYED THE FATHER. WAQT PIONEERED THE IDEA OF A MULTI-STAR CAST IN INDIAN CINEMA AND RE-INTRODUCED THE LOST AND REUNITE FORMULA, ORIGINALLY MADE POPULAR IN KISMET (1943). WAQT ALSO SHOWCASES SOME OF THE TOP DIALOGUES SPOKEN BY RAAJ KUMAR LIKE “JINKE APNE GHAR SHEESHAY KE HON, WOH DOOSRON PAR PATTHAR NAHI PHENKA KARTE” AND “JAANI, YEH BACHCHON KE KHELNE KI CHEEZ NAHI, HAATH KAT JAYE TOH KHOON NIKAL AATA HAI”.26. Guide (1965) was made in two versions – an English version in collaboration with Pearl S. Buck and directed by Ted Danielewski and the Hindi version directed by Dev Anand’s younger brother Vijay Anand. It had never happened anywhere in the annals of cinema that the same story was filmed twice from two different perspectives with the same actor, one immediately after the other. Another striking feature about Guide is the Song ‘Kaaton se kheench ke ye aanchal…’ which begins from the ‘Antara’ instead of the ‘Mukhda’, a rare innovation unlike most Hindustani compositions.27. Teesri Manzil (1966) produced by Nasir Hussain & directed by Vijay Anand was originally planned with Dev Anand in the lead. Due to some reasons he could not do it & Shammi Kapoor replaced him in the film. However, Shammi Kapoor was not happy with Nasir Hussain’s choice of the music Director, R. D. Burman. He wanted Shankar Jaikishan to score the music but agreed to give Pancham a hearing. A nervous Pancham was ready with all the six tunes. The moment he heard Pancham sing “O Haseena Zulfonwali” and “Aaja Aaja Main Hoon Pyar Tera”, he jumped out of sheer joy & gave his approval for Teesri Manzil that soon revolutionised the world of Hindi Film Music.28. AROUND THE WORLD (1967) WAS INDIA’S FIRST FILM TO BE RELEASED IN 70 MM AND WAS EXTENSIVELY SHOT ALL AROUND THE WORLD. THE MAJOR OF THE FILM WAS SHOT ON A CRUISE SHIP. IT FEATURED RAJ KAPOOR AS AN INDIAN WHO TRAVELED AROUND THE WORLD IN 8 DOLLARS. V.SHANTARAM’S DAUGHTER RAJSHREE PLAYED THE ROMANTIC LEAD IN THE FILM. SHE MET HER FUTURE HUSBAND, AMERICAN STUDENT GREG CHAPMAN IN AMERICA DURING THE SHOOTING OF AROUND THE WORLD AND MARRIED HIM AS PER HINDU MARRIAGE RITUALS THAT LASTED 5 DAYS AND WAS ATTENDED BY 15,000 GUESTS.29. JEWEL THIEF (1967), WILL ALWAYS BE REMEMBERED AS ONE OF THE BEST CRIME THRILLERS OF INDIAN CINEMA. WHILE DEV ANAND AND ASHOK KUMAR VIED WITH EACH OTHER FOR THE TITLE OF JEWEL THIEF, THE GIRLS DID TOO. VYJAYANTHIMALA WAS ROPED IN TO PLAY THE MAIN HEROINE AS SAIRA BANU, THE ORIGINAL CHOICE COULD NOT DO THE FILM BECAUSE OF HER MARRIAGE WITH DILIP KUMAR. THE FILM ALSO FEATURED FOUR BOND GIRL-LIKE ACTRESSES PORTRAYED BY TANUJA, HELEN, FARYAL AND ANJU MAHENDRU. A SEQUEL OF JEWEL THIEF WAS RELEASED IN 1996, NAMED RETURN OF JEWEL THIEF WITH DEV ANAND AND ASHOK KUMAR PLAYING THEIR ORIGINAL ROLES.30. Prime Minister Lal Bahadur Shastri praised his earlier film Shaheed (1965) and enthused Manoj Kumar to make a film on the ‘Jai Jawaan Jai Kissan’ slogan. The slogan helped Manoj Kumar’s official debut as a Director for Upkar (1967), where he believably played both a Jawan and a Kisan. A huge hit, Upkar made Manoj Kumar an authority on screen patriotism. Manoj Kumar started his Mr. Bharat persona and his brand of patriotism & fearless courage with this film. The script for Upkar (1967) was written in less than 24 hours on the train journey between Delhi and Mumbai.31. THE TRAGEDY KING DILIP KUMAR HAD TO TAKE PSYCHIATRIC ADVICE AFTER PLAYING MELANCHOLIC ROLES LIKE DEVDAS (1955). IT WAS SUGGESTED THAT HE PLAY ROLES WITH LIGHTER SHADES AND THE RESULT WAS AZAAD (1955) & KOHINOOR (1960). AN OPPORTUNITY TO PLAY LIGHTER ROLES AGAIN AROSE FOR HIM WITH RAM AUR SHYAM (1967), WHEREIN DILIP KUMAR PLAYED A DOUBLE ROLE. INTERESTINGLY, VYJAYANTHIMALA, WHO WAS TO PLAY ONE OF THE HEROINES, WAS REPLACED WITH WAHEEDA REHMAN. MALA SINHA, WHO WAS APPROACHED FOR THE OTHER LEAD, REJECTED IT PAVING THE WAY FOR MUMTAZ, WHO ROSE TO THE TOP LEAGUE AFTER DOING RAM AUR SHYAM.32. WHILE REHEARSING FOR ‘BABUL KI DUAYEN…’ FROM NEEL KAMAL (1968), RAFI SAAB WAS CONTINUOUSLY CRYING. THE MUSIC DIRECTOR RAVI WAS PUZZLED AND WENT TO MR. HAMID, (MOHD. RAFI’S BROTHER IN LAW AND SECRETARY) & ASKED HIM THE REASON FOR HIS OUTBURST. HAMID SAAB REVEALED THAT JUST A DAY BEFORE, HIS DAUGHTER HAD GOT ENGAGED AND RAFI SAAB BECAME EMOTIONAL AS THE SONG ALSO SUITED THE REAL LIFE SITUATION. THIS INSPIRATIONAL SONG WENT ON TO WIN A NATIONAL AWARD FOR MOHD. RAFI.33. KISHORE KUMAR’S PERFORMANCE IN PADOSAN (1968) WHERE HE BECOMES SUNIL DUTT’S VOICE TO WOO SAIRA BANU WAS A PRECURSOR TO HIS BECOMING A FULL-TIME PLAYBACK SINGER. THE VERY NEXT YEAR, SHAKTI SAMANTA OFFERED HIM TO SING FOR NEWCOMER RAJESH KHANNA IN ARADHANA (1969) AND THE REST IS HISTORY. BEFORE, ARADHANA, KISHORE KUMAR HAD ONLY SUNG FOR HIMSELF AND OCCASIONALLY FOR DEV ANAND, WITH THE EXCEPTION OF PADOSAN, AS THE STORY DEMANDED IT. ARADHANA WAS A MUSICAL BLOCKBUSTER AND KISHORE KUMAR WAS HERE TO STAY, IN THE NEW ROLE OF A PLAYBACK SINGER, RIGHT UNTIL HIS DEATH IN OCTOBER 1987.34. While recording the soundtrack of the film Aradhana (1969), S.D.Burman took ill after composing the two Rafi duets. The responsibility of finishing the soundtrack fell on his son R.D. Burman, who took charge and decided to use Kishore Kumar to record the solos, as Rafi was away on a tour abroad. The sizzling song from Aradhana – “Roop tera mastana…” – made Bollywood history as the first song picturised in one shot without a single cut. Aradhana went on to win Filmfare’s best film award while Sharmila Tagore won her first Best Actress trophy.35. DO RAASTE (1969), A FILM DIRECTED BY RAJ KHOSLA, EMPHASIZES THE SANCTITY OF THE JOINT FAMILY AND THE SUPREMACY OF RELATIONS THAT ARE STRONGER THAN TIES OF BLOOD. RAJESH KHANNA APPEARED UNSHAVEN THROUGHOUT THIS MOVIE BECAUSE HE WAS SIMULTANEOUSLY SHOOTING FOR ITTEFAQ (1969) WHICH REQUIRED HIM TO BE UNSHAVEN. RAJESH KHANNA CREATED HAVOC AT THE BOX OFFICE WITH ARADHANA AND DO RAASTE. WHAT’S MORE IN BOMBAY, THE TWO FILMS HAD THEIR MAIN THEATRES RIGHT ACROSS THE ROAD FROM ONE ANOTHER, ARADHANA AT OPERA HOUSE AND DO RAASTE AT ROXY.36. THE CHARACTER OF ANAND (1970) WAS INSPIRED BY RAJ KAPOOR, WHO USED TO ADDRESS HRISHIKESH MUKHERJEE AS “BABU MOSHAY”. HRISHIDA INFORMED WRITER GULZAR TO OPEN THE MOVIE IN SUCH A WAY THAT THE AUDIENCE KNOWS IN THE FIRST SCENE ITSELF THAT ‘ANAND’ (RAJESH KHANNA) IS DEAD. HE DID NOT WANT THE AUDIENCE TO BE IN A STATE OF SUSPENSE TILL THE END AND KEEP GUESSING WHETHER ‘ANAND’ WILL SURVIVE OR NOT. BY DOING THAT HRISHIKESH MUKHERJEE WANTED TO CONCENTRATE ON HOW ‘ANAND’ WANTS TO LIVE LIFE TO THE FULLEST AND MAKE THE BEST OF THE TIME HE HAS. THE MOVIE WENT ON TO BECOME A ‘SUPER HIT’ AND MADE THE CHARACTER OF ‘ANAND’, IMMORTAL.37. JOHNY MERA NAAM (1970) DIRECTED BY VIJAY ANAND IS CONSIDERED A DEV ANAND CLASSIC. IT ALSO BECAME DREAM-GIRL HEMA MALINI’S FIRST SUPERHIT. THOUGH THE MOVIE DEALT WITH THE SIMPLE “LOST AND FOUND” THEME, WHAT STOOD APART WAS ITS BRILLIANT TREATMENT BY DIRECTOR VIJAY ANAND. VARIOUS TRACKS WERE INTELLIGENTLY INTEGRATED IN THE MOVIE INCLUDING THE TRIPLE ROLES OF COMEDIAN I.S. JOHAR. THE SONG “HUSN KE LAKHON RANG…” PICTURISED ON PADMA KHANNA WAS CONSIDERED SO BOLD THAT IT FACED A LOT OF CENSOR PROBLEMS. THE FILM WENT ON TO BECOME A CULT MOVIE, AND THE HIGHEST GROSSER OF 1970.38. MERA NAAM JOKER (1970) IS THE SECOND HINDI FILM TO HAVE TWO INTERVALS, THE FIRST ONE BEING SANGAM (1964). THE MAGNUM OPUS OF RAJ KAPOOR, MERA NAAM JOKER WAS DIVIDED INTO 3 CHAPTERS, EACH DEPICTING A DIFFERENT PHASE IN A JOKER’S LIFE, PLAYED BY RAJ KAPOOR. SIX YEARS IN THE MAKING, MERA NAAM JOKER TURNED OUT TO BE MUCH AHEAD OF ITS TIME WAS NOT A COMMERCIAL SUCCESS. HOWEVER, IT ACQUIRED CULT STATUS LATER AND IT IS NOW REGARDED AS A LANDMARK FILM OF INDIAN CINEMA.39. FROM ITS OPENING MONTAGE OF A YOUNG VILLAGE GIRL, WATCHING HER INDIFFERENT HUSBAND BRING HOME ANOTHER WIFE, TO THE FINAL MOMENTS, WHEN THE WOMAN IN HER TWILIGHT YEARS, IS TAKEN AWAY BY HER FOSTER-SON AMONGST THE FESTIVITIES OF DURGA PUJA, SHAKTI SAMANTA’S AMAR PREM (1971) IS A GLORIOUS HOMAGE TO WOMANHOOD. A MASTERPIECE DEALING WITH 2 PARALLEL TRACKS, ONE OF THE PLATONIC RELATIONSHIP THAT PUSHPA (SHARMILA TAGORE) SHARES WITH ANAND BABU (RAJESH KHANNA) AND THE OTHER OF PUSHPA’S RELATIONSHIP WITH A MOTHERLESS CHILD, AMAR AND PREM, TOUCHED THE EMOTIONAL CHORDS OF THE AUDIENCE TO THE FULLEST. IT IS STILL REMEMBERED FOR R.D.BURMAN’S MELODIOUS MUSIC AS MUCH AS IT IS REMEMBERED FOR RAJESH KHANNA’S FAMOUS DIALOGUE “PUSHPA, I HATE TEARS”.40. THE STORY FOR HARE RAMA HARE KRISHNA (1971) ACTUALLY CAME TO DEV ANAND’S MIND WHEN HE SAW HIPPIES AND THEIR FALLEN VALUES IN KATHMANDU, NEPAL. HE WANTED TO CAST MUMTAZ AS HIS NEPALI GIRLFRIEND AND ZAHEEDA, HIS CO-STAR OF PREM PUJARI, IN THE SISTER’S ROLE. ZAHEEDA DECLINED AND INSISTED ON PLAYING MUMTAZ’S PART. SHE ULTIMATELY LOST THE ROLE TO SENSUOUS ZEENAT AMAN WHO HIT BIG TIME WITH THIS FILM. THIS MUSICAL FAMILY DRAMA HAS AN ANTI-DRUG MESSAGE AND ALSO DEPICTS PROBLEMS ASSOCIATED WITH WESTERNIZATION SUCH AS DIVORCE AND ALIENATION.41. KAMAL AMROHI’S PAKEEZAH WAS LAUNCHED IN 1958 BUT TOOK 14 YEARS TO COMPLETE. IT WAS LAUNCHED IN BLACK-AND-WHITE, BUT WHEN COLOUR CAME IN VOGUE, AMROHI SCRAPPED THE PORTIONS ALREADY SHOT AND DECIDED TO START AGAIN. LATER, CINEMASCOPE CAME INTO VOGUE, AND AMROHI ACQUIRED A CINEMASCOPE LENS FROM MGM AND SCRAPPED THE PLAIN COLOUR PORTIONS TOO. FINALLY, IT WAS RELEASED IN 1972, JUST A FEW WEEKS BEFORE MEENA KUMARI’S DEATH. THE FILM HAD A SLOW START AT THE BOX-OFFICE BUT WENT ON TO BECOME A MAJOR HIT AS IT TURNED OUT TO BE THE SWAN SONG OF THE LEGENDARY MEENA KUMARI. LATE GHULAM MOHAMMED’S MUSIC IN PAKEEZAH CAUGHT THE FANCY OF THE ENTIRE NATION.42. SEETA AUR GEETA (1972) WAS THE FEMALE VERSION OF RAM AUR SHYAM (1967) BUT WITH A DIFFERENCE. DIRECTOR RAMESH SIPPY HAD HIS OWN UNIQUE INTERPRETATION OF IDENTICAL TWINS WHICH HE PRESENTED TO THE AUDIENCE INTERESTINGLY. INITIALLY, MUMTAZ WAS OFFERED THE DOUBLE ROLES OF ‘SEETA’ AND ‘GEETA’ BUT SHE COULD NOT DO THE FILM. SO IT WAS OFFERED TO HEMA MALINI WHO LAPPED UP THE OPPORTUNITY AND ZOOMED TO THE TOP SPOT WITH ITS GRAND SUCCESS. IT NOT ONLY EARNED HER THE FIRST FILMFARE AWARD BUT TILL DATE REMAINS THE BEST FILM OF HER CAREER.43. BOBBY (1973) A FILM DIRECTED BY RAJ KAPOOR WAS VERY POPULAR AND WIDELY IMITATED. IT ALSO REPRESENTED THE FILM DÉBUT FOR DIMPLE KAPADIA AND THE FIRST LEADING ROLE FOR RAJ KAPOOR’S SON, RISHI KAPOOR. THE MOVIE IS KNOWN TO BE A TREND-SETTER IN ITS OWN RIGHT WHICH INTRODUCED THE GENRE OF TEENAGE ROMANCE WITH A RICH-VS-POOR CLASH AS A BACKDROP. THE FILM BECAME A BLOCKBUSTER AND WAS THE TOP GROSSER OF 1973. INCIDENTALLY, DIMPLE KAPADIA MARRIED SUPERSTAR RAJESH KHANNA BEFORE THE RELEASE OF BOBBY AND WAVED GOOD-BYE TO FILMS FOR ALMOST A DECADE.44. YASH CHOPRA BRANCHED OUT FROM HIS BROTHER B.R. CHOPRA’S PRODUCTION HOUSE, B.R. FILMS TO START HIS OWN COMPANY YASH RAJ FILMS IN 1973 AND LAUNCHED DAAG: A POEM OF LOVE. HE SIGNED THE REIGNING SUPERSTAR RAJESH KHANNA ALONG WITH THE BENGAL TIGERESS- SHARMILA TAGORE AND RAKHEE. A LOVE TRIANGLE WITH A DIFFERENCE DAAG: A POEM OF LOVE SHOWCASED THE INTRICACIES OF HUMAN RELATIONSHIPS WHICH WERE TO BECOME YASH CHOPRA’S FORTE IN SUBSEQUENT FILMS. AN ADAPTATION OF THE NOVEL “THE MAYOR OF CASTERBRIDGE”, THE FILM ALSO HAD INTERESTING SITUATIONS FOR LAXMIKANT- PYARELAL’S SUPERHIT MUSIC.45. JUST AS THE ESTABLISHED FILM-MAKER RAJ KAPOOR ADOPTED A MODERN APPROACH FOR BOBBY (1973), SO ALSO NASIR HUSSAIN, THE MAKER OF MUSICAL LOVE STORIES DID AN ABOUT TURN WITH THE MULTI-STARRER LOST-AND-FOUND DRAMA, YAADON KI BAARAT (1973). DESPITE, ITS ACTION ORIENTED THEME, THIS MOVIE IS STILL REMEMBERED FOR ITS UNFORGETTABLE MUSIC BY R. D. BURMAN, ESPECIALLY THE EVERGREEN ROMANTIC “CHURA LIYA HAI…” WHICH IS STILL THE MOST FAVOURITE SONG OF THE REMIX ARTISTES. THIS MOVIE ALSO FEATURES AAMIR KHAN IN THE TITLE SONG AS THE YOUNGEST KID.46. AMITABH WAS THE FIFTH CHOICE AFTER DEV ANAND, RAJ KUMAR, DHARMENDRA AND RAJESH KHANNA FOR THE LEAD ROLE IN ZANJEER (1973). DEV WANTED THE ACTOR TO BE ALLOWED TO SING A COUPLE OF SONGS AND ASKED PRAKASH TO DIRECT UNDER HIS NAVKETAN BANNER. DHARMENDRA COULD NOT FIT INTO SCHEDULE. RAJESH FEARED THE ROLE MIGHT TELL UPON HIS ROMANTIC IMAGE. IT WAS PRAN WHO SUGGESTED MEHRA TO SEE BOMBAY TO GOA (1972). THE FILM HAD A FIGHT SCENE, AND THE MOMENT PRAKASH SAW THE FIGHT SCENE, HE SCREAMED “MIL GAYA!!”. THE MOVIE CHANGED THE TREND FROM ROMANTIC FILMS TO ACTION FILMS AND PIONEERED AMITABH’S NEW IMAGE OF A BROODING YET EXPLOSIVE PERSON WHO FIGHTS BACK WHEN CORNERED.47. AFTER ZANJEER (1973) WAS DECLARED A HIT, AMITABH AND JAYA GOT MARRIED. BY THE TIME, THE CRITICALLY ACCLAIMED ABHIMAAN (1973) RELEASED, THE REEL-LIFE COUPLE HAD BECOME HUSBAND AND WIFE IN REAL LIFE TOO. ABHIMAAN (1973), DIRECTED BY HRISHIKESH MUKHERJEE WAS ORIGINALLY NAMED AS RAAG RAGINI. ABHIMAAN WAS EVEN POPULAR IN SRI LANKA AND WAS SCREENED CONTINUOUSLY FOR TWO YEARS IN THE SAME MOVIE THEATER, NEW OLYMPIA, COLOMBO.48. THE FILM NAYA DIN NAYI RAAT (1974) WAS KNOWN FOR SANJEEV KUMAR’S NINE-ROLE EPIC PERFORMANCE, WHICH WAS EARLIER PLAYED BY SIVAJI GANESAN IN NAVARATHIRI (1964)(TAMIL) AND BY AKKINENI NAGESWARA RAO IN NAVARATHRI (1966)(TELUGU). THIS FILM HAD ENHANCED SANJEEV KUMAR’S STATUS AND REPUTATION AS AN ACTOR IN HINDI CINEMA. YEARS LATER, KAMAL HAASAN APPEARED IN TEN DISTINCT ROLES IN DASAVATHAARAM (2008), MAKING IT THE FIRST TIME THAT AN ACTOR HAS APPEARED IN SO MANY ROLES IN WORLD CINEMA. A YEAR LATER, THIS RECORD WAS BROKEN BY PRIYANKA CHOPRA, WHEN SHE ESSAYED TWELVE DIFFERENT CHARACTERS IN WHATS’S YOUR RAASHEE? (2009), EACH CHARACTER, REPRESENTATIVE OF A ZODIAC SIGN.49. SHYAM BENEGAL IS RIGHTLY CALLED THE FATHER OF NEW WAVE CINEMA IN THE SEVENTIES. WHILE MRINAL SEN KICK-STARTED THE MOVEMENT IN 1969 WITH BHUVAN SHOME, BENEGAL PUT IT FIRMLY ON TRACKS WITH HIS DIRECTORIAL DEBUT ANKUR (1974). HE TOOK FORWARD THE FEUDAL FABLE OF SATYAJIT RAY’S PATHER PANCHALI (1955) OR BIMAL ROY’S DO BIGHA ZAMEEN (1953) IN HIS OWN STYLE. TILL THIS DAY, SHYAM BENEGAL HAS’NT STOPPED MAKING SOCIALLY RELEVANT FILMS THAT TOUCH A CHORD IN THE HUMAN HEART. SHABANA AZMI MADE HER DEBUT IN ANKUR IN A ROLE ORIGINALLY OFFERED TO VETERAN WAHEEDA REHMAN. HER PERFORMANCE WAS SO MESMERIZING THAT EVEN SATYAJIT RAY COMMENTED, “IN TWO HIGH-PITCHED SCENES SHE PULLS OUT ALL STOPS AND FIRMLY ESTABLISHES HERSELF AS ONE OF OUR FINEST DRAMATIC ACTRESSES.”50. WHILE UPKAR (1967) WAS INSPIRED BY LAL BAHADUR SHASTRI’S SLOGAN “JAI JAWAN JAI KISAN”, MANOJ KUMAR’S ROTI KAPDA AUR MAKAN (1974) WAS INSPIRED BY INDIRA GANDHI’S “GARIBI HATAO” SLOGAN. THE BASIC IDEA FOR THE FILM ALSO STEMMED FROM A RECITAL MANOJ KUMAR HAD HEARD AT A SCHOOL FUNCTION WHILE THE SCENE WHERE HE THROWS HIS DEGREE IN HIS FATHER’S FUNERAL PYRE WAS INSPIRED FROM A NEWSPAPER REPORT IN 1972. MANOJ KUMAR DEFTLY HANDLED THE ENSEMBLE CAST BALANCING THE STRONG SOCIAL UNDERCURRENTS WITH THE NECESSARY COMMERCIAL ELEMENTS. IT CONTINUES TO BE TOPICAL EVEN AFTER 38 YEARS OF ITS RELEASE.51. THE CHARACTER OF GABBAR SINGH IN THIS ACTION ADVENTURE FILM – SHOLAY (1975) WAS MODELED ON A REAL-LIFE DACOIT OF THE SAME NAME WHO MENACED THE VILLAGES AROUND GWALIOR IN THE 1950S. ANY POLICEMAN CAPTURED BY THE REAL GABBAR SINGH, HAD HIS EARS AND NOSE CUT OFF, AND WAS THEN RELEASED AS AN OBJECT LESSON TO OTHER POLICEMEN. INITIALLY, THE PRODUCERS APPROACHED DANNY DENZONGPA FOR THE ROLE OF THE BANDIT CHIEF, BUT HE WAS COMMITTED TO FEROZ KHAN’S DHARMATMA (1975), HENCE CHARACTER ACTOR JAYANT’S SON AMJAD KHAN WAS ROPED IN. HE PREPARED HIMSELF FOR THE PART BY READING A BOOK TITLED ‘ABAR ABHISHAPTA CHAMBAL’, WHICH TOLD OF THE EXPLOITS OF CHAMBAL DACOITS. AMJAD KHAN PLAYED THE ROLE SO CONVINCINGLY THAT HE MADE THE CHARACTER OF GABBAR SINGH IMMORTAL.

[rajeshidr]

Indian Cinematography

Dilip Kumar: An artist who became an art

7 Julai , 2021 at seven o'clock , came even as Mumbai's Hinduja Hospital 9 8 Age Dilip Kumar news to take last breath Saheb ; Memories of all cinema Drshekon , Saheb 1 9 44 1 Fun to 99 8 and give the venerable tribute to the unique exhibition then patiently began to be seen .

11-12-19 originated 22 by Peshawar (undivided India) Ayesha Begum and son of Lala Ghulam Sarwar Khan Mohammad Yusuf Khan , and often coming mystic in his house of the street , to illuminate the child's later life The news was given. In Indian Hindi cinema, who showed such different forms of art in the characters of life from the acting work of his films that he became Dilip Kumar Saheb , his school of the same art . After leaving his body , the same as before , will this cinematic charisma of art classes constantly moving .    

In 1944 ,  starting with the tides ; Shining with Firefly in 1947 ; Reaching the shore from across the river in 1948 ; In 1949 , Andaaz , directed by Mehboob Khan , with Raj Kapoor and Nargis embarked on the path of tragedy king in a different style with the film. The black and white film of the 1950s was filled with such sad stories that after the successes of Daag , Devdas , Madhumati , Aan , Paigam , Naya Daur , Saheb had to heed the advice of a doctor to do light-hearted characters , avoiding such films. was lying . After this, films of different genres in the 1960s , Saheb spread such a grand spectacle in the film skies that the audience could see the colorful clouds of his art in Mughal-e-Azam , Ganga-Jamuna , Leader , Ram Aur Shyam , Aadmi , Sangharsh. Along with it started flying and attached to the ground and kept blessing Dilip Saheb and his humility and also kept taking off his arrows . did only four films from 1970 to 1976 ; But nominated for Best Actor for Gopi-Sagina-Bairag. At around 1 9 80s sixty years , aside Karma Anupam Kher , Nsuruddin Shah , Jackie were learning Shroff ;There were mountains in front of Sanjay Dutt-Amrishpuri in the creator ; In Shakti, Amitabh was showing his power , directly ; Anil Kapoor was showing the sun of the light of his art in the torch ; Manoj Kumar , Hema Malini , Shashi Kapoor , Shatrughan Sinha were wearing their iron as Sanga in Kranti ; He was explaining the world to Rishi Kapoor in the world and in Izzatdar, he was telling artists like Govinda the secret of working with respect and earning respect from work.

Padma Vibhushan in 2015 ; Dadasaheb Phalke Award in 1994 ; Padma Bhushan in 1991 ; Member of Rajya Sabha from 2000-2006 ; Mumbai Sharif 1980 ; In 1998 became the officer of the highest honor of Pakistan. In addition , he had good command over Urdu-Hindi-English-Hinduku-Punjabi-period-Bhojpuri-Pashto and Persian languages . He won Filmfare Best Actor award from the movies Daag , Devdas , Azad , Naya Daur , Kohinoor , Leader , Ram Aur Shyam and Shakti . Joggers along with Sunil Dutt were instrumental in laying and building the park.      

Dilip Kumar Saheb adorned the finest pinnacle of art on the one hand , having turned into a mint coin that was unmatched in Indian culture ; , While with the other hand, Yusuf Khan exquisitely-sophistication-empathy-heartiness , its country-social households are connected to the ground . It was the miracle of the personality of Saheb that like him , there was never any difference of opinion between his fans-viewers and family-society on art-religion or any other matter, nor any difference of opinion. Both of them side by side ; Be all and all of them both .  

1 9 70 Author Indore when he lived with his parents and family , Durga to go in chanting the mother ; Then after a few times Bgtgn chanting , Dad used to say that Kapoor will appear as many times Dilip Kumar . And at that time we could not understand this thing except that now all these praisers will get more of Everfresh's barfis in the prasad !! How could that childhood time think that one day he would get a chance to talk about his dad's best choice, Dilip Kumar , in his article like this ; Whose films in Delhi's Daylight Cinema Hall , he used to watch three shows in a row . After 1 9 80 , while in Delhi, After seeing Citrhar songs every Sunday movies and Wednesday-Friday Doordarshan television it had come the understanding that he Bgtgn did not say wrong . And on 24th June 2001 at Joggers Park in Bombay, when I had a sudden chance to meet Saheb ; Then it changed to be sure , in the heart with a calming always landed .      

And finally the talk of Saira Banuji . If the parents-brother-sister-friends for the nearly 22 years from 1922 to 1944 of the birth of the saheb are entitled to salute-thank you ; Then there after reaching the supremacy of art ; 1 99 8 through tireless-austerity almost 22 years until 2021 , to maintain the dignity of Saheb , Saira ji should be much welcomed ; Less will remain .    

no regrets

no question anywhere

never mess

was not my self

I just remained

Shadow of your sahib .  

A viewer by the pen of Ravikrishna Banarsilal Kapoor

8130470682 , Prashant Vihar , New Delhi

[atscorpsblog]

‘Dilip Kumar Sahib Always Called Me Yusuf And Never By My Name,’ Saptrishi Ghosh Remembers Legend

‘Dilip Kumar Sahib Always Called Me Yusuf And Never By My Name,’ Saptrishi Ghosh Remembers Legend

News oi-Filmibeat Desk | Updated: Wednesday, July 7, 2021, 17:50…

[dbpnews]

Remembering Dilip Kumar | The superstar who chose not to be content with his superstardom

Remembering Dilip Kumar | The superstar who chose not to be content with his superstardom

“Not content with mere stardom, Dilip sahib was possibly among the earliest Indian actors to lend his star status to a variety of causes.” As tributes tumble out at the passing of Dilip Kumar aged 98 – with Amitabh Bachchan going so far as to declare that when the history of Indian cinema will be written, it shall always be ‘before Dilip Kumar and after Dilip Kumar’ – we shall leave it to the…

[pdajaysharma]

RIP Dilip Kumar Sahib 😢🙏🏻🙏🏻🙏🏻 https://www.instagram.com/p/CRAzZ34slUY/?utm_medium=tumblr

[techiecynews]

PM Narendra Modi and Bollywood join India in mourning loss of legendary actor

PM Narendra Modi and Bollywood join India in mourning loss of legendary actor

Dilip Kumar had been in and out of hospitals over the past month and the family hoped he would be better. On Monday, his wife Saira Banu had confirmed that he was recovering and could return home soon. She had also shared an update on her health on Twitter. “We are grateful for God’s infinite mercy to Dilip Sahib as his health improves. We are still in the hospital and ask for your prayers and…

[thenewsroom8]

Saira Banu says Dilip Kumar's health improving, urges fans to pray for early recovery | Hindi Movie News

Saira Banu says Dilip Kumar’s health improving, urges fans to pray for early recovery | Hindi Movie News

Veteran Bollywood actor Dilip Kumar‘s wife Saira Banu informed fans on Monday that the megastar’s health is improving and requested them to pray for him so that he gets discharged from the hospital. Taking to Kumar’s Twitter handle, Saira shared the news and wrote, “We are grateful for God’s infinite mercy on Dilip Sahib that his health is improving. We are still in hospital and request your…