#dilip kumar movies

[inmyworldblr]

Aadmi (1968) | dir. A. Bhimsingh

[kaumudi]

[g0j0s]

nothing compares to the complexities behind the facade of simplicity in old Indian movies. you’d think their expressions are exaggerated. maybe to you, their clothes or their words are melodramatic. but the layers of emotions and artistry is so seamlessly tied in every scene that it becomes hard to distinguish. to a layman, it might seem too loud and overwhelming but those who understand the intricacies behind their body movements and contortion of features might be able to comprehend the hidden meaning

even when there was no internet to google and gather global references, these people curated and conjured feelings that were visually poetic. it’s easy to discard the efforts and mastery in the name of “mundaneness” and “slow pace” but their honey laced words, magnificent wardrobes, intense songs and compound emotions are a proof that the mainstream cinema we consume now is a disoriented version of the epitome that’s slipping away from us with each year.

[rajeevpradhan]

[aarifboy]

Top 50 Dilip Kumar Songs.1947-1991 Year by Year Best Classic Hits of Gre...

[yoramkelmer]

Poster for the first ever pakistani movie, the urdu movie “Teri Yaad”, from 1948.

It starred Asha Posley and Nasir Khan (brother of Dilip Kumar) in the leads, supported by Najma, Rani Kiran, Ragni, Jahangir Khan and Ghulam Mohammad.

It was directed by Dawood Chand.

Notice that the title here is even featured in devanagari writing.

[hotvintagepoll]

Vyjayanthimala and Dilip Kumar (Devdas, Naya Daur, Ganga Jumna)—no propaganda submitted

William Powell and Kay Francis (Jewel Robbery, One Way Passage)—HELLO i suggested william powell and kay francis yesterday but didnt think to include propaganda lol so here is some in case im the only person who submitted them and u have time to throw it in. this prolific duo made seven movies together between 1930 and 1932 and they are the quintessence of pre-code sophistication and witty sensuality to me. their chemistry together is delightful and it's no wonder they were paired up so many times. jewel robbery, which opens with debonair jewel thief william powell commiting the suavest robbery ever complete with offering the shop staff marijuana and just escalates from there, is an especially unhinged classic but doomed shipboard one way passage might be their best.

This is round 1 of a mini Christmas tournament. Each poll lasts for three days. If you'd like to send additional propaganda supporting your favorite hot couple, you can reblog this post with your propaganda added, send it to my asks, or tag me in it. To vote in all the polls, click here. Happy holidays!

[additional sexy propaganda under the cut]

Vyjayanthimala and Dilip Kumar:

William Powell and Kay Francis:

[anotherfanaccount]

6. Madhumati (1958)

Seeing this after multiple watches of OSO surely gotta bias your views.

But a beautiful film nonetheless. Pretty songs. It was really aesthetic for a Black and white movie.

So Madhu and her Jhumar dangled for Shanti and her Jhumar to crush the villain. Beautiful stuff NGL.

2024 watch journal so that I kinda keep track.

[bollywoodirect]

Did you know that Meena Kumari was initially cast opposite Dilip Kumar in the movie Amar (1954)? However, due to some reasons, Meena Kumari could not continue shooting and was replaced by Madhubala.

Madhubala and Dilip Kumar had already become a famous on-screen couple with the success of the 1951 movie Tarana.

Although Amar was far ahead of its time and didn't do well at the box office, the natural chemistry between Madhubala and Dilip Kumar was well appreciated by both the audience and critics. Meena Kumari would have portrayed this role in her own versatile and charismatic way, as did Madhubala. Here are stills from the same scene in the movie: one with Meena Kumari and another with Madhubala.

[inmyworldblr]

Amar (1954) | dir. Mehboob Khan

[ Madhubala and Dilip Kumar ]

[theincorrigiblemagpie]

I watched Madhumati (1958) last night. I can't believe it took me so long to watch this movie given its legacy.

And I enjoyed it very much.

I've never been a Dilip Kumar fan but after this... I get it. I really do.

I have been a Vyjayanthimala fan and she's delightful, as always.

I had no idea Ritwik Ghatak wrote the script? And you see it. The "raja" wields his unearned wealth and power like a bludgeon. He's an entitled, lecherous, boorish thug who has no respect or consideration for those he considers his social inferiors.

He both admires and resents the hero for his ability to stand up to him.

The raja's corruption has tainted his staff at the timber mill which is the economic backbone of the estate.

The supervisor takes a cut from the meagre earnings of the daily wage workers. The foreman hides discrepancies in the accounts. And they're in conflict with the local Kumaoni people.

Right off the bat, the foreman and an assistant warn our hero that the locals are all thieves. But they're the only thieves we encounter.

And all of this is just the background to the central storyline, which is a romance. A good one!

Anyway, I get the Madhumati hype. And I get why Bimal Roy's daughter accused Om Shanti Om of plagiarism. OSO walks a thin line between referencing Madhumati and basically having a near identical climax.

(I personally do think OSO is a solid tribute to not just Madhumati, but a lot of Bollywood storytelling conventions, people, incidents, and more, and I'd let it go.)

Also, what a bananas good soundtrack. Salil Chowdhury and Shailendra casually landing basically every song.

If you enjoy old fashioned Bollywood entertainers, I think you should deal with the grainy film and sound, and watch Madhumati.

[g0j0s]

mulaqat

.

oh look how he mocks me! tantalising the coils of my curls with his cool fingers. they press on my warm skin like the curtain of clouds falling over the sun’s heat. he tries to court me by calling me sweet names, comparing my speech to honey and my eyes to lotus leaves. but does he not realise that these are mere material things? for they don’t stand a chance against my beauty? I do not wish to be a subject to his bantering but when he speaks it’s all so endearing. tell me lord, how do I take my eyes off him? tell me before he catches me looking at him.

[rajeevpradhan]

[aarifboy]

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

[indiejones]

OF 1940'S BOLLYWOOD'S CHILDHOOD FRIENDS -TURNED- (DIRECTIONLESS & LITERALLY NAMELESS) NEW PESHAWARI KIDS ON THE BLOCK! - OF VASUDEV & RANBIR ! ... OOPS ... YUSUF KHAN & SHRISHTI NATH ! ... OOPS ... DILIP KUMAR & RAJ KAPOOR!

Did you know that the Dilip Kumar- Raj Kapoor friendship goes back not just to their childhoods growing up close by in Peshawar, but to literally several generations back, with Dilip's Dad being best friends with Raj's Grand-Dad ie Prithviraj Kapoor's father, their ancestors in fact having grown up in the same locality all life.

Infact 'tis via this friendship with Raj's grandfather, Lala Basheshwarnath, that Yusuf's father came to crystallize his dislike for the acting profession as a whole, letting no opportunity pass by in unabashedly criticizing his friend's son Prithviraj's wayward ways, in front all & sundry incl Yusuf, in a profession that he regarded of loose moral values & low prestige, this outlook also borne of his staunchly orthodox Muslim views on life, also simultaneously being heavily politically involved in Muslim politics, alongside the Ali brothers, & a big supporter of the Caliphate Raj idea itself.

So anyway, once in Bombay to try his luck (for as he narrates, "any job available whatsoever in Bombay Talkies" (the story leading to which we've already narrated in our Dilip Kumar-Ashok Kumar blog), he landed up bagging not just any, but the main lead's role, for which was also offered a certain pretty handsome salary price. But what really set his interest going, was that this sum, was much much higher than the salary being received by his good friend & only person he really knew even remotely from the movies then, Prithviraj Kapoor's son, Raj Kapoor, who he was in regular touch with, & who'd been working as an Asst Director in the same studios for some time too! Which is why, as he humorously recalls, unaware of the (perennial) hierarchy btwn Assts & Heroes, he had to get it re-confirmed from studio bosses, whether this offered sum was a monthly or yearly figure!

Next problem though, remained in informing his father of this new job placement, which he knew, would be totally & utterly against his express & strongly held beliefs! And so, afraid of his father's wrath, decided to not tell his family of his new job placement, as long as he could avoid, a very important turn of events in the story, to what was to follow next - the naming of the new hero, a routine affair in Bollywood back then!

Studio bosses came up with 2 alternative names, Dilip Kumar and Vasudev!

Dilip recalls his immediate reaction being, "Anything but Yusuf Khan pls!"

He amusingly recalls, how he too, just like the whole world, would learn of his new, & forever re-christened name, from the morning papers of a month later. And Dilip Kumar was born!

Also re-birthing his old childhood bond with Ranbir (birth name Shrishti) now re-christened Raj from their kiddy Peshawar days, a time he would fondly recall in interviews many decades later, of those nascent times of 1945-46, when both these to-be pillars were yet wannabes-

Dilip says: "Both us friends lived in constant fear of what'd happen at the studio each next day. And he (that's Raj, being an Asst Director, & incharge of more petty matters) would keep harping on small things & what all could go wrong, & I'd keep scolding him for always bringing it up & spoiling my mood."

Dilip continues- "I also had a fondness for watching good films, many many times...upto 3 theater shows a day, & that repeated for many days, if a film fascinated me enough. While Raj was not of the same view. He found the repetition confusing, moreover and thought it a waste of time. I always defended myself, by pointing to the quality of films (intl & natl) being watched by us here, & the value of our purpose. Anyway, what I imbibed from my observation, as one starting out, was the minimal amount of acting being done. I recall him saying once, "Listen,what we'll do is change it. Do it differently, this & that..", & I immediately reacted, "NO. I WILL NOT DO IT. I JUST WON'T!" "

How was History to know, while one became the grand "Showman"of Indian Cinema, the other would go on to be called the loveliest & among the Greatest Method Actors the world's ever seen!