Whether Dilip Kumar sahab or Raj Kapoor sahab who was a greater phenomenon?

Raj Kapoor versus Dilip Kumar. Raj Kapoor and Dilip Kumar had remained the greatest legends of hindi cinema for the last 100 years. Ranbir Raj Kapoor, also known as Raj Kapoor, was the son of legendary actor Prithviraj Kapoor. Muhammad Yusuf Khan, also known as Dilip Kumar was the son of Fruit tycoon Lala Ghulam Sarwar. Raj Kapoor was born on 14th December, 1924, while Dilip Kumar was born on 11th December, 1922. They acted together only in one film titled Andaz in 1949, which was directed by Mehboob Khan. There were a lot of striking points of the two superstars who ruled bollywood films during the 40s, 50s and 60s. Raj Kapoor was awarded Padmabhushan in 1971, while Dilip Kumar was awarded Padmabhushan in 1991. Raj Kapoor was awarded Dadasaheb Phalke in 1987 and Dilip Kumar was awarded Dadasaheb Phalke award in 1994. In 1947, Raj Kapoor acted opposite Madhubala and Begum Para in the film Neel Kamal. In 1947, Dilip Kumar acted in the successful film Jugnu, although he started his career with the film Jwar Bhatta in 1944. While Raj Kapoor got the title of showman, with his projection of larger than life romantic stories in films like Barsaat, 1949, Awaara, 1951, Shree 420, 1955, Sangam, 1964, etc; Dilip Kumar got the title of Tragedy King with his projection of the sad personality in films like Devdaas, 1955, Musafir, 1957, Madhumati, 1958, Mughal –i-Azam, 1960, etc. Both the actors acted opposite leading actresses of the golden age including Nimmi, Nargis, Meena Kumari, Madhubala, Wahida Rehman, Vaijayantimala, to name a few, although Raj Kapoor acted in 17 films opposite Nargis, while Dilip Kumar acted in 7 films opposite Vaijayantimala. While Raj Kapoor at an age of 22 years married Krishna Kapoor at an age of 16 years who was his maternal cousin in 1944; Dilip Kumar at an age of 44 years married Saira Banu at an age of 22 years in 1966. Both Raj Kapoor and Dilip Kumar supported the Congress, but although Raj Kapoor did not join active politics, Dilip Kumar became Member of Rajya Sabha and also Sheriff of Mumbai. While Raj Kapoor had marathon combination with composer Shankar Jaikishan, lyricists Shailendra and Hasrat Jaipuri and singers Mukesh, Lata and Manna Dey, who worked with him in more than 15 films; Dilip Kumar had immortal bond with composed Naushad, lyricist Shakeel Badayani and singer Mohammad Rafi who had contributed in more than 15 films of the legend. While Raj Kapoor won filmfare awards in different categories including best actor, best director, best producer, etc; Dilip Kumar won the filmfare award for best actor for record 8 times. Raj Kapoor had died in 1988 and Dilip Kumar had retired from films after acting in the film Qila, many years ago. Their works should be preserved and restored.

Superstar Uttam Kumar was the best in films directed by Ajoy Kar.

Uttam Kumar’s excellent combination with director Ajoy Kar. Uttam Kumar being the greatest superstar of Bengali cinema during the golden age, that is the 50s, 60s and 70s, had acted in the films of all the legendary filmmakers of Bengal and the country as a whole. He had worked with Satyajit Ray in films like Nayak, Chiriakhana, Tapan Sinha in films like Jotugriha, Jhinder Bandi, Agragami in films like Sankhabela, Shilpi, Agradoot in films like Sabar Opore, Surjo Toron, Gulzar in films like Kitaab, Mrinal Sen in films like Raat Bhor. But the commercial films in which Uttam Kumar had gained stardom were mostly related to the works of Ajoy Kar, the innovative filmmaker of the country. He utilized the middle-class image of Uttam Kumar in the film Griha Prabesh. He made Uttam Kumar play a sacrificing role in the society in the film Shyamali. Shaymali was staged in Star Theatre in Kolkata as play and ran successfully for more than 4 years. Ajoy Kar came out victorious in the film Shyamali after Uttam Kumar played a cameo in the film. Uttam Kumar played the role of an honest academician in the film Bardidi based on the epic literature of Sarat Chandra Chatterji. Ajoy Kar provided spectacles in the make up of Uttam Kumar. Uttam Kumar was as brilliant in the role of a down to earth zamindar as Sandharani who played the lead role in the film. Ajoy Kar’s Harano Sur was the biggest hit film of Bengali cinema of the 50s. Uttam Kumar and Suchitra Sen became the most enterprising romantic pair of the millennium with the landmark performance in the film Harano Sur. Uttam Kumar lost his memory in the early part of the film after meeting with an accident and married Suchitra Sen. He forgot her after his earlier memory was regained. Suchitra Sen worked in the house of Uttam Kumar as governess of Uttam Kumar’s brother’s child to return his memory. Uttam Kumar produced the film and it created history. The Ajoy Kar Uttam Kumar magic continued in the film Saptapadi based on the classic literature of Tarashankar Bandopadhyay. Uttam Kumar being a hindu Brahmin married Suchitra Sen, a Christian. Chabi Biswas the father of Uttam Kumar begged before Suchitra Sen to forget Uttam Kumar. Uttam Kumar changed his religion, became a doctor and served the people during the 2nd world war. He even cured Suchitra Sen who suffered a bomb blast during the war. The film was considered to be the greatest hit of the 60s. Uttam Kumar acted in other landmark films of Ajoy Kar like Suno Boronari and Khelaghar. It was pity that in the late 60s, Ajoy Kar went to Pune Film and Television Institute and taught new directors the art of film making. Otherwise he could have experimented more with Mahanayak Uttam Kumar. The legendary films of the great director and the landmark matinee idol should be restored for the future generations.

On death anniversary, the country remembers superstar of the millenium mahanayak Uttam Kumar.

24th July was the death anniversary of Mahanayak Uttam Kumar. He had died almost 41 years ago, yet the viewers had not forgotten his films and still his presence is felt in the life bengalies in different parts of the world. In 2011 the Governer of West Bengal launched the 50 rupees postal stamp having the engraving of Uttam Kumar in it. Previously Raj Kapoor and Dilip Kumar’s faces were engraved in Postal stamps for remembering their contribution to Indian cinema. Few years back, Mamta Banerjee, the Union Railway Minister, renamed the Tollygunge Metro Station as Mahanayak Uttam Kumar station. In 2011, the walls of the Tollygunge Metro Station had been filled with the pictures of films of Uttam Kumar. In fact the people of Tollygunge cannot associate the place without the existence of Uttam Kumar whose works glorified the different studios which carried on the legacy of Bengali Film Industry. Mamta Banerjee, the Chief Minister of West Bengal had also provided support to revive the Uttam Mancha and take care of Shilpi Sangsad, an organization created by Mahanayak Uttam Kumar to help the needy actors, actresses, technicians, etc. Oscar winning director Satyajit Ray acknowledged the dynamic presence of the legendary superstar in Bengali films and made a film Nayak in 1966 based on the story of Uttam Kumar. His original name was Arun Kumar Chatterji, who was a clerk in Port Commission before joining Bengali films. When he joined films with Drishtidaan in 1948, he had to struggle to create his image as against he established heroes like Asit Boron, Bikash Roy and others. In 1952, his film Basu Paribar struck at the box-office and he overtook Bosonto Choudhury, Asit Boron and became the leading superstar of Bengali films. All the qualities of a romantic hero was possessed by him, including a standard height, good complexion, manly voice, romantic hairstyle and unique dialogue delivery. Any dress suited the legendary superstar including Punjabi, dhoti, coat, Bengali dresses, etc. He had acted in the films of all the legendary directors of the golden age including Satyajit Ray’s Nayak in 1966, Chiriakhana in 1967, Tapan Sinha’s Jhinder Bandi in 1961, Upahaar in 1955 and Jotugriha in 1964, Ajoy Kar’s Harano Sur in 1957, Saptapadi in 1961, Suno Bara Nari in 1960, Agradoot’s Bipasha in 1962, Surjo Toron in 1958, Agragami’s Sagarika in 1956, Shonkhobela in 1966, to name a few. Uttam Kumar acted opposite all the leading actresses of Bengali celluloid including Suchitra Sen, Arundhuti Debi, Manju Dey, Sabitri Chatterji, Supriya Choudhury, Mala Sinha, and others. His combination with Suchitra Sen had given everlasting classics and both of them still remains the most romantic pair in Indian silver screen. Uttam Kumar’s films were based on rich literature including Tagore’s Khokababur Protyaborton, Subodh Ghosh’s Suno Bara Nari, Samaresh Bose’s Kuhak, Sorodindu Bondhopadyay’s Chiriakhana, Shankar’s Chourangi. The films were related to different types of stories including comedy stories, tragic stories, soft romantic stories, etc. Uttam Kumar had acted in around 205 films (including bollywood films like Amanush, Anand Ashram, Choti Si Mulakat, Dooriyan, Kitaab etc., ) in a span of 35 years, and all his films had remained everlasting treasures. Out of his 205 films, around 37 of them ended up being blockbusters, around 50 were super hit films and around 50 were hit films. Actor Shatrughun Sinha in his interview before Bengali media had disclosed that when he was working in Pune Film and Television Institute, the graduates had unanimous view that Uttam Kumar, Raj Kapoor and Dilip Kumar were the greatest superstars of celluloid and had Uttam Kumar acted in more number of bollywood films, he would have remained as great a legend as Dilip Kumar or Raj Kapoor. Even the singers who had sung for him including Manna Dey, Shyamal Mitra, Hemanta Mukherjee, Manobendra Mukherjee, etc., agreed that they did not find any actor who was parallel to Uttam Kumar in giving lips in songs. He made the viewers feel that he only sang the songs. Actor Shatrughun Sinha in his interview had said that during his student life in Pune Film and Television Institute, the upcoming actors used to debate about the charishma of Uttam Kumar, Raj Kapoor and Dilip Kumar. Although there was no unanimity about the finest actor among them, there was consensus about one fact had Uttam Kumar established himself in bollywood films by acting in more number of films, he would have been equally an international figure like Raj Kapoor or Dilip Kumar. Articles after articles can be devoted to Uttam Kumar who was one –man –industry in Bengali films. His films should be revisited to create motivation for making better quality films in future. On death anniversary of Mahanayak Uttam Kumar, Mamata Banerjee gave lifetime achievement awards. On death anniversary of Mahanayak Uttam Kumar, on 24th July, 2012, Mamata Banerjee gave

lifetime achievement awards to veteran actors Soumitra Chatterjee, Supriya Debi and Sabitri Chatterjee for their immense contribution to Bengali cinema. Every year bengalies mourn the death of Uttam Kumar, the greatest superstar of Bengali cinema on 24th July, 1980. Few years back Uttam Kumar was seen in postage stamps. Mamta Banerjee, the Chief Minister of West Bengal also renamed the Tollygunge Metro Station as Mahanayak Uttam Kumar Metro Station. Uttam Kumar had acted in the films of all the legendary directors of the golden age including Satyajit Ray’s Nayak in 1966, Chiriakhana in 1967, Tapan Sinha’s Jhinder Bandi in 1961, Upahaar in 1955 and Jotugriha in 1964, Ajoy Kar’s Harano Sur in 1957, Saptapadi in 1961, Suno Bara Nari in 1960, Agradoot’s Bipasha in 1962, Surjo Toron in 1958, Agragami’s Sagarika in 1956, Shonkhobela in 1966, to name a few. Uttam Kumar acted opposite all the leading actresses of Bengali celluloid including Suchitra Sen, Arundhuti Debi, Manju Dey, Sabitri Chatterji, Supriya Choudhury, Mala Sinha, and others. His combination with Suchitra Sen had given everlasting classics and both of them still remains the most romantic pair in Indian silver screen. Uttam Kumar’s films were based on rich literature including Tagore’s Khokababur Protyaborton, Subodh Ghosh’s Suno Bara Nari, Samaresh Bose’s Kuhak, Sorodindu Bondhopadyay’s Chiriakhana, Shankar’s Chourangi. The films were related to different types of stories including comedy stories, tragic stories, soft romantic stories, etc. Uttam Kumar had acted in around 205 films (including bollywood films like Amanush, Anand Ashram, Choti Si Mulakat, Dooriyan, Kitaab etc., ) in a span of 35 years, and all his films had remained everlasting treasures. Out of his 205 films, around 37 of them ended up being blockbusters, around 50 were super hit films and around 50 were hit films. Actor Shatrughun Sinha in his interview before Bengali media had disclosed that when he was working in Pune Film and Television Institute, the graduates had unanimous view that Uttam Kumar, Raj Kapoor and Dilip Kumar were the greatest superstars of celluloid and had Uttam Kumar acted in more number of bollywood films, he would have remained as great a legend as Dilip Kumar or Raj Kapoor. His films should be restored and preserved.

Happy birth anniversary to Rajender Kumar sahab, the romantic jubilee star.

The viewers wish happy birth anniversary of Rajender Kumar on 20th July, 2021. Mohammad Rafi, the eternal singer had sung more than 150 songs for Jubilee Kumar Rajender Kumar. Superstar Rajender Kumar had a deadly combination with Mohammad Rafi and Shankar Jaikishan. Whenever the three combined together they created history. In Dil Ek Mandir, Rafi’s song “jahan koi nahi” and “yaad na jaye” were created in two different moods. Both the compositions of Shankar Jaikishan were marvelous. Rafi was as outstanding as Rajender Kumar. The film was released in 1963. Rajender Kumar became Jubilee Kumar for having all his films doing business of more than 25 weeks between 1963 and 1966. Shankar Jaikishan was the leading composer composing majority of his songs. In the film Ayee Milan Ki Bela, released in 1964, all the songs sung by Rafi and picturized on Rajender Kumar became smash hits like “mai pyar ka diwana”, “aha aye Milan ki bela”, “to bura maan gaye”, “tum khamseen ho nadaan ho”, to name a few. In the same year, Rajender Kumar’s Sangam had a masterpiece of Shankar Jaikishan namely “yeh mera prempatra parkar”. The song became the greatest hit of 1964. The film Zindagi was also released in 1964. Shankar Jaikishan’s brilliant composition for Rafi namely “pehele mile the sapno me” mesmerized the viewers. In 1965, Shankar Jaikishan created magic in Rajender Kumar’s film Aarzoo. All the songs of Rafi touched the souls of the audience including “chalke teri ankhon se”, “aji humse bachkar kahan jayiyega”, “ai phoolon ki raani”, “aye nargise mastana”, to name a few. The exotic locations of Kashmir, the brilliant costumes of Rajender Kumar and Sadhna, elegant singing of Rafi and brilliance of Shankar Jaikishan created magic. The deadly combination continued in the film Suraj in 1966. All the songs of Rafi became smash hits like “baharon phool barsao”, “gustaqi maaf”, “kaise samjhaun”, “itna hai tujhse pyar mujhe”, to name a few. Rafi was brilliant in the duet songs as well where Suman Kalyanpur complimented Rafi. In 1967 and 1968, Rajender Kumar’s films Aman and Jhuk Gaya Aasman became hit due to the brilliant music of Shankar Jaikishan. Rafi’s songs in these films like “surahidar garden”, “aaj ki raat”, “o priya”, “saccha hai agar pyar mera sanam”, “kahan chal diye” stormed bollywood. Shankar Jaikishan composed music in the other films of Rajender Kumar as well including Aas Ka Panchi, where the title song was sung by Subir Sen, Dharti; where Rafi’s song “khuda bhi aaman se” became smash hit, etc. Rafi contributed in other films Rajender Kumar also where Shankar Jaikishan composed music including Shatranj. The songs and the films should be regularly telecast in the private channels to reach the excellent music to the younger generations. A big section of music lovers agree that had Jaikishan not died in 1971, Rafi’s dominance in bollywood music not suffered at all. In fact SJ’s tunes were brilliant and were specifically catered towards the likings of common mass. They were not that technical which could not reach the audience. Besides SJ gave tunes in around 10 films per years all along the 50s and 60s, the era when Rafi was unbeatable. RD Burman’s domination in the 70s would have got very strong resistence had Jaikishan survived few years more. The immortal lyrics of Shailendra and Hasrat Jaipuri also ended with the sad expiry of Jaikishan in 1971. In the case of Naushad, his gharana was so classically oriented, that his composition for an actor had changed the destiny of the actor. Although Naushad and Rafi’s combination was associated mainly with respect to Tragedy King Dilip Kumar, he preserved a huge treasure of music for Rajender Kumar as well. Mere Mehboob, stands out as probably one of the greatest creations of Naushad ever in the history of bollywood music. All the songs of Rafi for Rajender Kumar, including “mere mehboob tujhe meri muhobbat ki kasam“, “tumse izhaar-e-haal kar baithe“, “ai husn zara jag tujhe ishq jagaye” had revealed the royal elite culture of Aligarh and Lucknow in the form of shayri and ghazals. Rajender Kumar and Sadhna were at their best in the film. Naushad and Rafi were sublime in Rajender Kumar’s film Palki. The song “dil-e-betaab ko sine se lagana hoga” shows the class of Naushad. Although Naushad utilized Rafi to perfection in Rajender Kumar’s Ganwar, he used Mukesh in major songs of the film Saathi due to pressure of the producer and director. Rafi and Rajender Kumar were blessed with the immortal creations of Shankar Jaikishan and Naushad in the 60s and the films and the songs should be preserved as rich assets of the nation which can be cherished for generations after generations.

Superstar Uttam Kumar's death anniversary brings memories of Mahanayak.

Uttam Kumar’s death anniversary brings great memories of the superstar of Bengal. Again, 24th July, 2019 will bring memories of Mahanayak Uttam Kumar. Superstar Uttam Kumar was remembered on his birth anniversary on 3rd September, 2016. Actor-turned-MPs Dev and Moon Moon Sen would be felicitated with the Mahanayak and Mahanayika Samman, the highest film award given by the West Bengal government. Chief Minister Mamata Banerjee will give the annual 'Mahanayak Uttam Kumar Samman' at Nazrul Mancha stadium tomorrow to felicitate the actors and technicians of the Bengali film industry. On her Facebook page, Banerjee said veteran actress Mousumi Chatterjee and reigning Bengali film superstar Dev will be the recipients of this year's 'Mahanayak Samman' while Moonmoon Sen will receive the 'Mahanayika Samman'. Both Dev and Sen had won the recent Lok Sabha polls on a Trinamool ticket. The awards were instituted in the year 2012 in the memory of the legendary actor 'Mahanayak' Uttam Kumar. Actor-director-producer Arindam Sil will be conferred with Special Film Award (Acting). Special Film Awards will also be presented to actors like Paoli Dam, Hiran Chatterjee, Abir Chatterjee, Indranil Sengupta, Kharaj Mukherjee, Rudranil Ghosh and others. Veterans of Bengali film industry like Chiranjeet Chakraborty, Sabyasachi Chakraborty, Mamata Shankar and Debashree Roy will be feted with Lifetime Achievement Awards. Veteran playback artiste Kumar Sanu will be felicitated with Lifetime Achievement Award for Music (playback Singer) while Special Film Awards (Music Director) will be presented to Sivaji Chattopadhyay, Arundhati Home Chowdhury and Adhir Chatterjee. Nispal Rane on behalf of Surinder Films will get Special Film award for the best producer. Special film award for direction will be given to Swapan Saha, Kamaleshwar Mukherjee and Prodipto Bhattacharyya. 50 actors had been awarded the Mahanayak Uttam Kumar award on his death anniversary on 24th July, 2013. Chief Minister Mamta Banerjee had started the awards in the memory of the greatest superstar of Bengal Mahanayak Uttam Kumar. Madhabi Mukherjee, Dipankar Dey, Ranjit Mullick and Sandhya Roy had been given lifetime achievement award. Incidentally Madhabi Mukherjee had acted in many super hit films of Uttam Kumar like Shankhabela, Choddobeshi, Agnisshar, etc. and Sandhya Roy had acted in many hit films of Uttam Kumar like Mayamrigo, Surjotapa. Director Goutam Ghosh had also been granted lifetime achievement award. Actors Partho Mukherjee, Chinmoy Roy, directors Sandip Ray, Raj Chakravarty, Sujit Saha, Koushik Ganguly and Srijit Mukherjee are given special awards. Actors Tapas Pal and Prasenjit Chatterjee are given Mahanayak Samman. Actors Saswata Chatterjee and Parambrata Chatterjee are given special awards. Film Producing companies are also awarded and felicitated including RD Bansal and Company, Arora Films, Shri Venkatesh films, New Theatres, to name a few. He had died almost 33 years ago, yet the viewers had not forgotten his films and still his presence is felt in the life bengalies in different parts of the world. In 2011 the Governer of West Bengal launched the 50 rupees postal stamp having the engraving of Uttam Kumar in it. Previously Raj Kapoor and Dilip Kumar’s faces were engraved in Postal stamps for remembering their contribution to Indian cinema. Last year, Mamta Banerjee, the Union Railway Minister, renamed the Tollygunge Metro Station as Mahanayak Uttam Kumar station. In 2011, the walls of the Tollygunge Metro Station had been filled with the pictures of films of Uttam Kumar. In fact the people of Tollygunge cannot associate the place without the existence of Uttam Kumar whose works glorified the different studios which carried on the legacy of Bengali Film Industry. Mamta Banerjee, the Chief Minister of West Bengal had also provided support to revive the Uttam Mancha and take care of Shilpi Sangsad, an organization created by Mahanayak Uttam Kumar to help the needy actors, actresses, technicians, etc. Oscar winning director Satyajit Ray acknowledged the dynamic presence of the legendary superstar in Bengali films and made a film Nayak in 1966 based on the story of Uttam Kumar. His original name was Arun Kumar Chatterji, who was a clerk in Port Commission before joining Bengali films. When he joined films with Drishtidaan in 1948, he had to struggle to create his image as against he established heroes like Asit Boron, Bikash Roy and others. In 1952, his film Basu Paribar struck at the box-office and he overtook Bosonto Choudhury, Asit Boron and became the leading superstar of Bengali films. All the qualities of a romantic hero was possessed by him, including a standard height, good complexion, manly voice, romantic hairstyle and unique dialogue delivery. Any dress suited the legendary superstar including Punjabi, dhoti, coat, Bengali dresses, etc. He had acted in the films of all the legendary directors of the golden age including Satyajit Ray’s Nayak in 1966, Chiriakhana in 1967, Tapan Sinha’s Jhinder Bandi in 1961, Upahaar in 1955 and Jotugriha in 1964, Ajoy Kar’s Harano Sur in 1957, Saptapadi in 1961, Suno Bara Nari in 1960, Agradoot’s Bipasha in 1962, Surjo Toron in 1958, Agragami’s Sagarika in 1956, Shonkhobela in 1966, to name a few. Uttam Kumar acted opposite all the leading actresses of Bengali celluloid including Suchitra Sen, Arundhuti Debi, Manju Dey, Sabitri Chatterji, Supriya Choudhury, Mala Sinha, and others. His combination with Suchitra Sen had given everlasting classics and both of them still remains the most romantic pair in Indian silver screen. Uttam Kumar’s films were based on rich literature including Tagore’s Khokababur Protyaborton, Subodh Ghosh’s Suno Bara Nari, Samaresh Bose’s Kuhak, Sorodindu Bondhopadyay’s Chiriakhana, Shankar’s Chourangi. The films were related to different types of stories including comedy stories, tragic stories, soft romantic stories, etc. Uttam Kumar had acted in around 205 films (including bollywood films like Amanush, Anand Ashram, Choti Si Mulakat, Dooriyan, Kitaab etc., ) in a span of 35 years, and all his films had remained everlasting treasures. Out of his 205 films, around 37 of them ended up being blockbusters, around 50 were super hit films and around 50 were hit films. Actor Shatrughun Sinha in his interview before Bengali media had disclosed that when he was working in Pune Film and Television Institute, the graduates had unanimous view that Uttam Kumar, Raj Kapoor and Dilip Kumar were the greatest superstars of celluloid and had Uttam Kumar acted in more number of bollywood films, he would have remained as great a legend as Dilip Kumar or Raj Kapoor. Even the singers who had sung for him including Manna Dey, Shyamal Mitra, Hemanta Mukherjee, Manobendra Mukherjee, etc., agreed that they did not find any actor who was parallel to Uttam Kumar in giving lips in songs. He made the viewers feel that he only sang the songs. Actor Shatrughun Sinha in his interview had said that during his student life in Pune Film and Television Institute, the upcoming actors used to debate about the charishma of Uttam Kumar, Raj Kapoor and Dilip Kumar. Although there was no unanimity about the finest actor among them, there was consensus about one fact had Uttam Kumar established himself in bollywood films by acting in more number of films, he would have been equally an international figure like Raj Kapoor or Dilip Kumar. Articles after articles can be devoted to Uttam Kumar who was one –man –industry in Bengali films. His films should be revisited to create motivation for making better quality films in future.

Saira Banuji and Rajender Kumarji gave landmark hit films in 1960s.

Rajender Kumarji and Saira Banuji

. Rajender Kumar, better known as Jubilee Kumar, had acted in memorable films in the 60s, ranging from Mere Mehboob, to Sangam, Aarzoo to Suraj, etc. During that span he had acted with all the leading actresses of bollywood films including Vaijayantimala, Sadhna, Meena Kumari, Wahida Rehman, etc. His combination with Saira Banu was well accepted by the viewers. Most of their films became successful and did very good business during the 60s. Their film Ayee Milan Ki Bela was a romantic film with melodious songs composed by Shankar Jaikishan. The memorable songs sung by Rafi and Lata include “to bura man gaye”, “o sanam tere ho gaye hum”, “aha aye Milan ki bela dekho aye”, “tum khamseen ho”, “mai pyar ka diwana”, to name a few. Dharmender got a supporting role in the form of brother of Rajender Kumar. He also did well in the film. Their film Jhuk Gaya Aasman was based on reincarnation. Rajender Kumar met with an accident and took the place another person who had huge property. The other Rajender Kumar was subject to conspiracy Prem Chopra and others who were interested to take his property. Music again played a notable role with Shankar Jaikishan providing westernized tunes for Rafi and Lata. The hit songs sung by Rafi and Lata included “o priya, kaun hai jo sapno me aya”, “saccha hai ghar”, “kahan chal diye”, to mention a few. The popularity of Rajender Kumar and Saira Banu contributed a lot for the success of the film. Rajender Nath, the brother of Prem Nath did well as a relief character. The film which was less known involving Rajender Kumar and Saira Banu, included Aman. The film was based on the victims of Second World War. Rajender Kumar was a doctor and went to Hiroshima and Nagasaki to treat the victims who got infected due to hurling of Atom Bomb during the Second World War. Rajender Kumar went there against the wishes of his father played by Balraj Sahani. There he met Saira Banu and got involved with her. The film depicted the damage that caused in most parts of Japan including the population and their property. It was not a romantic film in that sense. But the music of Shankar Jaikishan again appreciated by the audience. The notable songs included “surahidar garden, koel si hi awaaz”, “aaj ki raat”, etc. Rajender Kumar died at the end of the film. The films of Jubilee Kumar and Saira Banu should be restored for the next generation as their romantic pair provided entertaining performances in the 60s.

Superstar Uttam Kumar film Chourangee with Anjana Bhowmick can be revisited many times.

In the film Chourangee Uttam Kumar shook the intellectuals and literary community. Uttam Kumar’s acting versatility reached the intellectuals of Bengal by mid-60s. His films including Tapan Sinha’s Jotugriha, Satyajit Ray’s Nayak, Ajoy’s Kar’s Saptapadi, ended up being cine-classics which had paved the way for thoughtful filmmaking in the later years. Chowrangee was the landmark literature of writer Shankar which was given expression by director Pinaki Mukherjee. Released in 1968, the film was related to the life of Grand Hotel in Kolkata. Uttam Kumar was the receptionist of the five star hotel, better known as Sata Bose. Subhendu Chatterji got a job as another receptionist in Grand Hotel, who was groomed and trained by Uttam Kumar. The striking part of the film lied in the depiction of numerous weird characters in the film who visited Grand Hotel during the 50s and 60s and whose activities could be predicted by Uttam Kumar with his profound experience in the hotel industry. Utpal Dutta played the role of Marco Polo, one of the members of the management of Grand Hotel. He gave the job to Subhendu Chatterji due to request of Dipak Mukherjee whom he knew very well. The character artists played significant role in the film. Biswajeet Chatterji played the role of Mr. Pakrasi, the son of Deepti Ray, who fell in love with Supriya Choudhury in the film. Bhanu Banerjee played the role of employee in Grand Hotel, Jahar Roy played the role of Chief Chef in the film, Prashanto Kumar played the role of the Violin Player in the film. Uttam Kumar fell in love with Anjana Bhowmick, an air-hostess who came to visit Grand Hotel a number of times. But at the end of the film when Uttam Kumar left the job and planned to go and settle in Mumbai after marrying Anjana Bhowmick, the last flight of Anjana Bhowmick crashed and the hopes of Uttam Kumar also crashed with the accident. Ashima Bhattacharya, the producer in the film composed a landmark song for Manna Dey. The song was titled “meghero khela akasho pare”. The remained as one of the greatest hit songs sung by Manna Dey for Uttam Kumar. The film Chowrangee should be preserved and restored for the classic literature, powerful direction, realistic performances and brilliant music.

On birth anniversary magic combination of Roshansahab with Rafisahab and Pradeep Kumarji is remembered.

On the birth anniversary of Roshanlal Nagrath on 14th July 2021

the combination of Roshanlal Nagrath, Pradip Kumar and Rafisahab. Combination of Mohammad Rafi, Roshanlal Nagrath and Pradeep Kumar. Viewers of Bollywood films wish Happy birth anniversary to brilliant actor Pradeep Kumar on 4th January, 2017. Whenever any reference relating to everlasting singer Mohammad Rafi comes, the attention goes to the big budget films and songs for big banners. Rafi is known the most for singing catchy numbers for Shammi Kapoor under the composition of Shankar Jaikishan and classical songs for Dilip Kumar under the composition of Naushad Ali. Although Rafi had sung brilliant songs for all the leading actors of 40s, 50, and 60s, much had been written about the successful films where both the songs and the films did excellent business. But Rafi had sung excellent songs for Pradeep Kumar under the composition of Roshanlal Nagrath, where even if the mass was not touched, the class was addressed and the royal andaz of singing showed the range of Rafi to suit his voice for any form of playback singing. The magic of Roshanlal Nagrath, Pradeep Kumar and Mohammad Rafi started in Aarti released in 1962. Phani Majumdar directed the film. Four of the songs of Rafi stand out, “aapne yaad dilaya”, “ab kya misaal doon”, “baar baar tohe kya” and “tere bin lage na jiya”. Some of them were solo songs, while others were duet songs sung with Lata Mangeshkar. There were other duet songs of Rafi with Asha Bhosle, but the ones in pathos andaz like “aapne yaad dilaya” mesmerized the audience. The lyrics of Majrooh Sultanpuri, the composition of Roshanlal Nagrath, the voice of Mohammad Rafi and lips of Pradeep Kumar made the viewers spellbound. None of the songs had lost their charm even today. The magic continued in the film Tajmahal in 1963. M. Sadiq directed the film. Pradeep Kumar played the role of Shahjahan while Beena Roy played the role of Mumtaz Mahal. Here the combination was different with Sahir Ludhiyanvi writing the songs for Roshan which were sung by Mohammad Rafi. Four of Rafi’s songs were masterpieces including “jo wada kiya wo nibhana parega”, “paon chulene do phulonko inayat hogi”, “chandi ka badan”, and “jo baat tujhme hai”. Roshanlal Nagrath won the filmfare award for the best composer only once in his life, that was for the composition of the music of the film Tajmahal. He deserved it many more number of times. Sahir Ludhiyanvi won the best lyricist award for the lyrics of the film. Rafi was as outstanding as Pradeep Kumar in the role of Shahjahan. The magic continued in the film Chitralekha in 1964. Kidar Sharma directed the film. Pradeep Kumar, Meena Kumari and Ashok kumar played the main roles. Rafi’s song “man re tu kahe na dheer dhare” is still considered one of the 10 best bhajans Rafi had sung. Sahir Ludhiyanvi wrote the songs of the film. Rafi’s other song “cha gaye badal” was equally impressive. The Roshan, Rafi, Pradeep Kumar combination continued in the film Bheegi Raat in 1965. It was directed by Kalidas. Rafi’s songs in the film “dil jo na keh saka”, “aise to na dekho”, “jane wo kaun hai kya naam hai”, “mohabbat se dekha” all were masterpieces. Some were duets with Suman Kalyanpur, while the others were solo songs sung by Mohammad Rafi. Lyrics were written by Majrooh Sultanpuri. The words were excellent. Rafi was unparallel in all the songs. The combination continued in the film Bahu Begum in 1967. It was directed by M. Sadiq. Rafi’s songs “hum intezar karenge tera qawamat tak”, “dhoond ke layun kahan se”, “vakiv hoon ishqgade” were all masterpieces. While some had ghazal andaz, the others were stand out qawallies with Manna Dey. Roshan was as brilliant as Mohammad Rafi as Sahir Ludhyianvi. In the same year, the combination was sublime in the film Noorjahan. Rafi sang the songs “aap jab se kareeb aye hain” and “wo mohabbat wo wafayen” in style. For a change the lyrics were written by Shakeel Badayani. The unfortunate death of Roshanlal Nagrath in 1967, ended the journey of Rafi with Roshan and Pradeep Kumar. Otherwise masterpieces after masterpieces could be created. Rafi’s archive should preserve the songs of Pradeep Kumar and Roshan, which showed the royal andaz of music existing in the courts of Mughals, Pathans and Sultans in India.

Talat Mehmood sahab had a brilliant velvetty voice suiting Dilip Kumarsahab Raj Kapoorsahab and other actors.

The owner of velvette voice Talat Mehmood was remembered on his death anniversary on 9th May, 2020

. The listeners of bollywood music wish happy birthday to legendary singer Talat Mehmood on 24th February, 2015

. He was a leading performer in bollywood films during the 40s, 50s and 60s. Along with Rafi, Mukesh and other leading singers of bollywood Talat Mehmood sang notable songs in the films of leading stars of bollywood. He rendered his voice for most of the actors of the bollywood during the 40s and 50s including Dilip Kumar, Raj Kapoor, Bharat Bhushan, and others. His landmark songs included “dil-e-nadan tujhe hua kya hai” composed by Ghulam Mohammad and picturised on Bharat Bhushan, in the film Mirza Ghalib in 1954, “koi nahi mera” composed by Shankar Jaikishan and picturised on Dilip Kumar in the film Daag in 1952, “mai dil hoon ek armaan bhara” picturised on Raj Kapoor in the film Anhonee in 1952, etc. He sang landmark songs for Dilip Kumar also in the films Footpath, Devdas, etc. All the leading composers of bollywood films of that age namely Naushad Ali, Shankar Jaikishan, Roshan Lal Nagrath, Madanmohan Kohli , OP Nayyar, Salil Choudhury, SD Burman and others used him in different films. His other landmark songs included “phir wohi sham” composed by Madanmohan and picturised on Bharat Bhushan in the film Jahan-ara released in 1964. Talat Mehmood acted in a number of films including Dil-e-Nadan opposite Shyama, Raftaar opposite Nadira, Waris opposite Suraiya, Ek Gaon Ki Kahani opposite Mala Sinha and also showed his acting talent in those films. He had been mainly associated with ghazals and soft romantic songs. His vibrating technique in rendition had charmed many listeners of the golden age. He also sang light songs for many composers. His other songs included “jalte hai jiske liye” composed by SD Burman in the film Sujata, “humse aya na gaya” composed by Madanmohan in the film Dekh Kabira Roya, “itna na mujhse tu pyar bara” composed by Salil Choudhury in the film Chaya, “aye mere dil kahin aur chal” composed by Shankar Jaikishan in the film Daag, to name a few.. Talat Mehmood had a number of basic discs in Bengali as well. His landmark songs included “chander eto alo” and “alote chayate” composed by Robin Chatterjee, “duti paakhi duti teere” composed by Kamal Dasgupta, etc. The sweetness of his voice was well appreciated by the Bengali listeners as well. His songs and films should be preserved and restored.

Dilip Kumarsahab and his actresses versus Raj Kapoorsahab and his actresses.

Raj Kapoor versus Dilip Kumar. Raj Kapoor and Dilip Kumar had remained the greatest legends of hindi cinema for the last 100 years. Ranbir Raj Kapoor, also known as Raj Kapoor, was the son of legendary actor Prithviraj Kapoor. Muhammad Yusuf Khan, also known as Dilip Kumar was the son of Fruit tycoon Lala Ghulam Sarwar. Raj Kapoor was born on 14th December, 1924, while Dilip Kumar was born on 11th December, 1922. They acted together only in one film titled Andaz in 1949, which was directed by Mehboob Khan. There were a lot of striking points of the two superstars who ruled bollywood films during the 40s, 50s and 60s. Raj Kapoor was awarded Padmabhushan in 1971, while Dilip Kumar was awarded Padmabhushan in 1991. Raj Kapoor was awarded Dadasaheb Phalke in 1987 and Dilip Kumar was awarded Dadasaheb Phalke award in 1994. In 1947, Raj Kapoor acted opposite Madhubala and Begum Para in the film Neel Kamal. In 1947, Dilip Kumar acted in the successful film Jugnu, although he started his career with the film Jwar Bhatta in 1944. While Raj Kapoor got the title of showman, with his projection of larger than life romantic stories in films like Barsaat, 1949, Awaara, 1951, Shree 420, 1955, Sangam, 1964, etc; Dilip Kumar got the title of Tragedy King with his projection of the sad personality in films like Devdaas, 1955, Musafir, 1957, Madhumati, 1958, Mughal –i-Azam, 1960, etc. Both the actors acted opposite leading actresses of the golden age including Nimmi, Nargis, Meena Kumari, Madhubala, Wahida Rehman, Vaijayantimala, to name a few, although Raj Kapoor acted in 17 films opposite Nargis, while Dilip Kumar acted in 7 films opposite Vaijayantimala. While Raj Kapoor at an age of 22 years married Krishna Kapoor at an age of 16 years who was his maternal cousin in 1944; Dilip Kumar at an age of 44 years married Saira Banu at an age of 22 years in 1966. Both Raj Kapoor and Dilip Kumar supported the Congress, but although Raj Kapoor did not join active politics, Dilip Kumar became Member of Rajya Sabha and also Sheriff of Mumbai. While Raj Kapoor had marathon combination with composer Shankar Jaikishan, lyricists Shailendra and Hasrat Jaipuri and singers Mukesh, Lata and Manna Dey, who worked with him in more than 15 films; Dilip Kumar had immortal bond with composed Naushad, lyricist Shakeel Badayani and singer Mohammad Rafi who had contributed in more than 15 films of the legend. While Raj Kapoor won filmfare awards in different categories including best actor, best director, best producer, etc; Dilip Kumar won the filmfare award for best actor for record 8 times. Raj Kapoor had died in 1988 and Dilip Kumar had retired from films after acting in the film Qila, many years ago. Their works should be preserved and restored.

Dilip Kumarsahab Raj Kapoorsahab and Ashok Kumarsahab dominated bollywood films of 1950.

The biggest Bollywood hit films of 1950. The 1950s began with new types of films in Bollywood. While stars like Ashok Kumar already himself in Bollywood arena, new stars like Dilip Kumar, Raj Kapoor rose to stardom. Actresses like Nargis, Madhubala, Geetawali, Nalini Jayant, Suraiya dominated Bollywood films. In the previous decade in the 1940s, Dilip Kumar’s Andaz and Raj Kapoor’s Barsaat were the biggest blockbusters. Samadhi was the years’s biggest blockbuster of 1950. It was directed by Ramesh Saigal, who was one of the top directors of Filmistan with films like Shaheed (1948), Samadhi (1950) and Shikast (1953). The music was composed by C. Ramchandran, with "Gore Gore Banke Chhore" (Oh Fair Lad) sung by Lata Mangeshkar and Amirbai Karnataki, and picturised on Kuldip Kaur and Nalini Jaywant, becoming a popular song. Ashok Kumar played the lead role in the "patriotic spy-thriller", "the film turned out to be the year's biggest hit with a gross profit of ₹ 75 lakhs". The 2nd super hit film was Babul. By 1940s Dilip Kumar already established himself as tragedy king with the success of the film Andaz. Babul had Dilip Kumar in another tragic role, where he was teamed with Nargis and Munawwar Sultana. It was directed by S. U. Sunny. The music composer was Naushad Ali, and he had Shamshad Begum give playback for seven out of the twelve songs in the film. A famous song by Talat Mehmood and Shamshad was "Milte Hi Anken Dil Hua Diwana Kisika". Shamshad Begum along with Suraiya, Lata and Geeta Dutt were dominating Bollywood music at that time. Naushad Ali had Talat Mehmood singing for the first and last time under his baton. The famous Talat solo was "Husnwalon Ko Na Dil Do Yeh Mita Dete Hain" (Don't Give Your Heart To The Pretty Ones, They Destroy It). The songs of this film made Talat the "most sought-after ghazal singer". Over a period of time Mohammad Rafi started singing almost all the songs for Dilip Kumar. The film was a big success and grossed an estimated ₹ 70 lakhs. The third biggest hit film was Dastan. Dastan was directed by A. R. Kardar, with Raj Kapoor, Suraiya, and Veena in the main roles. The film was a tragic melodrama narrated in a flashback by Suraiya's character. This was the only film in which Raj Kapoor and Suraiya starred together. The "waltz-type rhythm" song "Tara Ri Tara ri" sung by Suraiya and Mohammed Rafi, became a popular number. Inspired from the film Enchantment (1948), it's referred to as "one of the biggest commercial hits,” with a business of 65 lakhs. Very significantly Naushad Ali used Rafisahab to sing songs for Raj Kapoor and not Mukesh. Suryaiya sang for herself. The 4th biggest hit film was Jogan. Jogan directed by Kidar Sharma, featured Dilip Kumar and Nargis. It was described as Dilip Kumar's "most powerful portrayal as a one-way love seeker". It had Nargis playing a Meera-like Sadhvi and has been referred to as a "most famous classic". The film grossed ₹ 62 lakhs. Incidentally Rajender Kumar made his debut in Bollywood films in a small role in the film Jogan. The music was composed by Bulo C Rani and all the songs were sung by Geeta Dutt, including the hit song “ghunghat ke pat khol” The fifth biggest hit film was Sangram. Sangram starred Ashok Kumar and Nalini Jaywant again. Written and directed by Gyan Mukherjee for Bombay Talkies, it had music by C. Ramchandran. A popular song from the film was "Yaara Wai Wai, Yaara Wai Wai". The film as a box-office success commercially, earning a gross profit of ₹ 50 lakhs. In conclusion it can be said that 1950s began with black and white films. But performances of Ashok Kumar, Dilip Kumar and Raj Kapoor were per excellence. The directors like Kidar Sharma, AR Kardar, Mehboob Khan and others really made a fantastic impact. Naushad Ali, Hunslal Bhagatram, Shankar Jaikishan and C Ramchandran dominated music. Talat, Rafi, Mukesh dominated male singing while Suraiya, Shamshad Begum, Geeta Dutt and Lata dominated female playback songs. With passing of time new actors like Bharat Bhushan, Pradeep Kumar competed with Dilip Kumar, Raj Kapoor.

Dilip Kumar sahab's tragedy songs were given right expression by Rafisahab.

Tragedy-oriented songs of Dilip Kumar were given adequate expression by Rafisahab. Rafisahab had great combination with Tragedy King Dilip Kumar. The most pathos oriented and tragedy oriented songs of Dilip Kumar were given right expression by Rafisahab. In film Deedar, in 1951, Rafisahab’s song “meri kahaani bhoolne wali” for Dilip Kumar gave the right tragedy expression. It was composed by Naushad sahib. In 1956, film Uran Khatola had a fantastic tragedy song. Rafisahab sang “o door ke musafir hum ko bhi saath le le re”. This song was picturized on Dilip Kumar with garland from his shoulders flew to Nimmiji’s shoulder at the end of the film when both of them died together. Shakeel sahib wrote the lyrics while Naushad sahib composed the music. In Dilip Kumar’s Madhumati, Rafisahab’s song ‘tute hue khwabone humko yeh sikhaya hai” was the best tragedy oriented song. It was composed by Salil Choudhury. In Dilip Kumar’s Yahudi, Shankar Jaikishan used Mukeshji to sing the tragedy song “yeh mera deewanapan hai”. In 1966 film of Dilip Kumar titled Dil Diya Dard Liya, 3 of Rafisahab’s songs stand out as great tragedy songs, including “guzren hai aaj ishq me”, “koi sagar dil ko behlata nahi” and “dilruba maine tere”. All the songs were composed by Naushad sahib. In 1967, Rafisahab’s song “aaj ki raat mere dil ki salami lele” was the best tragedy song of film Ram Aur Shyam. Naushadsahab composed the music of the film. In 1968, Rafisahab’s song “aaj purani rahon me” in film Aadmi was the best tragedy song of the film. Naushad sahib composed the music. Dilip Kumar’s expression was outstanding. In 1971, Rafisahab’s song “na tu zameen ke liye” in film Daastan was another landmark tragedy song. It was composed by Laxmikant Pyarelal. Whenever there used to be tragedy songs, Rafisahab gave the best expression for Dilip Kumar. The acting of Dilip Kumar was as outstanding as the singing of Rafisahab. The songs and films require restoration.

In a journey of 99 years Dilip Kumar Sahab's diamond jubilee films platinum jubilee films are imcomparable.

The nation is shocked by demise of Tragedy King Dilip Kumar sahab's death at 99 years. The success rate of Dilip Kumar in Bollywood films is incomparable. Bollywood films had given superstars of different dimensions over the last 70 years. Right from Ashok Kumar to Rajender Kumar, Amitabh Bacchan to Shahrukh Khan, the superstars had entertained the audience and created records at box office over the years. These days viewers feel Salman Khan is the badshah of 100 crore, 200 crore, 300 crore club as his films Dabaang did business of 140 crores, Dabaang 2 158 crores, Ready 125 crores, Bodyguard 148 crores, Ek Tha Tiger 198 crores, Kick 232 crores, Prem Ratan Dhan Payo 219 crores, Sultan 300 crores and Bajrangi Bhaijaan 320 crores. Even after the records of these superstars are compared, there is incomparable record with one superstar of the millennium, that is Tragedy King Dilip Kumar. One of the reasons why the records are incomparable is due to the span of time that the records are spread over. Dilip Kumar was a superstar in the 1940s. He remained a superstar in 1950s. By the 1960s he became a legend. In the 1980s he became a phenonmenon. During Dilip Kumar’s time, success of films were measured in the context of number of weeks the films used to do business at box office. Now let us see the success in the context of the box office records. Dilip Kumar’s Mela in 1948 was a blockbuster hit doing business for more than 50 weeks and had been called a golden jubilee hit. SU Sunny directed the film. The music was composed by Naushad Ali. The legendary combination of Dilip Kumar, Naushad Ali, lyricist Shakeel Badayani and singer Rafisahab was created by that time. Dilip Kumar’s Andaz in 1949 was also a blockbuster hit and it remained the 2nd biggest blockbuster in 1949 after Raj Kapoor’s Barsaat. Andaz was directed by Mehboob Khan and had Dilip Kumar, Raj Kapoor and Nargis in the lead roles. The music was composed by Naushad Ali and the film was declared a golden jubilee hit which ran for more than 50 weeks. Dilip Kumar’s Babul in 1950 was a silver jubilee hit which ran for more than 25 weeks. It was directed by SU Sunny. Naushad Ali composed the music of the film. Dilip Kumar and Nargis played the lead roles in the film. Dilip Kumar’s Deedar in 1951 was again a blockbuster and golden jubilee hit running for more than 50 weeks. Dilip Kumar, Ashok Kumar and Nargis played the lead roles. Nitin Bose directed the film and the music was composed by Naushad Ali. Aan was Dilip Kumar’s first coloured and India’s first coloured film. In 1952, the blockbuster films was directed by Mehboob Khan. It was a multistarrer film with Dilip Kumar, Murad, Premnath, Nimmi and Nadira in the lead roles. The music was composed by Naushad Ali. By that time the equation was Dilip Kumar + Naushad Ali + Shakeel Badayani +Rafisahab = magic. The film did business of more than 50 weeks and became greatest blockbuster of the decade. Dilip Kumar’s Azad and Uran Khatola did business of more than 25 weeks in 1955 and were declared silver jubilees. Azad had Meena Kumari and Dilip Kumar in lead roles and music composed by C Ramchandran. Uran Khatola had Dilip Kumar and Nimmi in lead roles. SU Sunny directed the film and the music was composed by Naushad Ali. Dilip Kumar’s Naya Daur in 1957 was a golden jubilee hit running for more than 50 weeks. BR Chopra and Yash Chopra were involved in production and direction and the film was revolutionary one in the history of Indian films. OP Nayyar composed the music of the film. Dilip Kumar Vaijayantimala, Ajit and Johny Walker were in lead roles. Dilip Kumar’s Madhumati in 1958 was a golden jubilee hit running for more than 50 weeks. Bimal Roy directed the film and music was composed by Salil Choudhury. Dilip Kumar Vaijayantimala Johny Walker, Jayant were in lead roles. The film swept all the awards at filmfare in 1958 including best actor by Dilip Kumar, best composer by Salil Choudhury, best director by Bimal Roy. Dilip Kumar’s Paigham in 1959 was a silver jubilee hit running for more than 25 weeks. Dilip Kumar, Raj Kumar and Vaijayantimala were in lead roles. The music was composed by C Ramchandran. Dilip Kumar’s Kohinoor in 1960 was a golden jubilee hit running for more than 50 weeks. Dilip Kumar Meena Kumari, Kumkum and Jeevan were in lead roles. The music was composed by Naushad Ali, and Rafisahab’s “madhuban be radhika nachere” still is considered phenomenal rendition of raga style music in films. Dilip Kumar’s Mughal-i-Azam in 1960 was an all time blockbuster. It was a diamond jubilee hit running for more than 100 weeks. It created such a brilliant record at box office, that Sholay only broke the record in 1975. Dilip Kumar, Madhubala, Prithviraaj Kapoor, Durga Khote were in lead roles. The film was directed by K Asif and music composed by Naushad Ali. Dilip Kumar’s Ganga Jumna in 1961 was a golden jubilee hit running for more than 50 weeks. Nitin Bose directed the film. Dilip Kumar and Vaijayantimala were in the lead roles. The music was composed by Naushad Ali. Dilip Kumar’s Ram Aur Shyam in 1967 was a golden jubilee hit running for more than 50 weeks. T Chanakya directed the film. Dilip Kumar, Mumtaz, Pran and Wahida Rehman were in lead roles. The music was composed by Naushad Ali. Dilip Kumar for the first time acted in a double role. In the 1980s Dilip Kumar gave 2 golden jubilee hits, one was Shakti in 1982 and the other was Karma in 1986. Shakti had Dilip Kumar, Amitabh Bachan, Rakhee, Smita Patil, Amrish Puri in lead roles. The film was directed by Ramesh Sippy. Karma had Dilip Kumar, Nutan, Anil Kapoor, Jackie Shroff, Naseeruddin Shah, Anupam Kher in lead roles. Subhash Ghai directed the film and Laxmikant Pyarellal composed music of the film. So in a career of Dilip Kumar of 62 films, more than 25 films ending up as diamond jubilee, platinum jubilee, golden jubilee and silver jubilee is incomparable. India is indebted to Tragedy King for the business he gave over last 80 years. Only the record of Showman Raj Kapoor and in Bengal industry Mahanayak Uttam Kumar can come close to Dilip Kumar. Dilip Kumar always remained a phenomenon.

The death of Dilip Kumarsahab the tragedy king and king of orthodox method acting had ended an era.

The expiry of Dilip Kumar sahab at the age of 99 years on 7th July 2021 has ended a grand era of orthodox method acting. The country is shocked and dumb founded. For generations he came saw and conquered. The viewers of bollywood films wished happy birthday to Dilip Kumar, better known as Tragedy King on 11th December, 2020. After the death of evergreen star Dev Anand, few days back at the age of 88 years, Dilip Kumar is the only living legend still in right humour who had adorned the golden age of Indian cinema. An institution by himself, Dilip Kumar had been a torch bearer in the world of romantic acting for the last 72 years. Born in 1922, Yusuf Khan, one of the greatest actors of bollywood films of all times had created new dimensions at every decade with his unique style of acting. In 2013, he fell ill and was hospitalized for a short time. Entire Bollywood became concerned. He recovered and came home. On his birthday many guests came including Asha Parekh, Salim Khan, Rani Mukherjee and others. Although his performance in tragic roles like Bimal Roy’s Devdas and Madhumati, Hrishikesh Mukherjee’s Musafir, and other landmark films had made him an icon of tragedy, he had proved his variation in comedy films, social films, action-oriented blockbusters. Directors like Bimal Roy, K. Asif, Tapan Sinha, Subhash Ghai, consider Dilip Kumar as the greatest actor of all times. He had made the characters immortal which he had played in his illustrious career. He had given extraordinary lips in landmark songs of the 50s and 60s sung by Mohammad Rafi like “madhuban me radhika nachere” and “do sitaron ka zameen par hai milan aaj ki raat” in the film Kohinoor, “ek shahenshah ne banwake haseen tajmahal”, “tere husn ka kya tareef karun”, “apni azadi ko hum hargese mita sakte nahi”, in the film Leader, “dilruba maine tere pyar me kya kya na kiya”, “koi sagar dilko behlata nahi” in the film Dil Diya Dard Liya, “aaj ki raat mere”, “aye hai bahare dekho” in the film Ram Aur Shyam, to name a few. Giant composer Naushad made the greatest contribution in the films of Dilip Kumar, although Shankar Jaikishan gave quality music in the films Yahudi and Daag, Salil Choudhury contributed in the film Madhumati and Musafir. Dilip Kumar had acted opposite all the leading actresses of 40s, 50s, 60s, 70s, 80s, including Madhubala in Tarana, Mughal-i-Azam, Nargis in Babul, Andaz, Meena Kumari in Kohinoor, Azad, Footpath, Vaijayantimala in Madhumati, Ganga Jumna, Leader, Wahida Rehman in Dil Diya Dard Liya, Aadmi, Ram Aur Shyam, Saira Banu in Sagina, Gopi, to name a few. Even during the 80s, his character roles created new dimension in bollywood films. His performance in the film Mashal, Masdoor, Shakti, Karma, Vidhata had inspired the new generation of actors like Anil Kapoor, Rishi Kapoor, Sanjay Dutt and others. He has the record of getting the filmfare award for the best actor for the maximum number of times ( 8 times ) which had not been broken by even Shahrukh Khan till now. Dilip Kumar had not learned acting from any acting school yet the way he had made Sarat Chandra Chatterjee’s character Devdas immortal, the actors of the next generation consider him an institution by himself. He had played roles of even trade union leaders in the film Sagina, he was the first actor in bollywood films to perform in a double role in the film Ram Aur Shyam. He created a trend and films with double roles were created in the same lines as that of Ram Aur Shyam in Seeta Aur Geeta, Chaalbaaz, Kishen Kanhaiya. He received the highest civilian award given by Pakistan, Nishan –e- imtiaz which was previously received by only one Indian, that is the former Prime Minister Morarji Desai. He had also received Dadasaheb Phalke award for his contribution in bollywood films. It is not possible to highlight the contribution of the legend of legends in a small article, as he had created an image which made him indispensable over 70 years in bollywood films. Yet his journey was not over. Even in the present age directors like Subhash Ghai engaged him with his new projects these days. Many veteran actors came to Dilip Kumar to greet him on his birthday in 2012 and 2013. The viewers want Dilip Kumar sahab can never die. He will remain immortal in his brilliant works. Viewers had got addicted to his soft tune of dialogue throwing and want him to reproduce the magic again.