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The first section of the book,
which deals with Yusuf Khan’s (Dilip Kumar’s real name) days
in Peshawar, is indeed the most fascinating. Being an
exceptionally good-looking child — very fair, with rosy cheeks
and dark hair — his grandmother used to mark Yusuf’s face
with a black kohl and shave off his hair. The periodic shaving
of his head to ward off the evil eye was perhaps responsible for
his thick, dark, lustrous thatch that he later wore in an
attractive cut. But that experience of a shaven head and
kohl-marked face may also have contributed to Yusuf’s
introvert and exceedingly intense personality. Then, as a
five-year-old child, he had the horror of accidentally being
locked up in a room where the dead bodies of two young Shia boys
lay. Years later he would draw emotions from these personal
experiences, for instance, the anguish of his shaven head, or
the frightening experience of having to spend hours with the
deads bodies.
Yusuf, born on
December 11, 1922, belonged to a family of six boys and six
girls. He has always been emotionally attached to his family
which he admits has kept him going. The writer has found out the
details of the entire clan — who is married to whom and
settled where. It’s interesting to note that several
well-known film personalities like K. Asif, Begum Para and later
Mazhar Khan were related to Yusuf’s family.
Yusuf Khan
became Dilip Kumar in 1944 when he joined films and, perhaps,
the legendary Devika Rani was responsible in giving him this
name. His first release was Bombay Talkies’ Jwar Bhata,
which left the critics unimpressed and did moderate business. It
was only his third film Milan, in 1946, that brought
Dilip Kumar his first box-office success and personal
recognition. Thus began a long successful career spanning more
than 50 years. The author has chronologised all his films, right
uptil his last release Qila in 1998. We learn that Dilip
Kumar, a well-read man, was fascinated by the character of
Heathcliff from Emily Bronte’s Wuthering Heights. He
did three films, Arzoo, Sangdil and Dil Diya
Dard Liya, based on the brooding persona of Heathcliff.
Dilip Kumar put
in his all in the film Devdas made under Bimal Roy’s
impeccable direction. The author narrates that there was an
instance when the shooting for the day was over and everyone
except Dilip Kumar had gone home. Dilip was planning to spend
the night at the studio because the next day’s shot required
an unshaven, sleepless look. That was Dilip spending a sleepless
night in order to lend authencity to the next morning scene! He
won the Filmfare award for his brilliant performance in this
film. The public too loved him as Devdas and critics gave him
excellent reviews. But Dilip had to seek his psychoanalyst’s
advice after doing the consuming role. So when Azaad came
it freed him from the shackles of being a tragic hero in film
after film. And he went on to do Kohinoor, Leader
and Ram aur Shyam; showing a flair for comedy as well.
Another
interesting chapter in the book is on Dilip Kumar’s
relationships with his heroines. But this portion only includes
the views and comments of other film personalities. So we have
film critic Rinki Bhattacharya, daughter of late Bimal Roy, note
that in his younger days Dilip’s "name was linked with
most of his heroines." Dilip underplayed his emotions,
projecting both a certain helplessness and an inherent goodness
of character, a deadly combination which never failed to appeal
to women cinegoers.
Kamini Kaushal
was probably the first woman Dilip fell in love with. Writer
Ismat Chugtai once revealed that during the shooting of Arzoo,
Kamini and Dilip would hold hands on the sets but would cover
their hands with the film script! But Kamini was already married
and divorces were rare. Family pressures on both sides were
great and Kamini’s brother, who was in the Army, threatened
Dilip. Under the circumstances, it was not surprising that their
relationship should have ended.
Then came the
beautiful, lively, giggly Madhubala with here million-dollar
smile. She was just the person Dilip needed. But Madhu was
dating Dilip on the one hand even while keeping actor Premnath
on hold! She had been in love with Premnath prior to meeting
Dilip. However, it was Madhu’s father who was ultimately
responsible for the Madhubala-Dilip Kumar breakup.
Dilip Kumar, a
highly eligible bachelor and heart-throb of millions, got
married at the age of 45 to filmstar Saira Banu, who had arrived
on the scene with her 1961 release Junglee. The marriage
that took place in October 1966 has been described in great
detail, but more interesting are the events that led to the
momentous moment in the lives of the two stars. Thus, we are
told of another strong contender Rajendra Kumar’s role in
Saira’s life which only hastened her wedding to stalwart Dilip.
Saira’s mother Naseem Banu also had a role to play. She
persuaded Dilip to marry her dauther as "Islam khatre
mein hai." After the marriage Saira never let her
in-laws forget how young she was, and would address Dilip Kumar’s
friends and colleagues as uncles!
None of the
Dilip Kumar fans can forget the Asma episode (1980-83) in his
life which not only caused a major upheavel in Saira’s life
but also tarnished his image to a great extent. A chapter has
been devoted to Dilip Kumar’s second marriage which became
very messy. To his utter dismay he learnt that Asma had been in
touch with her ex-husband all along and the two in fact were
leaking out the news to the press. The experience left Dilip a
very sad and disillusioned man. Dilip still does not wish to
talk about it. All he is willing to say it that it was a
mistake.
Indeed, the author, Urmila
Lanba, a lawyer by profession, has done a lot of research and
spent years in order to produce this goldmine on Dilip Kumar. A
diehard Dilip Kumar fan has to thank her for such an exhaustive
analysis of one of the greatest actors and most charming men the
Indian film industry has every produced.
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DILIP
Kumar has often been asked to write his autobiography. The
gentleman that he is, he has always refused on the grounds
that he would be hurting too many people (read heroines). But
the present book on the thespian gives an insight into the
life and works of Hindi cinema’s greatest actor. Those of us
who have grown up on Dilip Kumar’s films and lived through
his peak years will feel completely updated about the events
in his life. There is hardly any area of Dilip Kumar’s life
which has not been explored. So we have chapters on his early
life, family, entry into films, his heroines, acting skills,
marriage, the Asma episode and his flirting with politics. How
can one overlook the priceless pictures from his movies,
personal photographs and the sketch M.F. Husain made of the
actor specially for the writer? The writer, Urmila Lanba, has
certainly taken pains and spent several years in bringing out
the details by talking to his family members and those who
have worked with him or have been associated with him in some
form or another. Even his interviews of the past and the
present and what the media has had to say about him — all
have been artfully incorporated. She has meticulously
mentioned her sources. However, one can’t get rid of the
feeling that the man himself continues being elusive and
remains an enigma.
