The monarch of acting
M. L. Dhawan

Dilip Kumar started his career as a manager in an Army canteen and also assisted his father in the business of fruit-selling. His father, Mohammed Sarvar Khan, disapproved of acting as a career. So scared was Dilip of his father that when he had become an actor at Bombay Talkies, he did not tell his father that he had become an actor. Rather, he let it be known that he was working with Glaxo Company.

Dilip Kumar says that in those days there were no acting schools. Due to a lack of formal training, he found acting very difficult. "Sahib bahut mushkil thha," he says nostalgically. Devika Rani groomed him as an actor. It was thanks to her that after Jwar Bhata, he concentrated not so much on how to act, but how not to act and appear as natural as possible. He trained himself by observing others. In Deedar, his inspiration was a blind beggar who sang on the roads to eke out his living.

Dilip makes no bones about the fact that he drew inspiration from George Fernandes, a former trade union leader, when he played a trade union leader in Paigham. Once he is in front the camera Dilip becomes the character he plays. On the set, his performance seems just about normal, but on the screen he is captivating. There is something unique about the way Dilip Kumar delivers his dialogue.

Amitabh Bachchan says that Dilip Kumar’s intensity and passion for acting cannot be outclassed even by the best of actors. Bachchan says that Dilip has been an immense source of inspiration not only for him but also for several other stars. He goes on to add that if someone says that he has not been affected by Dilip Kumar’s style, he is telling a lie.

Aamir Khan declares that Dilip is a legend. Just watching his films is a comprehensive acting lesson. There is a scene in Insaniyat where Dilip Kumar discovers that his beloved Bina Rai is involved with Dev Anand. Heartbroken, he offers the jewellery he had collected for her in a temple. One can watch the shadow of thoughts, emotions, and desires left unexpressed flit across his face. The impact on the audiences was mesmerising.

According to Anil Kapoor, working with thespian Dilip Kumar is a learning process. His enthusiasm for perfection is infectious. In Yash Chopra’s Mashaal, Dilip shouts for help to take his dying wife to a hospital, saying "Bhai gadi roko meri biwi mar jayagee. ussey haspatal pahuncha do. Tere bachey jieyen" With these words he literally lacerates your heart, mind and soul . One can see the tempest raging in his voice.

According to Sanjay Dutt, Dilip’s constant endeavour to perfect himself in spite of so many years of experience, is amazing. Naseeruddin Shah says that for popular stars, acting means flexing one’s muscles, flinching one’s limbs and breathing fire but Dilip Kumar’s intensity comes across without him having to contort his face, or shout and scream. In a scene from Shikast heroine Nalini Jaywant comes to him with a bag of money for the farmers. He looks at her with an expression of tenderness and helplessness. He does not utter a word, but his eyes do all the talking.

Dev Anand remarks that the key to Dilip’s success in his exclusivity. He limited the number of films to avoid over exposure and stereotyping. Every film he worked in spoke volumes for his quest for perfection and excellence. His films may have failed sometimes, but not because of lack of efforts on his part.

Dilip Kumar never did anything repetitive. He refused to work in Guru Dutt’s magnum opus Pyassa, because he was doing an identical role in Bimal Roy’s Devdas. Rambling aimlessly, with bottle in hand and the shadow of death looming large, Dilip brought to eye the tragic hero in Devdas. Just watch the man consumed by grief and trying to drown his sorrow in alcohol, singing Ay mere dil kahin aur chal/gham ki duniya se dil bhar gaya dhoondh ley ab koi ghar naya in Daag.

Shah Rukh Khan, who is often compared to the legend says, "It is flattering to me but I can not even dream of reaching the position he has attained." Jackie Shroff admits that most of the actors do not mind if they are accused of imitating Dilip. "I remember that during the making of Ram Lakhan, I could see that Subhash Ghai was missing Dilip. He was searching for him in me, " recalls Jackie.

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