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The Actor We All Loved’ chronicles his life and cinema

Nonika Singh When a family member, in this case the nephew of the legendary actor Sanjeev Kumar, is on board as co-author, you don’t expect the biography to be any more than a hagiography. Refreshingly, though, as the book...
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Book Title: Sanjeev Kumar: The Actor We All Loved

Nonika Singh

When a family member, in this case the nephew of the legendary actor Sanjeev Kumar, is on board as co-author, you don’t expect the biography to be any more than a hagiography. Refreshingly, though, as the book documents the life, cinema and talent of the phenomenal actor of films like ‘Sholay’, ‘Koshish’, ‘Aandhi’, ‘Mausam’, ‘Anubhav’, ‘Angoor’ and many more, it does not gloss over his foibles.

Nor is it a simple filmography, though the initial rush of writing that takes us via his career graph can delude you into thinking so. Sure, you get the name of his first film (‘Hum Hindustani’), his days in theatre and years of struggle in the film industry before he made his mark with a milestone performance in ‘Khilona’ (1970). His film career is well detailed, reflecting the times in which he lived and the cinema he represented. We are reminded how much before the Ayushmann Khurranas of today made unconventional choices, lived an actor who defied norms, had no compunction in baring his unflattering body and play a man older than his age.

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However, unlike many a film-centric biography, his astounding film career dotted with National Awards does not eclipse Sanjeev the person here. You see him in all his glory. Generous to a fault, a loyal friend, a quintessential family man who ironically remained single all his life, the writers, while underlining his sterling virtues, do not flinch from recounting the downside. Any wonder then that if we read comparisons with the handsome Gregory Peck, duly mentioned is his growing paunch, along with a biting review of his movie ‘Bad Aur Badnam’.

Accounts by his co-stars, directors and friends allow a peep into his far-from-perfect personal life. While the ‘actor’s actor’, so defined by Rajesh Khanna, was perfection personified, he led a life that was anything but exemplary. Browsing through the pages of the book envelops you with a deep sense of loss, and not just because he died prematurely at 47. Some of his co-stars say he led a full life, but do bouts of alcoholism, love for food bordering on gluttony and not a care in the world attitude with fatal consequences for his health count for a life well-lived?

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Yet, here was a man who followed his heart. Only if the heart (Hema Malini) it had beaten strongly for had reciprocated in full measure or if he had responded to the one (Sulakshana Pandit) who desired him unequivocally. The question — what could have been had he married Hema Malini or the mystery Muslim woman or the many who professed their inclination — hangs heavy. Many attribute his failing health and early end to his singledom.

Well-written and consistent reflections with many a rare insiders’ purview make it a riveting read. Whether or not the biopic in the making does justice to the actor, this book brings him alive. Underlining his acting prowess that was as much about gravitas as impeccable comic timing, it humanises the effortless actor in many ways.

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