Directed by S U Sunny
Kohinoor 1960
Produced by Dr V N Sinha
Starring Dilip Kumar, Madhubala
Meena Kumari
Music by Naushad

Babul (1950) Producer: Sunny Art Productions Director: S U Sunny Dialogue & Story: Azmi Bazidpuri Cast: Dilip Kumar, Nargis, Amar, Jankidas, Khurshid Lyrics: Shakeel Badayuni Music: Naushad.

Lyrics:

Milte hi aankhein dil huwa diwaana kisika
Milte hi aankhein dil huwa diwaana kisika
Afsaana mera ban gaya, afsaana kisika
Afsaana mera ban gaya, afsaana kisika

Poochho na mohabbat ka asar, haay na poochho
haay na poochho
Poochho na mohabbat ka asar, haay na poochho
haay na poochho
Dam bhara mein koyi ho gaya, parwaana kisika
Dam bhara mein koyi ho gaya, parwaana kisika
Afsaana mera ban gaya, afsaana kisika
Milte hi aankhein dil huwa diwaana kisika

Hanste hi na aa jaaye kahi, aankho mein aansoo
aankho mein aansoo
Hanste hi na aa jaaye kahi, aankho mein aansoo
aankho mein aansoo
Bharte hi chhalak jaaye na, paimaana kisika
Bharte hi chhalak jaaye na, paimaana kisika
Afsaana mera ban gaya, afsaana kisika
Milte hi aankhein dil huwa diwaana kisika

History bears witness that in the different times and climes there have been individuals who have reigned over the hearts of people without being formally crowned kings. Dilip Kumar is one such personality who commands a following in millions. Much has been said and written about him. A lot more will be said and written about him. In such a situation, my own silence may go unnoticed, but I will not be able to forgive myself, if I do not record a few words in honour of the great actor that Dilp Kumar is, and the much greater human being that Yusuf Khan is.

As an actor, Dilip Kumar stands out, larger than life. He has in his lifetime portrayed the entire gamut of human emotions to their ultimate excellence. Hailed as the “King of Tragedy” for performances like those in Devdas, Andaz, Amar, Deedar, Mela, Dil Diya Dard Liya and others, he wielded the power to make his audiences suffer with him and weep in sympathy. But the same king of tragedy has entertained and delighted his fans with lively roles like those in Kohinoor, Azad, Leader, Sagina and Gopi, thus reflecting the true nature of life which intermingles the tragic and the comic, sorrow and happiness.

The romantic Dilip has endeared himself to the hearts of almost three generations of movie buffs now. And for the real connoisseurs of histrionic talent, no other actor has replaced him, nor will anyone for years to come. Though he continues to make his mark as a versatile actor in varied roles, age has robbed us of the young romantic lover. So great is the void left behind by Dilip that a leading script writers was heard to say, “What, you want a real romantic story? Where will you get a romantic hero? Where is Dilip?” For it is an undeniable fact that none of today’s leading men can even come close to the image of the romantic hero that Dilip created. It was not acting, it was not just a performance. With Dilip, it was a passion. It was life…

To Dilip, also goes the credit of winning acclaim and respect for the anti-hero. The negative roles that are so highly rated these days have their origins in the performances of Dilip as the jilted lover in Andaz, the sadist in Dil Diya Dard Liya and the psychopath and cripple in Aadmi.

It is not for me to analyse or make a critical study of the performances of Dilip Kumar. Students of acting in the subcontinent will, for all time, view his films as educational material. The genius of this great actor was established by his superb performances in contrasting roles like Ram Aur Shyam and Bairaag. His mastery of the art of delivering dialogue is unmatched. It is an inimitable, unique style which has enchanted audiences for 50 years. When he speaks he does not just convey a few words. He conveys a feeling, an emotion. He conveys more through his silence than his words. The audience just listens to his looks.

Do you remember Kaviraj looking at his childhood love Mala in Deedar or Salim looking at Akbar while embracing Anarkali, in Mughal-e-Azam?

From the critic’s point of view the greatness of Dilip Kumar lies in the fact that he created drama in every scene, yet never let the drama degenerate into melodrama. There is not a single scene in which Dilip appears, which could be called “a flat scene” to use a filmi expression. His mere presence lifts the scene to dramatic heights yet his mature and subtle style prevents it from transcending the aesthetic limits of drama and slipping into the realm of melodrama, in which most of our contemporary actors thrive.

There are several examples of subdued characterisation that come to mind but, to me, the most memorable is that of the drunkard Devdas. Again, the scene of Dhanno’s funeral in Ganga Jamna stands out. And yet again, in the same film the death scene of Ganga is a classic of all times. The manner in which he moans and groans sums up the sad saga of the simple soul Ganga.

Tragedy suited him so well that his fans adored him in the role of the suffering lover. He could literally bring tears to the eyes of even men, so painfully realistic were his performances. Does there breathe a man so dead whose heart did not cry out for Kailashnath in that scene in Mashal when his wife lies dying on the street?

While there is no doubt that Dilip is a talented natural, the levels of perfection reached by him were in no small measure due to his sincerity and hard work. To quote an instance, in the film Kohinoor for the picturisation of the song Madhuban mein Radhika naache re Dilip is shown playing the sitar. So hard did he rehearse for the scene that he literally cut his fingers practising the sitar. It was not necessary. The shot could have been managed. But Dilip, the perfectionist would not allow that. It was his sense of dedication to his profession, a virtue so conspicuous by its absence in today’s generation of commercial actors.

In a lighter vein, I remember him complaining to me at the time of Andaz and Aan that I composed excellent songs for the heroines but made him sing simple strains like, Toote na dil toote na, toote na… and Maan mera ehsan are nadaan — ke maine tujh se kiya hai pyaar. And I’d assure him it was not so, that these songs were equally good. On the subsequent success and popularity of the songs he’d say, “You were right, Naushad Saab.”

The best expression of admiration is imitation. Scores of actors have paid this tribute to Dilip and have been honest about it. And an equal number do not admit it. But watch any good performance on screen, and you will immediately catch in it a glimpse of the master’s style. So profound has been his influence on the art of acting.

He may be junior to me but I have no hesitation in saying that he has been a great source of inspiration to all in the film industry whatever be their field. He is an institution by himself. One of our colleagues used to say, “Who says Dilip is a star? We are stars and he is the moon.” I would rather say that Dilip is like the sun from whom the moon borrows its light. The sun in whose presence all other stars fade.

I have said that Dilip Kumar the actor is larger than life. Let me add that Yusuf Khan, the man towers over Dilip Kumar. A true artist is but a reflection of his real self. And this embodiment of suffering and pain could not but be the saviour of the oppressed, the down trodden. Yusuf Saab as he his lovingly known among his friends, is a fountain of hope, care and love.

His untiring efforts toward the upliftment of the weaker sections of society, his concern for the oppressed and the victims of injustice, the tremendous energy and sincerity with which he espouses any just cause, have all endeared him to the thousands of people who have benefited by him. There has not been a single occasion when I have directed some poor suffering soul to Yusuf Saab, and he has not relieved his grief and pain. He constantly uses his immense influence, contacts and resources in the cause of the poor and the deserving. A gentleman in real life, Yusuf Saab is a man of great virtue. Patient, subdued, intelligent, with a great sense of humour, he knows exactly when to speak, how much to speak and what to speak. This is one of the secrets of his success in personal life. Also he is magnanimous in his dealings with both friends and foes alike. A nobleman, a knight in shining armour, a king.