R.Narendra Modi and Imran Khan are in agreement, but the demise of the great Dilip Kumar of Indian film has saddened the Prime Ministers of India and Pakistan as they have each offered condolences to the actor who passed away at the age of 98.
Muhammad Yusuf Khan, born in 1922 in Peshawar, near the Afghan border in what was then British India, moved to Bombay to play his first role in the tidal wave (high and low tide) – now The film was remembered only for its screening of the first film – and will become a star in the post-independence heyday of Hindi cinema, as the industry has become a unified voice for a wider, diverse population, which has raised its concerns and aspirations. Showed sympathy and intelligence for this. first time.
His own story mirrored many of the audience’s concerns. A Muslim was born – a religion he practiced all his life – it is believed that he took the name of a Hindu stage to advance his career (although the Indian film industry has always been very independent and Has been varied), until he admitted that it was his father’s fear of embarrassment – he never approved of his son’s acting – that forced him to do so.
Kumar, the son of a fruit trader, was sensitive and respectful of the sensitivities of the highly traditional people, which he loved in the social sphere, including my mother, who lives in a village in Punjab. I fell in love with my acting as a teenager. Like most of Kumar’s audience, she eagerly took a long bus ride to a nearby theater to watch each new release.
His character was full. “Push and tumble“-” Trouble and anguish “- he recalls, often expressing the anguish of illicit love. Indeed, his two extreme characters, as the melancholy drunken Devdas in the 1955 film of the same name, and the Mughal in 1960 As Prince Saleem in Azam (the Great Mughal), they were both heartbroken men who could not live with these women, loved because of social conventions.
While often compared to Marilyn Brando for the intensity of his performances, Kumar has never had Brando’s machinations and threats. Playing mostly soft, confusing and contradictory roles, she gave them tremendous emotional generosity and delicacy, forging strong relationships with female actors that represent relationships that are sexually pure. He was the leading leader in India’s romantic tragedies, and developed a template for those leaders who endure today. Although Akshay Kumar and Shah Rukh Khan have a muscular result as action heroes, their eyes are soft to romance on screen. Relationships always run from the heart, not the back.
Whether playing Lover’s Wine at Dag (Dag) in 1952, who struggled to sell toys while caring for his elderly mother, or a faulty horse-drawn carriage in the 1957 film New Era (New Era). The driver, whose livelihood is in danger After receiving the bus service, Kumar spoke honestly, sympathetically and often with humor about the responsibilities and worries of his audience, never taking a picture of him while photographing the lives of ordinary Indians. They did not commit suicide and did not descend into Klar. There was always great kindness and humility in these pictures as he reflected on the difficult, often painful but misguided challenges of daily life in India as he deserved.
The love with which a generation of post-independence Indians have held them, showing their practical and emotional struggle on screen with such honesty and respect, cannot be underestimated.
Dilip Kumar, a Muslim who played the role of a Hindu, a romantic hero who does not meet a girl, expressed the contradictions that the newly independent Indians had to fight in an attempt to modernize their ancient and traditional society. Rarely has an actor so clearly captured this moment in the history of the country.
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