The actor passed away on Wednesday at the age of 98. One of his most famous performances remains his role in “Mughal-e-Azam”, one of the greatest hits in Indian cinema.
Dilip Kumar, one of the biggest stars of Indian cinema’s golden age in the 1940s-1960s, died Wednesday (July 7th) at the age of 98, a family friend said. “With a heavy heart with deep sadness, I announce the passing of our dear Dilip Saab a few minutes ago,” tweeted Faisal Farooqui using the official account of the ailing actor.
A fruit seller born in Peshawar – a city now in northern Pakistan – Kumar overcame early failures and the disapproval of his family to triumph in his acting profession and become one of Bollywood’s biggest stars.
Nicknamed “the king of tragedy” for his natural gravity, he has appeared in nearly sixty films in more than half a century. He probably missed the opportunity for an international career by turning down David Lean’s offer to play Cherif Ali in Lawrence of Arabia, released in 1962. It was ultimately Omar Sharif who accepted the role.
One of his most famous performances remains his role in Mughal-e-Azam, one of the greatest hits in Indian cinema, which tells the legendary story of an impossible love between a Mughal prince and his slave.
Death of actor Dilip Kumar, sacred Bollywood monster
The Indian comedian died on Wednesday July 7 at the age of 98. Nicknamed “the king of tragedy” in his country, he has shot in more than half a century nearly sixty films.
Dilip Kumar, one of the biggest stars of the golden age of Indian cinema, died Wednesday at the age of 98, a disappearance that sparked a shower of emotional tributes in the Indian cultural and political world. . With Dev Anand and Raj Kapoor, Dilip Kumar was one of the three sacred monsters of the golden age of Bollywood, at the end of the partition between India and Pakistan in 1947 until the 1960s.
Nicknamed “the king of tragedy” for his natural gravity, he has shot in over half a century in nearly sixty films, starring in some of the most iconic Indian productions of the period. But he probably missed the opportunity for an international career by refusing David Lean’s offer to play Cherif Ali in Lawrence of Arabia, released in 1962. Omar Sharif ultimately accepted the role.
Mohammed Yusuf Khan, his real name, was born on December 11, 1922 in Peshawar, a city now located in northern Pakistan which was then part of British India.
His father, a fruit merchant, took his family to Bombay in the 1930s. The young man refused to take over the family business after being spotted by actress Devika Rani who allowed him to shoot in 1944 in her first film, Jwar Bhata. She persuaded him to change his name in order to get into the cinema without the knowledge of his father who did not approve of this career.
Dilip Kumar: The aura of a huge actor
One of his most famous performances remains his role in Mughal-e-Azam, one of the greatest successes of Indian cinema released in 1960 which tells the legendary story of an impossible love between a Mughal prince and his slave .
In the 1970s, as a new generation of actors, like Bollywood superstar Amitabh Bachchan, emerged, he filmed less, to the point of not appearing in any film for five years, before his return in 1981 with Kranti. (Revolution), another success.
Unlike other Bollywood actors who have starred in hundreds of films, Dilip Kumar, although versatile in his roles, chose his projects carefully, which only strengthened his aura in a highly competitive film industry.
In the late 1990s, he became more involved in politics by agreeing to work for reconciliation between India and Pakistan. Two years later, he was elected parliamentarian from the ranks of the Congress Party, then in opposition.
Critically acclaimed, he kept saying he was amazed by his success. “Honestly, I still have a hard time understanding how a shy young man named Yusuf Khan became actor Dilip Kumar,” he told The Hindustan Times in an interview on his 85th birthday.
His death was announced Wednesday “with a heavy heart with deep sadness” by a family friend, Faisal Farooqui, who was using the official account of the actor, who had been ill for several years. Prime Minister Narendra Modi paid tribute to him via Twitter: “He was a legend of cinema because he was endowed with unparalleled brilliance. Its disappearance is a loss for our cultural world. ”
Finally, the current great star of Indian cinema Akshay Kumar paid tribute to his illustrious predecessor in vibrant praise: “In the eyes of the world, many others can be heroes. For us actors, he was The Hero. ”
Dilip Kumar, movie star who brought realism to Bollywood, dies at 98
Dilip Kumar, the last of a triumvirate of actors who ruled Hindi cinema in the 1950s and 1960s, died Wednesday in Mumbai, India. He was 98 years old.
His death, in a hospital, was confirmed by family friend Faisal Farooqui, who released a brief statement on Mr Kumar’s death. official Twitter account.
In post-independence India, Mr. Kumar and two other stars have come to define the hero of the Hindi film. Raj Kapoor reflected the confusion of the newly created Indian: his signature role was that of the naive Chaplinesque negotiating a world that was losing its innocence. Dev Anand, known as Gregory Peck of India, embodied a Western recklessness that still persisted; he became an elegant idol in the morning.
Mr. Kumar, however, dived deep into his characters, breaking free from the semaphoric style of silent cinema popularized by megastars like Sohrab Modi and Prithviraj Kapoor.
As one of the country’s early adopters of the method, he has often been compared to Marlon Brando, another early adopter of the technique, although Mr. Kumar said he used it first.
“I learned the importance of studying the script and the characters in depth and relying on my own observations and gut feelings about my own characters and others,” Mr. Kumar said in his autobiography, “ The Substance and the Shadow ”(2014). “The truth is that I am an actor who has developed a method. ”
His preparation for the roles has become the stuff of legend. For his death scene in the 1961 megahit “Gunga Jumna”, he ran into the studio so he could get on set to the point of exhaustion.
For a sequence of songs in the 1960 film “Kohinoor” (“Mountain of Light”), he learned to play the sitar. For the emotional sequences of the 1982 film “Shakti” (“Power”) and the 1984 film “Mashaal” (“Torch”), he drew on memories of his brother’s death, recalling the pain that came upon him. is written on his father’s face.
Mr. Kumar was born Yousuf Khan in Peshawar (then part of British India, now Pakistan) on December 11, 1922, the fourth of 12 children to Ayesha and Mohammad Sarwar Khan. His father, a fruit merchant, moved the family to Bombay, now known as Mumbai, and then to Deolali in western India, where Dilip attended Barnes School before enrolling in Khalsa. Bombay College.
He wanted to play football or cricket professionally, but the economic situation of the family forced him to look for work elsewhere. For a time he was an assistant in a military canteen in Poona (now Pune).
A chance encounter with a former teacher changed her life. When he said he was looking for a job, the professor introduced him to pioneering Indian actress Devika Rani, who, along with Himanshu Rai, had created the Bombay Talkies studio. The idea was to find a job, any job, but Ms. Rani asked him if he would consider becoming an actor.
Mr. Kumar, who had only seen one movie in his life – a war documentary – was baffled, but the money convinced him. Ms Rani said taking a Hindu pseudonym to hide her Muslim background would help her career. He became Dilip Kumar.
His first film, “Jwar Bhata” (“Ebb and Flow”), released in 1944, was a flop; Baburao Patel, the scathing critic of Film India, called him “anemic”. But three years later, his performance in “Jugnu” (“Firefly”), alongside Noor Jehan, received more favorable attention. By the time “Shaheed” (“Martyr”) came out in 1948, Mr. Patel was singing his praises: “Dilip Kumar steals the image with his deeply felt yet natural delineation of the lead role. ”
Hits continued to flow, including “Nadiya Ke Paar” (“Across the River”), “Shabnam” (“Dewdrops”) and “Andaz” (“Style”) by Mehboob Khan, in which Mr. Kumar was featured. chosen with Mr. Kapoor. and actress Nargis. In 1954, Mr. Kumar won the all-new Filmfare Award for Best Actor for his performance as an alcoholic in the tragic love story “Daag” (“The Spot”). He won seven other Filmfare Best Actor statuettes in addition to a Lifetime Achievement Award. Guinness World Records honored him on his 97th birthday for his “incomparable contribution” to Indian cinema.
Many of his early films saw him chasing inaccessible women. The 1950 melodrama “Jogan” (“Nun”) ends with him weeping at his lover’s grave. That same year, he played a character similar to Heathcliff in “Arzoo” (“Desire”), one of three variations of “Wuthering Heights” in which he starred.
He earned the nickname Tragedy King after appearing in a series of dramas that a psychiatrist said took their toll on his health. In the 1951 film “Deedar” (“Sight”), he plays a blind man whose sight is restored through surgery, but who is blind again when he realizes that he and the surgeon are in love with him. the same woman. (To prepare for the role, Mr. Kumar observed a blind beggar at Bombay Central Station.)
One of Mr. Kumar’s best-known tragedies is Bimal Roy’s “Devdas” (1955), about a man who becomes an alcoholic when his childhood sweetheart abandons him.
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