| 1 | '''Dilip Kumar (b. 1922)''' |
| 2 | |
| 3 | |
| 4 | Hindi-Urdu cinema’s top 50s and 60s star. Born |
| 5 | in Peshawar (now Pakistan) as Yusuf Khan in a |
| 6 | Pathan family of 12 children. They moved to |
| 7 | Maharashtra as fruit merchants. Worked in a |
| 8 | British army canteen in Bombay (1940). |
| 9 | Devika Rani claimed to have recruited him for |
| 10 | Bombay Talkies. A noted Hindi novelist, |
| 11 | Bhagwati Charan Varma, renamed him Dilip |
| 12 | Kumar. Attained stardom with Jugnu. Achieved |
| 13 | an enduring reputation for naturalist acting |
| 14 | although he claims to have followed in the |
| 15 | footsteps of Motilal. Andaz brought him |
| 16 | superstardom and he acted again with Nargis |
| 17 | in Jogan. Presented, e.g. in Footpath, as an |
| 18 | exponent of indigenous neo-realism. His style |
| 19 | developed tragic dimensions, e.g. in the |
| 20 | Oedipal drama Deedar, where he blinds |
| 21 | himself, and in Devdas, as the lovesick |
| 22 | aristocrat. Eventually decided to change to a |
| 23 | more swashbuckling image with Aan, Azad, |
| 24 | Insaniyat, Kohinoor, etc., apparently on |
| 25 | advice of his psychoanalyst, although he kept |
| 26 | his romantic image going as well. Like his |
| 27 | contemporary Raj Kapoor, his filmic identity |
| 28 | offered a complex cultural/psychological |
| 29 | terrain displaying the anxieties of |
| 30 | Independence and the nostalgias of a pre- |
| 31 | Partition childhood. Unlike Kapoor, Dilip |
| 32 | Kumar’s naturalist underplaying often |
| 33 | presented him as an innocent loner caught in |
| 34 | and destroyed by conflicting social pressures, |
| 35 | as in the only film he did with Raj Kapoor, |
| 36 | Andaz, a classic drama of male guilt paid for |
| 37 | by the woman. His acting was used mainly to |
| 38 | address issues of identity in the Hindi films of |
| 39 | Bengali directors: Nitin Bose’s Deedar and |
| 40 | Ganga Jumna, Bimal Roy’s Madhumati and |
| 41 | Tapan Sinha’s Sagina Mahato, after which |
| 42 | he stopped acting for 8 years. Married actress |
| 43 | Saira Banu of Junglee (1961) fame. Made a |
| 44 | comeback with Kranti and esp. with Shakti, |
| 45 | starring opposite Bachchan in a larger-thanlife |
| 46 | role confirming his legendary star status. |
| 47 | Recent films with Subhash Ghai (Karma, |
| 48 | Saudagar). Although he virtually directed |
| 49 | some of his films (e.g. Ganga Jumna, Dil |
| 50 | Diya Dard Liya) his first official directorial |
| 51 | credit is for Kalinga (in prod.). |
| 52 | |
| 53 | |
| 54 | '''FILMOGRAPHY:''' 1944: Jwar Bhata; 1945: |
| 55 | Pratima; 1946: Milan; 1947: Jugnu; 1948: |
| 56 | Anokha Pyar; Ghar Ki Izzat; Nadiya Ke |
| 57 | Paar; Mela; Shaheed; 1949: Andaz; |
| 58 | Shabnam; 1950: Arzoo; Babul; Jogan; 1951: |
| 59 | Hulchul; Tarana; Deedar; 1952: Aan; Daag; |
| 60 | Sangdil; 1953: Footpath; Shikast; 1954: |
| 61 | Amar; 1955: Azad; Devdas; Insaniyat; |
| 62 | Udan Khatola; 1957: Musafir; Naya Daur; |
| 63 | 1958: Madhumati; Yahudi; 1959: Paigham; |
| 64 | 1960: Kohinoor; Mughal-e-Azam; 1961: |
| 65 | Ganga Jumna; 1964: Leader; 1966: Dil Diya |
| 66 | Dard Liya; Pari; 1967: Ram Aur Shyam; |
| 67 | 1968: Sadhu Aur Shaitan; Admi; Sangharsh; |
| 68 | 1970: Gopi; Sagina Mahato; 1972: Anokha |
| 69 | Milan; Dastaan; 1974: Sagina; Phir Kab |
| 70 | Milogi; 1976: Bairaag; 1981: Kranti; 1982: |
| 71 | Shakti; Vidhata; 1983: Mazdoor; 1984: |
| 72 | Duniya; Mashaal; 1986: Dharam Adhikari; |
| 73 | Karma; 1989: Kanoon Apna Apna; 1990: |
| 74 | Izzatdar; 1991: Saudagar. |
| 75 | |
| 76 | [[Actor]] |