The void gets wider. RIP the tragedy king

Sukoon-e-dil ke liye kuch to ehtemaam karoon

Zara nazer jo miley phir unhe salaam kerun

Mujhe jo hosh nahi aap mashwara dijiye kahan se chedoon fasana kaha tamaaam karoon.

Fragrance of the books has their own enigma, it was Delhi winters, I was in Nehru place and wandering like Muflis looking for Shadow and Substance {Autobiography of Dilip Saab}. The bookstall was transient it was like make shift stall, outdoors. It was beautiful sunny Sunday morning young, old and very old readers were busy reading what a heartwarming sight to watch people eat and read .Few were standing, some were sitting and sipping chai not tea .I believe people those who read they prefer chai over tea relishing every word and every sip .Word and sip makes a man well read man. Sensing my restlessness, Khan saab a bespectacled, elegant old man approached me and enquired “beta ‘what are you searching for?” I was so engrossed that I did not look at him I said sir I am looking for ‘Shadow and Substance ‘keeping my eyes closely on the books the moment I said ‘Shadow and Substance’ I could sense some positives glares from young, old very old towards me Khan Saab asked me do you watch movies beta? I responded “No sir I prefer cinema over movies Watching Dilip Saab had always been heartwarming Reading him would be enlightening”. Almost every person there in the stall encircled me and started searching for Dilip Kumar one old man came to me and patted me on the back complimented me “At this young age you are asking for Dilip Saab it means there is a hope for cinema over movies. It’s high time that we should stop abetting mediocrity which is so widespread particularly in Bollywood” . It’s great that young people reading and watching Dilip Saab He furthered his concern.

The most discussed personality of our house and the house hold was born in the house which was located in the heart of city called Peshawar in a bazaar named kissa khwani bazaar which so named because the wandering traders stopped thereby to tell their own stories and to listen the stories of the locals nobody knew that on 11 December 1922 in that very house of the bazar of story tellers one of the greatest story teller of Indian cinema will emerge. The young twenty year old handsome Pathan was noticed by the diva of Indian cinema Devika Rani in her Bombay talkies production Jwar bhata released in 1944. When his first work was released my father was not born when his last remarkable work was released I was not born and the father son duo favorite actor is Yousuf saab this is how his enigmatic performances had impacted the generations. As a nintees kid I never took notice of him busy watching the Khan trio. When you will grow up a bit you will surely understand that Indian cinema will always be divided into two parts dilip saab se pehle dilip saab ke baad The ardent fan of Dilip Kumar like many others my father once told me .

One fine day in those times of Door Darshan I just watched Ganga Jaumna and the famous kabbadi scene etched in my mind where the protagonist single handedly won the match for his team, the kind of energy exhibited by the first method actor and the way he held his breathe and said hu tu tu tu was phenenomenal. I grew up further and I watched Ganga Jamuna again the way he put across the Allahabadi accent while scolding Vijyanti Mala ek lafada diye ja ke giryo doosrey gaun ma was rare talent.

Somebody who never went to the place and delivered the dialogue with such flawless diction of the dialect is the real hallmark of his greatness as an actor. But the death scene of the film dying Ganga made me his fan. Ever since then the thespian was always the reference point for me if any discussion happen on Indian cinema. After this eye opening I went on spree to watch Dilip Saab films whether it was ever insprirng film Naya Daur or tragedy Devdas where he delivered the famous dialogue kaun kambhakht.. It was sheer creativity to the perfection and feeling the pain within of failed lover. Then I went on to watch Mashaal. I can write this with great conviction that one scene ae bhai gaadi rook bhai was the best acting performance by any actor in Indian cinema; you have to watch it to believe it Then arrived 1982 two one the greatest actors of all time having a face off as father son it was like Shakti pradarshun for both of them in Shakti .Amitabh Bacchana was in his prime as Vijay portraying his favorite role as an angry young man and had the enormous fan following the Dilip Kumar portraying the role of a police officer as an Ashwani Kumar and was in his his twi light if his career. It was not surprising for all the cinema lovers that Dilip saab won the best actor award in that film and outshined Amitabh Bacchan on dialogue delivery and screen presence. This notion was empowered by Abhishek Bacchan in one of his interview that after watching Shakti as grown up I thought Dilip saab was just not baaap of my father in Shakti as movie but he is the baaap of my father even in Acting.

It is impossible to cover the institution in one article it requires volumes of books and a life time to write about the story teller whose death had widened the void between mediocrity and excellence deeper.



Views expressed above are the author’s own.


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