By Dilip Kumar, Udayatara Nayar
An genuine, heartfelt and compelling narrative – immediately from the horse’s mouth – that finds for the 1st time a number of unknown features of the lifestyles and instances of 1 of the best legends of all time who stands proud as a logo of secular India. Dilip Kumar (born as Yousuf Khan), who all started as a diffident beginner in Hindi cinema within the early Forties, went directly to reach the top of stardom inside of a short while. He got here up with spellbinding performances in a single hit movie after one other – in his nearly six-decade-long profession – at the foundation of his cutting edge potential, decision, labor and never-say-die attitude.
In this targeted quantity, Dilip Kumar strains his trip correct from his start to the current. within the strategy, he candidly recounts his interactions and relationships with a wide selection of individuals not just from his relations and the movie fraternity but additionally from different walks of existence, together with politicians. whereas trying to set the checklist directly, as he feels lot of what has been written approximately him to date is ‘full of distortions and misinformation’, he narrates, in picture element, how he bought married to Saira Banu, which reads like a fairy tale!
Dilip Kumar relates, matter-of-factly, the development that modified his lifestyles: his assembly with Devika Rani, the boss of Bombay Talkies, whilst she provided him an appearing task. His first movie was once Jwar Bhata (1944). He information how he needed to research every thing from scratch and the way he needed to improve his personal targeted histrionics and magnificence, which might set him except his contemporaries. After that, he quickly soared to nice heights with videos corresponding to Jugnu, Shaheed, Mela, Andaz, Deedar, Daag and Devdas. In those videos he performed the tragedian with such depth that his psyche was once adversely affected. He consulted a British psychiatrist, who suggested him to change over to comedy. the outcome was once magnificent performances in chuckle riots comparable to Azaad and Kohinoor, except a scintillating portrayal as a gritty tonga motive force in Naya Daur. After a five-year holiday he begun his ‘second innings’ with Kranti (1981), and then he seemed in a sequence of hits comparable to Vidhaata, Shakti, Mashaal, Karma, Saudagar and Qila.