Carnival of Blogs on Golden Era of Hindi Film Music – March, 2015 edition

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Welcome to March, 2015 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

March has a very important festival – Holi – linked mainly to onset of the spring in the North India. The celebration of the festival is deeply ingrained into the fabric of the entire social culture of the people. As a natural corollary, it is but natural that the festivities are reflected into the mainstream (Hindi) Cinema. From the mellow and richly classical Holi songs in the 50s to the fun songs in the 70s, the flirtatious songs of the 80s to the power-packed, rigorous dance sequences in the new millennium, Holi songs have seen a gradual but marked change in style of music and the manner of filming the sequences. It is natural that we devote the opening session of the current edition of our blog festival to the articles featuring Holi songs in the Hindi Films.

And here are some of the randomly selected articles published in the mainstream journalistic flavor:

We now turn to the anniversaries:

Conversations Over Chai has three articles to commemorate Talat Mahmood’s birth anniversary on 24th February (1924):

The Legends: Talat Mahmood – has a few ‘quintessential Talat’ songs, each one for a different music director. While reading the article and comments thereto, Tum To Dil Ke Taar Chhed Kar, Kho Gaye (Roop Ki Raani Choron Ka Raaja – 1961- Shanker Jaikishan) came up from my memory. This, incidentally, is a twin version song. Furthermore, looking for some other songs, I landed upon Tera Khayal Dil Ko Sataye To Kya Karen (Naqab – 1955 – Govind Ram).

My Favourites: Talat Mahmood – Lata Mangeshkar Duets

In addition to a fairly rich collection and the contents in the main article, these songs in Comments also catch our attention:

Yaad aanewale phir yaad aa rahe hain - Anmol Ratan – Vinod. He gave another great duet Shikwa tera main gaaun in the film.
Mat chhed zindagi ke khamosh taar le jaRaag Rang – Roshan.
Saawan ki raaton meinPrem Patra – Salil Chaudhary
Chaahe nain churao chaahe daaman bachao pyar ho ke rahegaAas – Shanker Jaikishan

Mausam Ye Pukare Masti Mein Le Chal - Burmah Road (1962) – Chitragupt

The Legends: Talat Mahmood – Part 2 – has lined up duets with different singers.

SoY continues with Focusing on Naushad as the theme of the year while undertaking comparisons with C Ramchandra in Talat Mahmood by Naushad and C Ramchandra. Naushad used Talat Mahmood in lead only once in Babul (1950) and then as a co-singer with Mohammad Rafi in Kaisi haseen aaj baharon ki raat hai (Aadami – 1968). In the queer twist of commercial considerations, Talat Mahmood was replaced by Mahendra Kapoor in the final track, but the records were already in the market. In comparison, C Ramchandra has a fairly large share of ‘great’ songs with Talat Mahmood. Here also, Talat Mahmood was on the losing streak once – Kitna haseen hai mausam kitna haseen safar hai – which is finally rendered by Chitalkar himself.

Naushad-C Ramchandra duel for Amirbai Karnataki, is an innovative tribute to Amirbai Karnataki, on the 50th death anniversary (c.1906 – 3 March 1965). Naushad had About fifteen songs in seven films in a span of eight years whereas C Ramchandra had Eight films and about fifteen songs in a span of eight years – same as Naushad’s. ,,,, If we look at Amirbiai Karnataki’s singing career in overall perspective, Anil Biswas first catapulted her to great fame with Kismet (1943); she sang the maximum number of her songs for Gyan Dutt and maximum number of his songs were sung by her…. Vidur Sury has written an exhaustive and excellent article – Amirbai Karnataki – A Legendary Indian Singer on Amirbai Karnataki. He has also contributed to Atul’s bollywood song a day- with full lyrics Amirbai Karanataki’s Deendayaal sakal dukhbhanjan (Narsi Bhagat – 1940)……..And this in turn takes us to the categories Ameerbai Karnataki songs, which has 118 posts and Ameerbai Karnataki solo, (78 posts) on Atul’s bollywood song a day- with full lyrics

‘Bags, Books and More’ pays tribute to Ravi, through his scores to Sahir Ludhyanvi’s songs, in My favourite Sahir Ludhianvi – Ravi songs, on the third death anniversary. In terms of getting less to hear a song , we pick up Mahendra Kapoor-Asha Bhosle duet Rangeen Fiza hai (Bahu Beti, 1965) from among the ‘favorites’ .

We now turn to other posts on our regular blogs:

Tennis, Pathakji and ‘Tere sadke balam’ – There would many who have very strong association with a song….But it takes SoY to make it a memory to be shared with all as if we lived all those moments ourselves.

Film Songs Based on Classical Ragas (8) – Pilu – Guest article by Subodh Agrawal - in which he discusses the best film songs based on this Raga and some fine classical pieces. Pilu is the one that truly captures the mood evoked by this earthy smell, possibly because it is the raga of the Gangetic plain, where the summers are long and severe, and the rain – when it comes – comes in torrents, as in a fragment from the film Sara Akash (1969), as it captures the traditional movement better than any other clip one could locate.

As can be easily expected, the advent of spring should have led to posting of articles on the subject. Ten of my favorite spring songs takes up the task with the rules: the synonym for spring—basant, bahaar, etc—should actually be present in the lyrics, the word (especially in the case of bahaar, which can also refer to scenery or enchanting environs) should specifically refer to spring itself and the word should be used in the literal, not the metaphorical, sense, making the reading even more interesting.

Ten of my favourite cloud songs is a thematic songs-list article, which follows these rules: firstly, the synonym for cloud must be in the first line of the song, and secondly, the reference to clouds should be literal; clouds should not be used only in the metaphorical sense. On a similar vein, there have been other posts on rain songs and wind songs.

Ijaazat (1987) very fondly traces the origin for writing up the review to Mera kuch samaan from the album You’ve Stolen My Heart: Songs from R.D. Burman’s Bollywood

Word Play: Shaam presents the Shaam songs with the self-imposed rules : the song had to begin with the chosen word. (At the most, the word could be the second one in the first line.) Preludes to songs didn’t count. And two, it has to be the word itself, not its variations., which have yielded three posts – Raat, Piya and Chand – in the past. We pick up, again on the basis of the criterion of not-getting-to listen-often:

Shaam gayi raat aayi – Shree 420 (1955) – Lata Mangeshkar – Shanker Jaikishan- a song that is recorded and then discarded from the film is classic fit for Mystery of the Missing Songs, strangely, this song was never used in any subsequent RK film either

Shaam dekho dhal rahi hai -Anjaan Hai Koi (1969) – Mohammed Rafi, Usha Khanna – Music: Usha Khanna

Gulzar’s “shaam se aankh mein nami se hai – Mukesh .The original Salilda tune has been used in another song and has also been sung by Mukesh.

The succinct review of Aah – 1953 has very judiciously provided a link to the jukebox filled with songs from the film.

Dances By Egypt’s Naima Akef -Egypt’s Golden Age of cinema happened very close in time to India’s, beginning in the 1940s and extending into the ’60s. …there also are close parallels between this cinema and Indian cinema in the song-and-dance sequences, with the main difference being that the Egyptian dances were mostly Middle Eastern…..the present selection starts with Naima Akef’s most strange and possibly most modern dance, “Mambo.” After that one, thrown in are six more, which fall all along the spectrum from modern cabaret to traditional Egyptian folk dance. Rather than going into any descriptions of those, let the dances speak for themselves (because they certainly do speak for themselves….).

Kahan Le Chale Ho Bat Do Musafir – Beena Rai – a career starting form Kali Ghata (1951) ran into some 18 films ending with Apna Ghar Apni Kahani (1968). The post has provided links to some of her very famous songs.

Whilst on Beena Rai, we may recollect Ashok Dave;s review of Vallah Kya Baat Hai (1962) (in Gujarati), and enjoy these two exceptional Roshan songs –

Enjoyable western beats has compiled a special list of 15 songs on the player, applying the criteria that You should distinctly hear the bongo, conga or drums played as a lead instrument for at least a few seconds, in some part of the song, hindi film songs from the 1950s to the 1970s (with one song from 1980).

Rhythm of CastanetsCastanets are relatively tiny instruments that fit into the palms of the two hands and were originally used in European music. They can be played quickly in continuous notes to create a roll type of sound, or they can be played with each click on the castanet being a discrete note. The representative songs are on Rhythm of Castanets.

Jinhen Naaz Hai Hind Par, from Pyaasa 1957 takes us to Madhukar Shukla’s Translation of the original poem, and in turn to original version in Roman Urdu and the modified film song version. Here is the video clip of the song, wherein @ 6.26 we have my most favoured portion:

vo ujale dareechoN meiN paayal ki chhan-chhan
thaki haarii saaNsoN pe tabale ki dhan-dhan
ye be-ruuh kamroN meiN khaaNsii kii Than-Than
jinhe naaz hai hind par vo kahaaN haiN?

And its English translation:

The jingling trinklets at casement bright,
Tambourins athrob’ mid gasping life;
Cheerless rooms with cough alive;
Where are they who praise, the pious eastern ways?

On this rather sombre note, we now turn over to articles from the random search of other blogs/ sites:

The Hindi film song & the soundtrack of our livesSantosh Desai in City City Bang Bang -..It would be far too simplistic to connect the change in Hindi film songs to the harsher angrier discourse that we see in our public conversations, but surely the inability to find little islands of gentleness into which we can periodically retreat must take its toll. With no better self to find refuge in, no song to hum with eyes closed in melancholic bliss, the world is a harsher place full of people resigned to their hardness.

The “Indian” Dances in Kali Yug (1963, Italy/France/Germany) – The four dances in the films all center around the character Amrita, an exotic-enough sounding Indian name, played by the French actress and “Bond girl” Claudine Auger.

And now over to exclusive articles on Mohammad Rafi…

clip_image002The search for songs on Holi had led to writer and journalist Vinod Viplav’s article होली से कटती मुंबइया फिल्में. A little more exploration of the blog leads us to the category Mohammad Rafi, where we come to know of publication of the second edition of his biographical book Meri Awaz Suno (ISBN – 81-904097-1-9), which in turn led to:

As we close our books for this edition, we get the news that Shashi Kapoor, who just celebrated his 77th birthday, will receive this year’s Dadasaheb Phalke Award.

We continue our pursuit of the golden period of Hindi Film Music …….

Carnival of Quality Management Articles and Blogs–March 2015 edition

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Welcome to March 2015 edition of Carnival of Quality Management Articles and Blogs.

For the month, I chose to search articles for “Improving the manufacturing performance”. As can be expected, the available choice was so simply far too much to handle in one episode of our blog carnival. So, I have selected some of the representative articles:

5 Ways to Boost Your Line’s Performance — Right Now … John Mills

1. Reward trainers. First, model the behaviour you want. Then, train your floor managers to implement best practices quickly.

2. Reward small failures. Productivity is a process so treat it like one. Allow staff to team up and try small experiments for boosting output, setting aside rewards for both victories and failures knowing that anything that moves the floor closer to achieving permanent gains is a win.

3. Reward efficiency. Don’t obsess over output at the expense of everything else. Structure rewards that allow employees to “bank” and use time saved via productivity enhancements as vacation or sick time.

4. Reward partnerships. More isn’t always better when it comes to developing and refining a manufacturing process, but there will always be appropriate moments to bring in outside experts.

5. Reward outcomes. Finally, remember the endgame. Identify tangible, measurable goals before embarking on any productivity-boosting campaign. Assign leaders to implement the plan and then get prepared to reward achievements.

Keys to Improving Manufacturing Efficiency

In this paper, Apriso shows how to achieve enterprise-wide supply chain visibility, manufacturing synchronization, and control over efficiency through an integrated solution that directly addresses manufacturing competence.

A Diagnostic Tree for Improving Production Line Performance – Wallace J. Hopp • Seyed M. R. Iravani • Biying Shou

Improving performance of production systems is a critical but often unstructured activity. To help managers convert ad hoc or trial & error improvement efforts into efficient and systematic reviews, we develop a diagnostic tree which decomposes a performance improvement objective into successively more concrete sub-objectives and finally into potential improvement strategies. Based on principles from the Operations Management literature, this tree is structured to enable a non-specialist to better understand the links between corrective actions and performance. It also provides an important foundation for a principles-based knowledge management system that couples the decision tree with a search engine for locating relevant documents within an intranet.

Proven Principles for Improving Manufacturing Performance – Paul Dennis, Tom Knight

Plant managers can obtain major improvements in manufacturing performance by rising above the jargon and implementing two proven guiding principles that have stood the test of time : benchmarking and elimination of waste, particularly redusction in inventory and long cycle-times. The performance improvements should maintain profit margin and provide competitive advantage. Managers should also make a diagnosis first, before prescribing the appropriate improvement technique.

How big data can improve manufacturing by Eric Auschitzky, Markus Hammer, and Agesan Rajagopaul

(Wherever a huge amount of data is being generated[ even when not on all of them on digital media]) Manufacturers (by) taking advantage of advanced analytics can reduce process flaws, saving time and money

Jeff Dorman: Improving Performance

Jeff Dorman examines the roles of leaders, managers and employees, as well as team functionality as crucial elements for organizational success..

Designing performance measures – a structured approach – Andy Neely, Huw Richards, John Mills, Ken Platts and Mike Bourne

(A well-researched article. If one starts hitting the Tables, then you get a very good feel of what can be more relevant to one’s given situation.)

Improving Analysis of Key Performance Measures at Four Middle-Sized Manufacturing Companies – Moving Focus from What Has Happened to What to Do – Marcus Danielsson & Johan Holgard

The purpose of this thesis can be formulated in three research questions: How did the companies change their attitudes and behaviour as a result of understanding variation? How should a method to understand variation be implemented?, What aspects are important to consider when undertaking an implementation process?

28 Manufacturing Metrics that Actually Matter (The Ones We Rely On) - Mark Davidson

The MESA (Manufacturing Enterprise Solutions Association) organization has sponsored research over the past years to help the manufacturing marketplace identify the most important metrics, and help decision makers understand metrics improvements and their relationships to metrics programs and the use of software solutions. As part of the most recent metrics survey, 28 manufacturing metrics were identified as being the most utilized by discrete, process, and hybrid/batch manufacturers.

PERFORMANCE MEASUREMENT

Measurement is the first step in improvement. But while measuring is the process of quantification, its effect is to stimulate positive action……Performance measures can be grouped into two basic types: those that relate to results (outputs or outcomes such as competitiveness or financial performance) and those that focus on the determinants of the results (inputs such as quality, flexibility, resource utilization, and innovation). This suggests that performance measurement frameworks can be built around the concepts of results and determinants.

Performance Factory – a new approach of performance assessment for the Factory of the Future

A new measurement and assessment framework, called Performance Factory (PerFact) and its current implementation state, is presented in this work. In addition, the Virtual Factory Framework Project (VFF) is presented. VFF is in line with the concept of the Factory of the Future and envisions the development of a Virtual Factory in order to support and improve the real factory. This in turn allows and promotes the application of PerFact by selectively assessing the real performance or the performance of planning scenarios.

In the second part, we have Innovate on Purpose from among the Influential Voices Blogroll Alumni. Here are the previous posts on this blog:

We turn to our regular sections now:

Bill Troy, ASQ CEO has presented the first of the three part blog series ‘A Leader’s Roadmap to a Culture of Quality: Building on Forbes Insights-ASQ Leadership Research’. Roy Lawton – author of the book Creating a Customer-Centered Culture: Leadership in Quality, Innovation and Speedproposes to provide the missing and necessary specifics for successful action. Part One in this blog series spells out how to successfully address point #1 – All employees must apply the four key elements of any strategy for building a quality culture.  (Page 8: Boeing’s Ken Shead).

Julia McIntosh, ASQ communications , in her ‘February Roundup: Is Quality “Global”?’ notes what ASQ’s bloggers had to say – “quality going global”—should it and does it?  If so, how is quality knowledge best shared worldwide?

And then move over to ASQ TV Episodes: A New Look at Risk Management – Learn about the role of risk in the ISO 9001: 2015 revision, assess the root causes of risk via a fishbone diagram, discover a risk management formula, and learn how the toy company LEGO successfully manages risk.

Our ASQ’s Influential Voice for the month is – Anshuman Tiwari

anshuma-tiwariAnshuman Tiwari is a quality expert with experience as an industrial engineer, quality consultant, and program manager in industries ranging from textiles to financial services. Based in Bengaluru, India, he blogs at Quality—The Unfair Advantage, wherein he includes reviews, articles, views, news, jobs, etc. on quality.

I look forward to your active participation in enriching the blog carnival as we pursue our Improvement journey ………….

Dilip Kumar: The Substance and The Shadow ǁ 4 of 4

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Dilip Kumar: The Substance and The Shadow – An Autobiography – as narrated to Udayatara Nayar

Hardback | 230 x 150 | 450pages | ISBN 9789381398869

Publishers: Hay House India


We have read the first three of the four parts – The Seeds of a Flight of a Fruit Merchant’s Son, Yousuf Khan, The Substance, To The Legendary Thespian Dilip Kumar, The Shadow,  First and Second Innings at the Hindi Film Cinema and Marriage and Life with Saira Banu – on  5 February. 19 February and 5 March 2015, respectively.  We carry on to the concluding part….


Reminiscences

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Dilip Kumar did not speak about his achievements and social service, as his wont, while narrating this autobiography. Hence this section explores insights into the man and his working style, through the personal and professional experiences of actors, directors, eminent friends, relatives and others who have had occasions to come into contact with him.

We glance through the representative ones of these here:

Raihan Ahmed – Saira Banu’s brother Sultan’s son

‘Travelling with Yousuf Uncle is guaranteed fun and adventure…Road trips were the best as he would make us try all kinds of street food…He has the ability of blending with any age group… Kite flying with Yousuf Unlce is an experience only a few lucky people can mention… Few people know that he is a great magician and has a box full of tricks..

Shabana Azmi

The first image that comes to mind.. is dignity.. He has entertained without ever having to resort to crudity…Dilip Kumar showed us how the subtext can be revealed, how to play against the emotion, how less is more and how simulated spontaneity can be as effective as real thing…

V. Babasaheb – A cinematographer by profession, who filmed Gunga Jumna

I knew it would be a great achievement in my track record if a sequence came alive on the way Dilip Saheb had visualized….He had calculated the speed of the train and the galloping of horses precisely..Saheb then explained to me he wanted the camera to be tied beneath door of the compartment to capture the hooves of the galloping horses raising dust as they advanced parallel to the running train. He strapped me to the floor of the doorway of the compartment in such a manner that I could operate it from that position and get the shots……..The scene I can never forget is Ganga’s death scene

He was going to take several rounds of the studio..running…in order to be out of breath… when he entered the house and gave the climax shot….I missed the initial timing..he was angry.. but he complied with.. a retake. He went through the whole gamut gain and with more intensity the second time and we canned the shot.

Amitabh Bachchan

…No art in the entire universe can ever exist, flourish or even take birth without an ‘unconscious assimilation’ of influence that eventually propels it to its creation… I believe that what (Mr. Dilip Kumar) is what was and is, correct, right and the best…The history of Indian Cinema shall.. be ‘before Dilip Sahab’ and ‘after Dilip Sahab’.

Jaya Bachchan

Dilip Sahab has expertly used the eloquence of silence in some of his iconic performances in a way no actor before him had.

Chandrashekhar

…(Dilip Kumar) would be equally concerned to raise funds for the needy artistes and workers; the first cheque always came from him. The Film Industry Welfare Trust and superannuation schemes for old, retired artistes were his initiatives..

Yash Chopra

Dilip Sahab is not a method actor as many artistes think. He is a spontaneous actor who draws from inner emotional reserves when he performs .. marvellous dramatic sense…He was extremely serious about his work; emotions just surfaced naturally when he was before the camera. In the final take, therefore, he invariably did what he felt was best..

Sitara Devi

Dilip Bhai was, and still is, a shy man. The only time I felt he was drawn to a co-star was when worked with Kamini Kushal… The only reason why Dilip Bhai did not attend the premiere of Mughal-e-Azam and even refused to see the movie at trial show was because (K.) Asif had betrayed his trust (when [his younger sister] Akhtar chose to marry a much-married [first marriage with Sitara Devi and second one with Nigar Sultana], man twice her age).

Subhash Ghai

I had a subject…After hearing me out, he said nothing… on the fourth day..he smiled and told me the story had potential and he would consider working in it…people started asking me questions if what they heard was true.. the look on their faces would convey:”This is the end of your career.”.. he will make you sit somewhere outside the set and direct the film himself.. and by the time the movie is completed, you will have aged because he takes years to complete a film…. All through the making of Vidhaata (1982), Dilip Sahab paid great attention to my visualization of shots and cooperated to such an extent that the film was completed a month ahead of schedule…. I feel proud that I made three films (Vidhaata, Karma and Saudagar) with Dilip Sahab in the central role.

Dr. Shrikant Gokhale – personal physician (and a friend as well) for four decades

I have always seen the respect he gives to his admirers…It pains him when he sees street urchins and little girls who come and press their smiling faces against the car window at the traffic signals.. he gives generously… but they don’t know he is concerned and disturbed about their hapless condition.

Kamal Haasan

…I was able to appreciate the Western actors and the refinement of their acting after I watched (Dilip Kumar’s) films. It began to crystallize in my understanding of the eloquence of the medium that a mere look or sheer silence can convey so much and so powerfully…

imageI am and always will be amazed by the layers of emotion he evoked in the viewer when, he, as Price Salim (in Mughal-e-Azam) simply sat in the royal durbar, saying nothing, and doing nothing as Anarkali performed the provocative Pyar Kiya To Darna Kya number.

Anil Kapoor

…My father (Surinder Kapoor)..told me that Dilip Sahab never wasted his time in frivolous gossips.. he spent his time with writers and intellectually advanced people with whom he can make intelligent conversation and exchange meaningful thoughts… that Dulip Shab had more friends outside the industry than within because he disliked talking shop and never encouraged hangers-on….

Rishi Kapoor

Yousuf Uncle and papa (Raj Kapoor) shared an eternal fraternal relationship, which nobody could fathom or believe. They were in competition with each other as stars and yet they loved each other as though they were born to same parents…..We were filming Prem Rog(1982).I had to bring an intense expression of a despondent lover, and hard as I was trying, Raj Kapoor, the director, was not getting..what he wanted…he shouted at me..”Mujhe Yousf Chahiye”…When Yosuf Uncle was facing the brunt of Balasaheb Thackeray’s… objection to his receiving the Nishan-e-Imtiaz from the Pakistan Government. Yousuf Unlce said in an interview, “I miss my friend Raj today more than on any occasion. He could not let this agitation about me or any other artiste go unanswered.”

Manoj Kumar

The greatest quality Dilip Sahab possesses is his ungrudging admiration for the achievements of others in the profession. In an interview [during the shooting of Kranti (1981)], he was giving the example of Raj Kapoor as an inspiration for the generations of film aspirants to look up to.

Lata Mangeshkar

…When (Dilip Bhai) found out that I am a Maharshtrian is something that I cherish because it made me seek the perfection I then lacked in my Hindi and Urdu diction, he very truthfully said that singers who were not conversant with Urdu language invariably tripped in pronunciation of the words derived from the language and spoiled the listening pleasure of those who enjoyed the lyric as much as the melody….So, in the first meeting, Yousuf Bhai gave a gift unknowingly and unhesitantly…Salil Chuadhary gave an opportunity to sing a duet with Yousuf Bhai for Musafir (1947) – Lagi Nahi Chhute – and it was a memorable experience to observe the pains he took to sing faultlessly.

Ram Mukherjee – Director of the film Leader

Dilip Sahab’s love for his fans is something no star of his time or later could match. He says : “When an unfamiliar had claps mine and I feel the warmth of genuine adulation that clasp I feel a deep sense of reward for all the hard work I put in for a performance which no award can give me….”..If you watch Leader today you will find some of the lines spoken by Dilip Sahab so relevant to the present political climate.

Veera Rao – a well-known social service personality

When Dilip Sahab took over as the chairman of NAB, the great challenge was to generate funds…It did not take Dilip Sahab more than a minute to welcome the idea ..of NAB train in which people would travel with Dilip Kumar… for the ten years the train ran.. Dilip Sahab never let (the project) down…..At one large event for school children at the Brabourne Stadium … Dilip Sahab was alone was not without sunglasses… (when asked) why he never shielded his eyes from the sun, to which he said : “I like to talk to people without hiding my eyes.”

Waheeda Rehman

It was a mystery to me why Dilip Sahab did not give his name as director in the film credits when all the hard work behind the camera was being done by him…There have been two regrets…he could not work with Satyajit Ray as we as in Pyaasa (1957).

Harish Salve

God gave His children memory

That in life’s garden there might be

June roses in December……

Sharmila Tagore

Seven decades after his first film Jwar Bhata, and sixteen years after he acted in his last production, he continues to the final word in screen acting, someone who inspires awe and respect….Actors like Motilal and Ashok Kumar had already begun weeding out the theatrical elements from the film acting by late 1940s, but it was with Dilip Kumar that it became the norm…He demonstrated that it was not necessary to raise one’s voice to be heard….He introduced novel innovations such as acting crucial scenes with his back to the camera, using only his voice…He gave film acting a kind of layered edge, which was marked by self-conscious histrionics till that point of time. Many actors have tried to copy his style over the years and rightfully so, as I feel there is much to learn from his school of acting…

Vyjayantimala

I must describe the first scene I enacted with Dilip Sahab on the sets of Devdas. The scene had a very simple dialogue – Aur Mat Piyo, Devdas – for me. I had to say the line when Devdas would stagger in completely inebriated, the camera was to capture Devdas and then follow him and turn its focus on me when I spoke that line with an expression of anguish and helplessness… As the technicians announce their readiness to shoot and Bimalda looked at me to know if I was ready, I realized that Dilip Sahab was not on the sets…One assistant whispered that he was taking brisk rounds of the studio to get that tired, weary look.. he had instructed cameraman to be ready to start the camera when would stagger in….When the camera started and I saw the incredible perfection to Dilip Sahab’s performance, all I could do was to speak helplessly the line: Aur Mat Piyo, Devdas. The helpless look on my face was what Bimalda wanted, and it came quite naturally…..

Dilip Kumar: The Substance and The Shadow ǁ 3 of 4

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Dilip Kumar: The Substance and The Shadow – An Autobiography – as narrated to Udayatara Nayar

Hardback | 230 x 150 | 450pages | ISBN 9789381398869

Publishers: Hay House India


We have read the first  two of the four parts – The Seeds of a Flight of a Fruit Merchant’s Son, Yousuf Khan, The Substance, To The Legendary Thespian Dilip Kumar, The Shadow  and First and Second Innings at the Hindi Film Cinema – on  5 February and 19 February 2015, respectively.  We carry on to the third part….


Marriage and Life with Saira Banu

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Dilip Kumar has devoted five chapters of the book to passionately narrate his marriage and life with her wife, Saira Banu. The chapters The Woman In My Life, The Big Day, Celebrations Galore, Taking Care Of Saira, The Husband And Wife Team respectively present his intimate narration of his proposal to marriage, festive atmosphere, the marriage ceremony, life with Saira Banu and his four-film stint with her.

Naseem Banu, Saira’s mother, would always be invited by Dilip Kumar’s sister Akhtar. On one such evening, Saira, who was on a visit to India during her school days, had accompanied her mother to Khan Residence. Apparently, Saira had seen Aan and brewing a storm of liking Dilip Kumar. Possibly as result, she took upon to learn pristine Urdu and Persian. In this initial phase Dilip Kumar did not give “any importance” to this crush.

When discussions for casting for Dil Diya Dard Liya (eventually released in 1966) was on, Dilip Kumar dodged the idea of her working with him because he was ‘so much older’ to her. After her maiden venture Junglee (1961), in due course of her career, she was paired to all successful leading men of the time – Raj Kapoor, Dev Anand, Sunil Dutt, Shammi Kapoor, Rajendra Kumar, Joy Mukherjee, Manoj Kumar. Since she was still not paired with Dilip Kumar, there was huge demand for such a film. One such project was Mehboob Khan’s Habba Khatoon. Dilip Kumar ultimately withdrew from Habba Khatoom as he could not foresee himself doing Yousuf Chak’s (Habba Khatoon’s husband) character, which had some slants of negativity. He did have a special subject in his mind where pairing would be ideal and perfect. However, as the wait went to become rather lengthy, Saira did get ‘very annoyed’ with Dilip Kumar. ‘The polite, gracious and well-bred young lady was turning into an angry tigress..’

She was also suggested for a role in Ram Aur Shyam, against the character of timid among the two twin brothers. Dilip Kuamr had voiced his opinion to the producer of ram Aur Shyam that she was too delicate and innocent in appearance for a character that had to have loads of seductive appeal and a bold, buxom appearance. The role ultimately went in favour of Mumtaz.

imageIt was when Ram Aur Shyam was progressing hectically, that Dilip Kumar received an invitation form Naseem Banu, Saira’s mother, to join in the celebrations of Saira’s birthday. When he entered the beautiful garden of the Naseem Banu’s house, his eyes fell on a ‘breathtakingly beautiful’ looking Saira Banu. He was taken aback; because she no longer looked the young girl he had consciously avoided to be his heroine. She had indeed grown to full womanhood and was more beautiful in reality. He simply stepped forward and shook her hand, and time stood still. It did not take an instant for Dilip Kumar to realize that “she was the one Destiny had been knowingly reserving as his real-life partner while he refused to pair with her on screen. He found her to be intrinsically very Indian and rooted to her native culture.

During the filming of Azaad, Dilip Kumar happened to meet an astrologer. He predicted that ‘Dilip Kumar would marry in his forties; his bride would be half his age, as fair and beautiful as moon, would be from same profession. Soon after the marriage, she would take blow of his ‘karmas’ with a prolonged and near-fatal illness to absolve me, and that she would go through it ungrudgingly.’ The first part of the prediction had rang true, would then second part also come home?

To cut the long story short, Dilip Kumar formally proposed to Saira Banu. Obviously, the news spread like wild fire thereafter.

imageThey were married on 11 October, 1966. Having remained a confirmed, eligible bachelor for so long, did Dilip Kumar have any trepidation or any qualms as he walked into the married life? Dilip Kumar states No quite firmly. Instead, what he felt was a serene calm and tranquillity, as though having reached a safe Heaven of Peace, for he now had the person who would share his life and would be his very own.

The marriage was a surprise to all those who knew him. Naushad was the only one who had forthrightly asked if he wasn’t making a mistake. However, Dilip Kumar was firm in his conviction that he had considered the step with serious introspection. The nikah was beautiful – all his loved and dear ones (including Raj Kapoor who had made good his wow to walk in to the house on his knees without a moment’s hesitation) chipping in the mood of boisterous joy.

During their honeymoon at Bhutan Saira Banu had taken suddenly ill – being asphyxiated by the carbon monoxide in a small cabin of a log-house. Were that astrologer’s predictions going to ring true?

In the initial period of their marriage, the domestic life of the family was quite tough on Saira Banu. The stress had begun to tell on her health and she was taken quite ill with ulcerative colitis. She was taken to ‘one of the largest hospitals of UK’ and was put ‘under the the expert supervision of world-famous gastroenterologist…’. Saira recovered almost miraculously, and after a moth’s rest at the clinic resumed her shooting for Purab Aur Paschim (1970). Manoj Kumar had, admirably, waited for full recovery of Saira Banu. Years later, Dilip Kumar had “agreed to work in Kranti (1981)….to pay back (this) debt”.

On their return to India, they shifted to Saira Banu’s own bungalow at Pali Hill because ‘she needed special caretaking and also a specific diet. Soon, thereafter, “Saira adapted to (his) lifestyle and (his) pace.” ‘A marriage that is for keeps, even with all the good intentions of the couple, is not easy to sustain for either partner.’ They had their shares of ups and downs, but apart from (their) outwardly contrasting personalities, they shared the joy of living (together). The glamorous girl who took an hour for putting on her makeup, suddenly, changed totally. What Dilip Kumar has got to love and appreciate about Saira Banu down the years is her innate simplicity and softness of heart.

As The Husband-Wife Team, Dilip Kumar ‘began to discover the capacity (his) wife had for hard work and the pursuit of flawless work. She was receptive to sound advice and was quick to absorb the guidance (he) gave her in the scenes (they) came together. She co-starred with him in four films – Gopi (1970), Sagina (1970 in Bengali as Sagina Mahato and 1974 in Hindi), Bairag (1976) and Duniya (1984) – and (he) saw her tenacity and determination to get the nuances and emotional curves of the performances right.


The concluding part on  19 March, 2015…………….

Carnival of Blogs on Golden Era of Hindi Film Music – February, 2015 edition

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Welcome to February, 2015 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

As has become a set pattern, we begin with articles form or regular blogs, commemorating anniversaries:

Kavi Pradeep: The singer of Message Songs  – As tribute on the centenary of Kavi Pradeep (6 February 1915 – 11 December 1998) –  the article goes on to present some songs sung by him, because he is in the class of singers who could not sing anything which was less than captivating.

Happy Birthday, Waheeda ji, from where we have picked up these two songs:

Jaane kya tune kahi (Pyaasa, 1957, Geeta Dutt, S DBurman) so as to bring up its original Bengali version Mono Dilo Na Bandhu sung and composed by S D Burman

Haaye gazab kahin taara toota (Teesri Kasam, 1966. Asha Bhosle, Shankar-Jaikishen). We will add Mubarak Begum’s piece Hai Muhobbat Bahutto this list. Just as a bonus, here is her dance number (Yaeru pooti poovaye from Kaalam Maari Poochu (remade into Telugu as Rojulu Marayi). This tune was adapted to in Hindi for the film Bambai Ka Babu, as Dekhane Mein Bhola Hai, some years down the line.

My Favourite Geeta Bali songsJanuary 21, 2015  was the 50th anniversary. Our pick of the songs is : Yeh Din Hai Khushi KeJab Se Tumhen Dekha Hai (1963) – Manna Dey and Suman Kalyanpur

My favourite songs of Madhubala , from which we have picked up – Aye bhola bhala man (Jhumroo, 1961, Asha Bhosle and Kishore Kumar, Kishore Kumar)

The Masters: Khayyam spans the career that spanned more than six decades, with long stretches in between where Khayyam did not compose for films at all. In all, he composed for 54 films (and 17 other unreleased ones) and totalled up 626 songs (including those for TV serials and other non-film albums including those for Begum Akhtar and Mohammed Rafi).

And now onto some of the other – regular- offerings:

UttarMegh and Dekh Kabira Roya is also the inspired by the Meghadutam, which has been a source of inspiration of many an artist.  ‘While PurvaMegh describes the scenic beauty that the cloud messenger would pass by on his way to Alaka nagari, as narrated by a certain Yaksha who is separated from his wife on account of negligence of duty and hence cursed by Kubera to be exiled for a year, UttarMegh is full of virah-bhava. ..The great painter Nana Joshi has created nine visualisations of the verses of UttarMegh…. That UttarMegh was a possible inspiration for the great lyricist Rajinder Krishan when he penned the lyrics for Dekh Kabira Roya – Meri Veena Tum Bin Roye  and  Ashqon se teri hamne [It is also interesting to note that the two songs are back to back in the movie] as well as Bairan Ho Gyai Raina –  or even Amiya Chakraborty, the director of the movie, is what this post sets out to explore.

Some Favorite (Relatively) Contemporary Versions of Classic Hindi Film Songs is the result of the urge to throw together some of my favorite contemporary versions of old Hindi film songs. The songs included here – Hai Apna Dil To Awara, Chin Chin Choo, Piya Tu Ab To Aaja- also come from a slightly wider range than the area that the blog usually focuses on these days, stretching in one case all the way into the early 1970s. But all of these songs were composed by music directors who produced many classics during the Golden Age, and all of them were originally sung by artists who became prominent during the Golden Age or the Vintage Era.

Different versions of ‘Tum Bhulaye Na Gaye’ by  Feroza Begam… This is one of the loveliest songs that one cannot get tired of listening it again and again. There is something special about it. Firoza Begum in her unique and beautiful voice has infused agony and angst into this engrossing composition of Kamal Dasgupta…. original version , subsequent version   and the one when she was almost 70 .

A few random musings:

Salil Chaudhury – A narrative documentary movie on Salil Chowdhury directed by Jagadish Banerjee and produced by Films Division…..

Cinema Cinema - Director Shah Krishna compiled this compelling documentary of Indian cinema after spending two years searching through film archives from all over the world. Included are films from the turn of the 20th century through the 1970s to illustrate various schools of filmmaking and the historical progression of the art form.

Our friends Samir Dholakia and Bhgawan Thavrani have remembered

Naresh Mankad also chips in with

Whilst on Pankaj Mullik, we also recall that Samir Dholakia has sent

 Tu Dhundhata hai jisako – Yatrik by Anulekha Gupta Mullick, the daughter of Pankaj Mullik. Here is the original song.

And now over to exclusive articles on Mohammad Rafi…

Mohammad Rafi Timeline showcases his endless collections.

Mohammed Rafi: An Antique voice of showman Raj KapoorAn Accolade to Raj Kapoor and Mohammed Rafi on their 90th Birthday Raj Kapoor - Google DoodleBy Biman Baruah – Mohammad Rafi has sung second highest songs for Raj Kapoor, after Mukesh, in films like Barsaat (1949), Andaz (1949), Dastan (1950), Sargam (1950), Amber (1952), Paapi (1953), Do Ustad (1959), Chhalia (1960), Nazrana (1961), Ek Dil Sau Afsane (1963) and Mera Naam Joker (1970).

We continue our pursuit of the golden period of Hindi Film Music …….

Carnival of Quality Management Articles and Blogs – February 2015 edition

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Welcome to February 2015 edition of Carnival of Quality Management Articles and Blogs.

We have chosen to visit Institute for Healthcare Improvement, envisioning “Improving Health and Healthcare Worldwide”. We would especially focus on Resources thereat, which offers tools, change ideas, measures to guide improvement, IHI white papers, audio and video, improvement stories, and more.

clip_image002IHI uses the Model for Improvement as the framework to guide improvement work. The Model for Improvement,* developed by Associates in Process Improvement, is a simple, yet powerful tool for accelerating improvement. This model is not meant to replace change models that organizations may already be using, but rather to accelerate improvement.

We also get to learn about the fundamentals of the Model for Improvement and testing changes on a small scale using Plan-Do-Study-Act (PDSA) cycles.

We will also have a look at some of the videos here:

Dr. Mike Evans Video: An Illustrated Look at Quality Improvement in Health Care

In the video, Evans starts with a simple question: Why should you care about quality improvement? He presents a brief history of QI (including a “Mount Rushmore” of improvers), then touches on system design, the Model for Improvement, and the familiar challenge, “What can you do by next Tuesday?” — all in less than nine minutes!

Deming’s System of Profound Knowledge (Part 1) and (Part 2)

Robert Lloyd, the Director of Performance Improvement at IHI, uses his trusty whiteboard to dissect the science of improvement. In short videos, he breaks down everything from Deming’s System of Profound Knowledge, to the PDSA cycle, to run charts.

The Model for Improvement (Part 1) and (Part 2)

The Model for Improvement was developed by Associates in Process Improvement.

In the second part, we have NDCBlogger from among the Influential Voices Blogroll Alumni.

This is the blog of Deborah Mackin, the author of The Team-Building Tool Kit series and founder of New Directions Consulting. She has a background in quality manufacturing and production, as well as organizational excellence

We have selected two of the articles from the blog so as to open a peep-in window to the blog:

A Manufacturing Floor Operator’s Experience with High Performance Teams and What It’s Meant To HimMatthew Harrington

While looking for this video on YT, we happily land upon:

Why Change When Things Have Been Successful in the Past?

“We are not making a change to a Team concept because we are doing something wrong. In fact, our success is due to the great work we have done to this point. We are a leader in the field. We want to maintain that leadership and to do so we need to move forward with how we do business.”

We turn to our regular sections now:

Bill Troy, ASQ CEO picks up the thread for the round of discussion, “Why Should Quality “Go Global”?, from the visits paid to the HQ by ASQ’s representatives from global offices in India, Mexico, and China, and partner organization in Brazil, Quali.

Paul O’Neill, a quality thought leader, 2013 Juran Medalist, and  former U.S. Secretary of the Treasury, chairman and CEO of Alcoa from 1987 to 1999, where he retired as chairman at the end of 2000, is now immersed in taking the principles of quality and using them to fix the enormous problems the U.S. faces in healthcare.  As an acknowledged expert in healthcare economics, he uses the same quality principles he espoused and enforced at Alcoa to help healthcare executives and providers cut waste and increase effectiveness and safety.

The key take-aways from the discussions have been presented @ Finding Inspiration form Quality Leaders.

First, when he went to Alcoa, he surprised everyone by what he made his top priority.  It was not increasing shareholder value, capturing market share, or increasing profits.  It was worker safety.  Because, as Secretary O’Neill explains, your people are the most precious asset you have.  When they are injured, you don’t have just an interruption in the work, you have real human suffering.  No profit is worth that.

The second take away that resonates, as much as the first, is simply to treat everyone with dignity and respect.

The third point sounds simple, but its implications are unforgiving and pervasive.  It is that your aim must be to be the best in the world at everything you do.  This is a radical departure from what most of us think of as improvement. It does not say be better than last year or be better than the guy down the street.  It says you must drive to be the best in the world and he meant exactly that.   This, in more details , means to figure out theoretical perfection, measure yourself against that standard, and then figure out how to get there.  You then start systematically eliminating everything that is keeping you from attaining that theoretical level of perfection, keep measuring, and don’t stop until you get there.  (My) guess is that’s where even a leader as good as Paul O’Neill will lose a lot of potential followers. If you really mean it, this part is very, very tough.  But, as Secretary O’Neill told me, it is also a lot of fun! ……….. We indeed intend to find out.

Julia McIntosh, ASQ communications , in her January Roundup: Quality Inspirations notes that – A quality role model could be anyone from a guru to a mentor to a person who is not “in quality” at all, but still embodies quality principles- Family, Professional Mentors or Icons and Beyond. The round up sums feedback from a cross-section of ASQ Influential Voices bloggers.

And then move over to ASQ TV Episodes: New To Quality – discover seven quality tools and Quality Body of Knowledge ®

Our ASQ’s Influential Voice for the month is – Manu Vora

clip_image002[129]ASQ Fellow Manu Vora is chairman and president of Business Excellence, Inc. He is an expert in organizational excellence and the Baldrige Performance Excellence Program. He blogs at Thoughts on Quality, wherein he puts across his views, thoughts and experiences in relation to the monthly topic for discussion @ASQ Influential Voice forum..

We have picked up one article – A Clear Vision – to illustrate the content on the blog.

The Oxford Dictionaries defines vision as “The ability to think about or plan the future with imagination or wisdom”. Why do organizations need vision? The vision provides a purpose, direction, and focus to take an organization to a next height. It is essentially a dream of the future. …the vision statement should be memorable, short, and uplifting (not several paragraphs put together by outside consultants which become ‘Words on the Wall (WOW)’). ‘ … The article supplements this with few excellent examples of Vision statements from the US Baldrige Performance Excellence Award winners in various domains.

Here is a bonus read from ASQ: Top 8 Books Every Quality Professional Should Read

  1. The Quality Toolbox, Second Edition, by Nancy R. Tague
  2. Juran’s Quality Handbook, Sixth Edition, by Joseph M. Juran and Joseph A. De Feo
  3. Root Cause Analysis: The Core of Problem Solving and Corrective Action by Duke Okes
  4. Making Change Work by Brien Palmer
  5. The Essential Deming, edited by Joyce Nilsson Orsini PhD
  6. Organizational Culture and Leadership by Edgar H. Schein
  7. Economic Control of Quality of Manufactured Product by Walter A. Shewhart
  8. Practical Engineering, Process, and Reliability Statistics by Mark Allen Durivage

I look forward to your active participation in enriching the blog carnival as we pursue our Improvement journey ………….

Dilip Kumar: The Substance and The Shadow ǁ 2 of 4

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Dilip Kumar: The Substance and The Shadow – An Autobiography – as narrated to Udayatara Nayar

Hardback | 230 x 150 | 450pages | ISBN 9789381398869

Publishers: Hay House India


We have read the first of the four parts – The Seeds of a Flight of a Fruit Merchant’s Son, Yousuf Khan, The Substance, To The Legendary Thespian Dilip Kumar, The Shadow – on  5 February 2015.  We carry on to the second part….


First and Second Innings at the Hindi Film Cinema

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The narrative of Dilip Kumar’s life and times at the Hindi Cinema World spans another 8 chapters. Some of the reviews written when the book was originally released do lament about somewhat sketchy treatment to the subjects like his co-stars or his highly gossiped love affairs or his own views on some of his landmark films. However, as Udayatara Nayar has noted in the book, (at this stage and age) Dilip Kumar has certainly been selective in choosing to open up on topics in his long career, spanning over six decades and around 60 films on the silver screen. So, be it.

Bombay Talkies was the best thing that happened to the young Yousuf Khan at a juncture when he had no clue to what acting in front of camera was. Ashok Kumar taught him to “do what you would do in the situation if you were really in it. If you act, it will be acting and it will look very silly.” Devika Rani conferred him with a screen name by which he would be better known, appropriate enough for his audience to relate to, one that would be in tune with the romantic image he was destined to acquire through his screen presence. That set him to be launched with his maiden film Jwar Bhataimage (1944) directed by Amiya Chakraborthy. It was the beginning of the journey into the world of Lights, Camera, Action that even as passed on without much impact, Dilip Kumar had realized that it would a difficult job, where he would have to find his own way to continue. An actor has to ‘strengthen his instincts because the duality of real and unreal cannot be sorted out by mind, which is more concerned with truth and logic in any normal situation’.

The new identity of Dilip Kumar had liberating impact, in that what had no need to see or study, Dilip surely needed to acquire and accumulate New Aspirations, New Experiences, in terms of reproducing the emotions, speech and behaviour of fictitious characters in front of the camera. By the time Dilip Kumar had completed his work in Jugnu, he was still not noticed when he would be walking on the pavement near Churchagte (a station on Western Railway, in Mumbai), despite having acted in three films, Jwar Bhata (1944), Pratima (1945) and Milan (1946). But the release of Jugnu (1947) brought him in the acclaim due to a (film) star, even within his own family. His father also had come to terms with the reality that his son had (finally) chosen a profession he had least expected him to enter.

Then followed a period Between The Personal And The Professional lives when Yousuf Khan had endure the loss of brother so close to him, Ayub Sahab, who succumbed to his chronic lung ailment and his mother, Amma, passed away, on 27 August, 1948, ‘peacefully from the turmoil of life to eternal tranquillity’. It took all his ‘strength and will power to supress the pain and deep sense of loss to stand up manfully before his brothers and sisters, giving them implicit understanding of being both mother and father to them’. On the professional front, Dilip Kumar’s contract with Bombay Talkies was coming to an end. As it was, by that time studio employment system was being replaced by actors and technicians working on a freelance basis. Dilip Kumar opted for S. Mukherjee’s Filmistan for Shaheed (1948). There he had ‘an understanding and facile co-actor in Kamini Kuashal (real name Uma Kashyap), who was very attentive to the demands of the director and had the intelligence to grasp the intrinsic sensitivity of more poignant situations in the script.’ The success of Shaheed had the pair teaming up for two more films at Filmistan – Nadiya Ke Paar (1948) – based on Rabindranath Tagore’s story Nauka Dubi- and Shabnam (1949). Being in twenties at that time, he was no super human being and did ‘prefer company of colleagues who were educated and well informed. Stardom bothered more than’ it pleased him. Possibly, he was drawn more intellectually than emotionally to Kamini Kaushal. “if that was love, may be it was.” Dilip Kumar has always been asked somewhat ‘intrusive question as to whether it makes a difference to the potency of emotions drawn from within one self in an intimate love scene if the actors are emotionally involved in their real lives’. An answer that is Yes and No, draws up Dilip Kumar to scenes as Prince Salim with Anarkali (Madhubal on the screen) for Mughal-e-Azam(1960), described in greater details in the later chapter “Madhubala“. It was also in this period that he met Mehboob Khan and Nuashad Miyan, relationships with whom blossomed into two enduring friendships and professional relationships. The meeting with Naushad led to Mela (1948). Dilip Kumar notes that among the major lessons that he learned while working with Directors like Nitin Bose or senior artist like Devika Rani was that even as it is not easy for an actor to rise above the script, if the collaboration among the writer, actor and the director worked well it was not impossible either. A director may be satisfied with the given shot, it is also for the actor to discern for himself whether he had really given his best. The actor would be within his (or her) rights for another shot if he (she) felt he (she) could do better.

Mela evokes some wonderful memories of the past in Reel Life versus Real Life. Firstly, this was the film that Dilip Kumar’s father watched in a cinema house. Secondly, it established enduringimage friendship between him and Naushad and between him and Nargis. Raj Kapoor and Nargis shared a chemistry that made a good equation for their scenes together. With Nargis, Dilip Kumar shared a different equation in front of the camera. He could attain similar ease with Madhubala in Tarana (1951), which has remained, for many reasons, one of the films that Dilip Kumar counts as the memorable one, from among the ones of his early part of the career. During early 1950s, Dilip Kumar was advised to switch over to comedy roles by an English psychiatrist. The doctor was certain that Dilip Kumar took his work home in his subconscious and turned the spoken lines and the scenes over and over in his mind to review the work done during the day. It was not as if he did not realize that whatever he was doing in the fimageilms was unreal and diametrically opposite to his real life and real self. That led Dilip Kumar to take up Azaad (1955), a remake of Malaikallan (1954), featuring M G Ramchandran (MGR) as hero. This also was a pleasant experience working with Meena Kumari. Dilip Kumar had presented himself with his first car after the success of Shabnam (1949) and his own residence in Mumbai after Azaad. Dilip Kumar does accept here that he was attracted to Madhubala as a fine co-star and as person who had some attributes he hoped to find in a woman at that age and time. Because of the rumours of this emotional involvement, their pairing in Mughal-e-Azam made sensational news in early 1950s. However matters began to sour between them when her father attempted to make the proposed marriage a business venture. The outcome was that halfway through the production, they were not even on talking terms. The classic scene with the feather coming between their lips was shot when they had completely stopped even greeting each other – one of the rarest examples of Reel Life versus Real Life.

The book has a full chapter on Madhubala. Contrary to the popular notions, her father Ataullah Khan, was not opposed her marrying with Dilip Kumar. He had his own film production company and two of the most popular stars under the same roof in his company, singing duets in his productions till the end of their careers was what he would have wanted. However, Dilip Kumar had his own way of functioning wherein he would not permitted any laxity even if it were his own production house. Madhubala persisted that these details can easily be sorted out once they were married. In the circumstances, it seemed best that they did not decide to marry or even give each other a chance to rethink of a union that would not be good for either of them. The parting of ways did not affect him. He categorically states that he chose to remain bachelor because he had young sisters to be married off, and for me the taking care of, and ensuring happiness of his brothers and sisters were paramount. Madhubala’s father got her entangled in a lawsuit with producer-director B R Chopra over the outdoor shooting work for Naya Daur (eventually released in 1957). Madhubala was replaced with Vyjayantimala, when ‘all sincere and genuine’ efforts on Dilip Kumar’s part became futile. The announcement of the renewal of the project of fresh shooting for Naya Daur created a stir in the media. It was made to appear that Dilip Kumar ‘had got Madhu out of the film, while the truth was that her father pulled her out of the project to demonstrate his authority.

imageThe professional relationship with Vyjayantimala finds a special place in the book, in the form a full-fledged chapter: Devdas, Naya Daur and Beyond. Dilip Kumar was in two minds to take up Devdas (1955), the first of the seven-films that Dilip Kumar and Vyjayantimala did together. On one hand, it troubled him ‘initially to experiment with the rendering of a character who carried a heavy measure of pain and despondency under the skin and could mislead the more vulnerable youth to believe that alcoholism offered the best escape from the pain of losing in love. On the imageother hand, the subject was already successfully filmed with K L Saigal in the title role and Dilip Kumar had that opportunity to match his histrionic prowess with that benchmark and etch his name in the annals of Hindi Film history. Some of the dialogues from the film, penned by one of the very known literary names, Rajinder Singh Bedi, have become legendary and have lasted out the tests of time. (In fact, dialogue delivery was one of the very predominant weapons the armoury of Dilip Kumar’s histrionics. Here are five iconic dialogues from among many.) After Devdas, when they paired for Madhumati (1958), Vyjayantimala certainly draws a very fond word of praise from Dilip Kumar. Even as the film had tale of three incarnations of the heroin (played by Vyjayantimala), the story gets unfolded through the narrative of hero’s character (played by Dilip Kumar). He has fond memories of being able to score one-man-up-ship over her, while filming the fourth of their films, Paigham (1959), when during a visit to the sets by none less than the them Prime Minister Jawaharlal Nehru, he gets a personal mention from Panditji, when it was Vyjayantimala who was expected to score on this front. However, it was during the making of Naya Daur, that Dilip Kumar noticed Vyjayantimala’s ‘ability to feign a rustic character’s mannerisms with conviction. So she was her first choice as the co-lead star for his home production, Gunga Jumna (1961).

At this stage, as he looks back On The Domestic Front, by the time his father passed away (on 5 March, 1950), Dilip Kumar did feel a sense of achievement that he could live up to his expectations.

imageGunga Jumna, expectedly, has very important personal space in the career so far as Dilip Kumar is concerned, and the making of the films is quite vividly captured in The Travails of Film Making: “Gunga Jumna And After. Dilip Kumar’s character had a very powerful script, in that his character Gunga takes the refuge in the lawlessness of the dacoits to get back to the society what was rightfully his. The story had a built-in conflict between the elder brother who flees the society, ‘where law favours the rich and the powerful and unjustly discriminates the poor and defenceless’ and the younger brother who has to uphold the law of the nation as a police officer. Dilip Kumar had done two other films where he had played negative ‘anti-hero’ roles, in Amar (1954) and Footpath (1953). This role was , however, closer to a the then social reality. IN any case, “life’s surprises never cease”. Ram Aur Shyam (1967), which was going to turn out to be a very special film to Dilip Kumar, started with a bit of turbulence. Vyjayantimala, slated to play the lead, was upset with the producer on some matter and was peremptorily replaced with Waheeda Rehman. That ended seven-film association on a sour note.

While taking up narrative of of A New Role: Taking Up Noble Causes in the public life, Dilip Kumar wonders – “I do not know if it is in my genes or if it is something that I have assimilated from the environment I was brought up in”. Quite vivid and lively discussions relating to his campaigning for V K Krishna Menon against Achrya J B Kriplani, for one of the most memorable Lok Sabha contests in 1962 or being the Sherrif of Bombay (1980) or his active participation @ National Association of the Blind (NAB), or (nominated) member of Rajya Sabha (2000 – 2006).

After Bairag (1976), Dilip Kumar found himself at the cross roads, once again after he had found himself in a similar predicament after Ram Aur Shyam, whether to take up retirement from the active humdrum of the film world. At that time it was Saira Banu who persuaded him to prospects of perusing the scripts of the films. However, after Bairag, Dilip Kumar got embroiled in a lawsuit slapped on him by A R Kardar. It was during the fag end of this trying phase that Manoj Kumar came to him the idea of Kranti (1981) that marked The Second Innings of his career. Then came (Subhash Ghai’s) Vidhaata (1982) in which he plays an earthy character of a railway engine driver.

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He went on to do Karma (1986) and Saudagar (1991) too for Subhash Ghai. If his pairing with equally established Raaj Kumar in Saudagar had caused many a ripples, his pairing with just branded Angry Young Men Amitabh Bachchan in Shakti (1982) or his portrayal of veteran upright journalist – editor in Mashaal (1984) evoked fair degree of laurels form the public as well as critics. He credits the extremely involved acting in the famous sequence in Mashaal, in which Vinod Kumar (the character played by him) tries to stop his dying wife, to the deeply etched memories of his own father wailing to get the medical help for asthmatically gasping His mother.

 


Filmography:

Filmography Dilip Kumar – The Substance and The Shadow


The third of the fourth part of the article – Marriage and Life with Saira Banu - on 5 March, 2015…………………….

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