Dilip Kumar - The first method actor in World Cinema

December 11, 2015.

Dilip Kumar today turns 93.

One may try to measure the greatness of talent and art but if they were to do so, they would do it in vain. One may count the number of awards, honours and recognitions bestowed on a humanly body with a distinct identification but how on earth could one measure the intangible. Something like how you were moved form within by a work of art.

Of Dilip Kumar, there is hardly anything new to offer about the man or his first-hand accounts that the world does not know by now. And even if there are some, well then of course there is no peaceful alternative to ignorance (or choice, whatever keeps them happy).

I, a self-confessed Hindi film buff, was drawn to Dilip Kumar through cable tv in the 90s that showed some of his films. All his black and white films were lesser a charm to a child who was more fascinated by the fast-paced action and over the top comedy. However, as the easily-impressionable understanding of adolescence waned and along with it was left behind the teenage-like affection one holds for every other thing, Dilip Kumar's enigma dawned upon me.

This enigma still remains inexplicable and I'd rather not try to decipher that and lose the charm of just feeling and experiencing what Dilip Kumar does to me.

In this age of fast internet, one may just juggle some google and wikipedia and come up with facts and statistics about anyone in recognizable public life. Much easily for Dilip Kumar. I affirm my allegiance to the thought of school, as Shabana Azmi writes in Dilip Kumar's autobiography, which propounds that "It is uncultured of somebody to praise somebody elder to them. We stand no authority to even speak high of them. We can only bow our heads and express our respect to them."


Down here is a scholarly account by lyricist-writer Javed Akhtar that consolidates Dilip Kumar as the first Method Actor in World Cinema and narrates how the nonagenarian has left an indelible mark on generations of actors about acting.


"By 1953, the Western World got convinced that they have found the first method actor in Cinema in Marlon Brando. Because, unfortunately they were unaware that in some other part of the world, in India, there is an actor who started his journey in 1944 and, as a matter of fact, he was doing all that is called method acting.

After first few stumbling steps, he found his bearings and not only did he find his bearings, he developed a new syntax, a new grammar, a new language of acting. It is not a matter of opinion. It is a matter of history. The first method actor in the history of World Cinema is Dilip Kumar.

It was one learned man Panini who codified the great language of Sanskrit. He founded the syntax to the vast language. Yusuf saahab is the Panini of Indian film acting. He has codified Indian cinema's acting. That is why you see generations after generations have that influence, that colour, that shape, that shadow, that effect. They have learnt from him.

For 60-70 years he has left his indelible mark. It's not easy in show-business, in mass communication. With time people change, values change, statistics change, aspirations change, morality changes. To remain relevant for more than half of a century is not easy. It's not less than a miracle.

There are two types of people. One who tried to mimic him, imitate him. On the other side there were extremely talented actors who seriously understood his craft. They understood his way of working. They learnt from him and added from there own pool of talent also and passed it onto the forthcoming generations.

Today young actors are following the same trend but don't know the art has come from Dilip saahab. Because it was passed onto them after generations and generations. They are putting the right wheels in their vehicles. But, they don't know who invented the Wheel.

बात अगर सिर्फ़ इतनी ही होती तब भी बहुत बड़ी थी। मगर हैरत ये है के बात इससे भी आगे है!

This does not hold only for actors, even writers have learnt from Dilip Kumar. When we watch his black and white films, we see how he improvised scenes. We see how he leaves the punchline. How he underplays a scene that was supposed to be dramatic. And a sensitive writer would learn from it and would write accordingly. This is the right way.

Outside Films also, Yusuf Saahab has left a deep mark on society and people. There are several dictionaries. There maybe an Oxford or a Webster's but there is one dictionary that each one of us carries and that is in our minds.

In that dictionary you decide what is the meaning of any word. Same word means different things to different people. But, there are many, many who, when they turn the pages of their mental dictionary and look for the meaning of one word - Dignity, they will find only one meaning - Dilip Kumar.

We must thank Dilip Kumar for being himself.

"आने वाली नसलें तुम पर नाज़ करेंगी ऐ लोगों

जब उनको ध्यान आएगा तुमने 'दिलीप' को देखा था"

(A maqta by Firaq Gorakhpuri. Firaq replaced by 'Dilip' in second line)"
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(Pic courtesy: 1 - internet. 2. Dilip Kumar's autobiography - The Substance and the Shadow)


On a better day. :)

The Deepika Padukone vs The Times of India case

     The social media was ablaze with discussions surrounding the controversy sparked by the Times of India after it posted a controversial picture of Deepika Padukone and captioned it -- "OMG! Deepika Padukone's cleavage show!" to which the actress retorted and lashed out at the giant media house for it tried to "attract readers using the power of influence to proliferate recessive thought".

     The event followed with ToI publishing its "point of view" and explaining its position on the internet publications, but still defying and unapologetic.

     Now the debate that has been set rolling among people of honour and other laymen is whether the incident is a publicity gimmick or if ToI has touched a new low in entertainment journalism, too!

     ToI has been known for its flamboyance and how at times it has kept ethics and moral codes of journalism at bay and instead went ahead in quest for catching more eyeballs.

     Call it immaculate on the leading English paper's decision making body that every time they did some bizarre reporting their work has paid off and objective achieved, well almost. To them it seems, any publicity is a good publicity! Well, now you have almost all media -- rivals, alliance, national, international -- taking up this red-hot issue and giving ToI what it has always sought.

     But, that is one side of the story.

     Deepika, on the other side, expressed her anger over the distasteful story through Facebook and Twitter, where she has followers in millions. Nowadays, celebs prefer using social media to express their stance or to make any statement and this understandable.

     But the point in this case being that the incident seems perfectly timed for two of her films' release. That Deepika is a star and has featured in multiple box-office blockbusters is an undeniable fact. But then again, to deny any possibility of she using her fame for 'Finding Fanny' - an offbeat looking film - would not be a sensible thing.

    Moreover, her "point of view", has made the entire episode more an issue of women empowerment and how ToI is disrespectful to the entire woman fraternity. Which of course has generated a spiraling effect of endless debates with mostly the 'politically correct' ones edging out the other. 

     So what could have been resolved and made a good precedent for benefit of society at large has been converted into a mass movement (on social media platforms) with almost everyone affirming politically correct statements and using rationale that coincides with the pious theme of empowering women and gender sensitisation.

     Well, the collective wisdom of people at large has always been a point of discussion and more so when in India it concerns Film industry and media.

     Morality at the level of media, showbiz and society is now under utter doubt. The point in this case being how we have kept a large number of people engaged in "an issue" which might well in time emerge as something non-issue.

     To quote Buddha, "The art of being wise is the art of knowing what to overlook."

     Well, the Lord knew it too well but his was a time of meta-physics and now we are in the age of swift communication and defamation suits!

     The actress still can file a defamation suit against ToI if the incident has left her genuinely bewildered and if she is in for some substantial gender sensitisation. Moreover she could express her indignation by offering to return the TOIFA Best Actress Award which ToI had conferred on her in 2013. 

     "I am not naive about my profession: it is one that requires lots of demanding things of me. A character may demand that I be clothed from tip to toe or be completely naked and it will be my choice as an actor whether or not I take either. Understand that this is a 'Role' and not 'Real' and it is my job to portray whatever character I choose to play convincingly," Deepika had said in her Facebook post.

     Now there seems to be a problem of understanding that she might have in case incurred. The demarcation of role and real is a vague, thin line as far as audiences at large understand. There are film-stars who have learnt this the hard way. You can't have the best of both worlds, you just can't!

     While in my recent reading of Dilip Kumar's autobiography I came to know that the legendary actor, considered epitome of acting in Indian cinema, had rejected many assignments because they were too crass to be done by someone well identified with public.

     "I strongly subscribe to the belief that an actor should be aware and conscious of his social responsibilities and contribute as much as he can to build the character of admirers who look up to him," Kumar wrote in the book.

     Here, too, as much it is a case of ideology (of the actor, the media house and society) it is a case of diagnosing the right wound and medicating it the right way.

     A day in future--

     "The Honourable Court, referring to the judgement in The Deepika Padukone vs The Times of India case (2014), pronounced its decision that the media house was lax in its reportage and that the constitutional protection for speech and expression is not absolute and that it is subject to reasonable restrictions based on considerations of 'public order', 'defamation', 'decency and morality' among other grounds  thereby leading to deviant behaviour which would adversely affect notions of morality..."

     But this case lies in the courtroom of future, if only it does.

On a better day.

Govinda- one fine actor

Govinda was already a stellar-actor when I was born. He was ruling bollywood. A mass entertainer, a multi-faceted entertainer. Around early and mid-nineties his movies and he - literally were "No.1". Now two decades down, stars have changed positions. But for an avid 'masala cinema' lover, he is still unparalleled. Many actors followed him and made mark but none could be him, irreplaceable.
When it comes to acting, Dilip Kumar-Amitabh Bachchan-Govinda. This is how I sequence the hindi cinema's legend, a century old. While Kumar is a thespian par excellence and also a strong indicator that you need not be loud to act, Bachchan single-handedly changed the perception of 'Hero' in hindi films and brought machoism to the forefront.
Govinda, on the other hand, was most often the happy go lucky young man who would often beat the goons and save girl or elderly people, dance and sing on the streets in colourful pants (which are back in fashion now), cry during emotional sequences, and win in the end to "live happily everafter".
I cannot recall many actors besides Govinda who would do a "yaa.. yaw" during action scenes, which is a genuine expression during fights. I mean who fights lip-sealed sans all that oral aggression!
When Govinda cries on-screen you can actually see the tears. Its less about glycerine, believe me, just try imagining Bachchan or Dilip Kumar with eyes tear-filled. I know its hard work. Only Shah Rukh Khan is a match here.
Dance. Certainly a USP that will keep Govinda among the top when it comes to dancer-actors. Hrithik Roshan is phenomenal, no doubt, but dude... why so serious all the time? Mithun Chakraborty - magical on feet, was someone who danced with joy. In recent years, Salman Khan too has built an image for himself on the same line- dance is fun.
Dialogue delivery... perhaps one of the finest voice modulations one could be audience to. As assertive as assertion, as interrogative as interrogation. Comic timing, not far from Mehmood some say. Delhi Safari, India's official entry to Oscars 2012 in animation category, is a fine example of how things are said! Govinda, solely with his voice, had nailed it.
But then you cannot hold time. You cannot hold stars from changing positions. You cannot undo wrong decisions. There is a lot you cannot!
Govinda's stardom was toppled because was no more punctual to work by late 90s. His sudden disappearance from top-slot was similar to what had happened to Shammi Kapoor and Rajesh Khanna's stardom and much for the same reason- they had become tardy. Often late at work.
Bad decisions. He did a number of brainless movies which unlike his other no-brainers were short on entertainment value too! Diving without life-jacket, doomed to drown! Bad PR management when corporates were taking over the industry finances and lack of A-grade lobbying could also be very well be reasoned for the down-fall of Govinda who in 1999 featured on number 9 in a BBC list of global entertainers of the millennium.
Then, rejecting 'Taal' and 'Devdas' at a time when he really needed some good A-class work could be best comprehended by the actor alone but not doing what Anil Kapoor and Jackie Shroff later did was something Govinda fans would have loved to see.
It is a less-known fact that Govinda had occasionally contributed to the lyrics, dialogues, writing and music in the movies he worked but without any credit, no patent issues back then you see.
Not to forget the contribution of Rumi Jaffery, Kader Khan, David Dhawan, Saroj Khan and others who helped carve out the artist from a lump of talent people called Govind Arun Ahuja.

Happy Birthday Govinda!

On a better day.
Have fun!
Take Care :)

Bhaago Budget Aaya...

Budget, in its literal sense, refers to an economic event. It summarises income and expenditure in an organized manner and represents the direction of the economy. Come to India, my nation, and it is much more beyond the laissez faire economics.  One of the queers of Indian Budget lies in the fact that we first prepare the expenses list and then the income. Irony rules.

February 22, Budget Session of the parliament kicked off with the President of India addressing a joint house. The president, in his monotonous reading of his speech, uttered nothing which was not speculated of the government. Clarifications and justifications on not being able to provide sound economic ambience by “My Government” in a globally effected economy seemed the President’s objective.

However, the President is not the man of the hour instead it is the Finance Minister Mr. Palaniappan Chidambaram who’ll be placing the cards for India’s future discourse on February 28, 2013.  A shrewd economist, hardcore technocrat, troubleshooter politician and miraculously an MP from Sivaganga constituency in Tamil Nadu are attributes clutched in Chidambaram’s sophistication.

Finance is Chidambaram’s forte but he wouldn’t be very pleased by the state of domestic as well as global economy. In a time when the GDP growth rate has hit decadal low (5.3 from last year’s 6.7) , multitude of economic revamping in sight and votes at stake Chidambaram is sure to lose calories on chair. The budget 2013-2014 is critically important in wake of the government’s misled past years. The expectations of a fair budget by all sectors and people at large, during a time when nothing good (except for some foreign investments in drips and trickles) is coming FinMin’s way, this budget will test his mettle as no prior budget did.

Removing subsidies from Petro-products and removing cap from gas cylinders has raved news in recent times. Food Inflation and Retail Inflation were recorded at 6.62% and 10.79% respectively (as in January 2013). The Food Subsidy Bill, perceived as UPA-II’s trump card, will bring in lot of relief to the government wherein they do not have lot many eye-pleasing schemes to offer, blame limited revenue for that. Nearly 40 percent of India’s population lives below poverty line. Providing food to vastly deprived majority is remarkable on government’s part and so is the direct cash transfer scheme which aims at providing cash benefits instead of subsidy. The implementation of both schemes will be worth notice, as both schemes carve out huge amounts of government income which could have been used otherwise. 

 The GDP growth is not understood by masses, but figures do intrigue mediocrity. Sadly, it is not on government’s side, as it reached 5.3% in closing month of 2012. Reducing the Fiscal deficit is a herculean task, another point on Budget agenda. Fiscal deficit has increased from last year’s Rs.26, 199 Crore to Rs. 31,016 Crore this year. Fiscal deficit is an issue of grave importance, it is pivotal in deciding India’s economy down the years. Increasing the exemption limit on income tax and limiting interest rates will control middle-class mood sway.

Indian economy is in dire need of structural reforms at large level, is a fact well acknowledged by experts and populists as well. Imports have rose from USD 43 billion last year to USD 45 billion this year, while Exports saw a negligible growth from USD 25.4 billion in last year to USD 25.6 billion this year. The Forex reserves have dropped from USD 316 billion to USD 295 billion while the currency depreciated in its value Rs/USD 49 to 53. The only figures that seem to bring roar to Chidambaram’s vocal chords is the FDI inflow that has increased from 3 to 6.4% last fiscal.

With Goods and Services Tax, Land Acquisition Legislation, Restructuring Electricity Boards losses and Single Window Clearance for large projects on cards, Chidambaram might very well be able to please the private sector, but it’s always easier said than done! The middle class is media-driven, the poor driven by fate.  The growth of economy would surely be on the government’s prime agenda as every year a new 10 million youngsters enter the workforce and providing them with work will be significant as a huge young lot will be out there to cast its vote for the first time. Not in his dreams can the Finance Minister sway with such big vote bank.

In the most abstract terms as I read it this budget, Chidambaram has to please a list of sectors while keeping the fiscal deficit minimum thereby not letting the Reserve Bank to increase interest rate. He will talk good on the dais as he presents the budget on Thursday, February 28 and showcase a vision to revamp a crippling economy standing at crossroads.

On a better day.

Have Fun!

Take Care! :)

Resolving my Resolution

Every new year I come up with thoughts of yearly resolutions. Watching the attachments to 'resolutions', I found it quite interesting. With attachments I mean the retrospection that one is clouded with over the last week of the year, and also the important events occurring during the same time frame. Its kind of cool talking about my yearly resolutions, the 'what' and 'why' added with zeal to improve myself. It all seems so blissful - new year resolution, cutting/adding on some habit and evolving as a better guy.

Then I recall some new year from the past and how my resolutions' failed drastically! Somehow every time, every single resolution that I took up was either forgotten after few weeks or ...
Taking up a resolution(decision)  is simple, sustaining it is not!

Well in the recent past year, my life has been more eventful than ever before. Graduated from Allahabad University, moved to Amravati for Post Graduation, enrolled into Journalism, new people, new ambiance and a lot new to be explored laid in front of me. Suddenly, one lazy Sunday morning I realized that something is missing. Something non- material, something from within me eludes. I took time out of my free schedule to look within and resolve my curious case. Who do i talk to about this, and more importantly What do i talk about? After earnest attempts of introspection, I could pin point that I have NOT been writing since long!
Writing for myself, writing for my blog post and few interested (coerced) readers.

On the dawn of 2013 i decided that I will write regularly. I have a resolution to keep, an instinct to suffice. Nevertheless, this sheer laziness and lost soul inside me keeps me wandering in less productive and fruit-less works. I intended to publish this post in the first week of January. posting it now, a month later! I need to improve my timing and be more disciplined.

Nothing much of satire or sarcasm, least of all humour in this post. Should it always be like that, maybe not.

एक शेर लिखा था जब इलाहाबाद में पेहले साल था तो ..

हवा खुश्क , मौसम कुछ सर्द था 
और बस थी इतनी खबर के बेखबर थे हम ..  

On a better day!
Have Fun, Take care!

KD :)

Thok-Pal..

Already three months to this year, eh? Belated, Happy New year!

Team Anna staged a one-day anshan at the jantar mantar on 25th march,
and re-itereated their deamnd for jan-lokpal bill to be passed.
two days later, i.e today a motion of censure was passed in the parliament against the usage of derogatory remarks by team anna against the parliamentarians during their stage shows and speeches for it hurts the righteousness and supremecy of the parliament (as bestowed by the constitution). However, interestingly, there was no such motion or even any action against the MPs who tore the women's reservation bill and the lokpal draft bill much prior to this incident. Moreover, the allegation is vehemently and plausibly challenged by the basic fact that there are 162 members of parliament who are still under CBI probe and other criminal charges (cases still pending). Now the underlying fact is that only three more days for the ongoing budget session of the parliament are left, which means no jan lok pal bill will be passes in this session. The movement which started actively last year (from april 5, 2011) , is yet to see any substantial improvement, and what is interesting here to know is that no member of the parliament opposes the lokpal individualy (or in media) then who stops the improvement is anybody's guess! No consensus among members is cited as the justification for this delay. 10 minutes is quite enough time to make consensus and reach a decision for the motivation has to be salary-hike, but for lokpal bill even a year does not suffice.
The television, newspaper, lok sabha, rajya sabha, auditoriums, public stages, drawing rooms, facebook, twitter, brains, brainless.. all are filled with debates. Unfortunately, it is only school debates that end up with results, not national debates. Dialogue is the key to solve issues, no doubt but dialogue should be followed by action too. It took 3 years to frame the Constitution of India, but what makes it take more than 40 years to induce in it a lokpal (lokpal bill first proposed in 1968) is certainly a matter to ponder over followed by some substntial actions.
The UPA-II rule has seen some of the ugliest scams in any goverment's rule is a fact, as true and believable as the sun that shines. These matters do not hurt the sentiments of the MPs. They remain unhurt, unshaken and unagitated to the news that 16 jawans (who were carrying amenities for the tribes including sewing machines, bicycles, medicines and others) were martyred by the naxalites while they were condemning someone who called them "CHOR". Tables, chairs, paper-wieghts and microphones have been hurrled and thrown in the august house is now a well digested fact, it never caused any agitation among the members. The Mafia growing so blatant that it kills the IPS officer and policemen leaves them unacting except for a two-minute silence. They (MPs) did not agitate to the fact and stats that in 5 years time 22000 farmers have committed suicide because of ignorance to their living conditions (as in 2011) while the 543 members of lok sabha have a combined asset (as declared in 2009 induction to lok sabha) of Rs 30,750 million. But, they are hurt by the terminology used by common people!
The common man is not akin to the "constitutional" lingua, so they they lose the right to ask their representatives to bring in a check to corruption. As pitty as pathetic it is.
Criminalization of Politics and Politicization of Crime is the (law and) order of the day.

All this while, the catalysing force for the movement, i.e We, the people, tend to losing the zeal and enthusiasm as each day passes by. This is but natural to us as the time has moulded us, we tend to lose interest and enthusiasm in any matter which stays for quite sometime, be it any trending news, be it kolaveri di, be it martyrs, be it rise in fuel price. Everything subsides now in a few days. The anti-corruption movement will get "boring" day by day. This innate human tendency, to move on, is known to the ruling government and they are tapping it to the best of their use, by delaying the lok pal bill.


Meanwhile, Mr. Vijay Mallaya can be accredited to the fact that nowadays children name Kingfisher when asked "Name a flightless bird.".


On a better day.

Have Fun!
Take care!

Zindagi Ka Saath Nibhaata.. Chala Gaya..

.. अरे कोई अंदाजा है ये देव आनंद की उम्र कितनी होगी?
पता नहीं यार कबसे तो देख रहे हैं, हमारे बाबा कहते हैं उनसे भी पुराने हैं ..
.. तो शायद अल्लाह मियाँ से दो -चार साल छोटे होंगे और क्या!

I have a sense of personal apology. The reason, this not being "a better day".


88, quite a ripe and digestible age for demise. But certainly not for someone whom the world knew as Dev Anand. D-E-V A-N-A-N-D countless adjectives have been conferred upon him. But the greatness emerged when the name itself was adopted as an adjective. "अहा .. मेरे देव आनंद!" Even I, (born '91) heard it at occassions. Such is the legend, such his magnamity.

December 4, I woke up to the news that Dev Saab is no more with us. An instantaneous feeling of sadness poured in. The day passed, the feeling did not. I do not doubt that this feeling might just transform into a nostalgia eventually. Its quite obvious with someone like myself to whom bollywood is an obsession. Infact, its not just about bollywood or global cinema, it is all about greatness. Greatness in the form of Dev Anand.

We all see old people around us but hardly few (especially octagenarians)
so active as Dev Saab was. I do not know other celebs high on age so ignited in minds and passion (besides, Khushwant Singh) for work. To him age was just a number and he romanced that too!
So the news of his leaving for heavenly abode was more a kind of shock. He celebrated life. He personified life and living. Death, is like cheating on life and he was too honest to do that. Life's biggest asset and objective, to him, was life itself. So it was basically not in the nature of Dev Saab to die. People around him till that fateful ( read fateless) day never attributed death to him. Presumably
even they had immortalized him. No wonder why the world refers to him as "Evergreen"!

Shammi Kapoor, Feroz Khan, Jagjeet Singh, Dev Anand.. my Immortals!


P.S. Do see his movie Guide, if you have not.
(two lines have been quoted from an article in the Times of India)