DILIP KUMAR (YOUSUF KHAN)

Entertainment Showbiz Pakistan , Bollywood & World Entertainment
21

Aap kuch lambhi chood rahe ho ...... but will beer with you !!!!!!

Timepass-Jan 2013
22

Re: DILIP KUMAR (YOUSUF KHAN)

Shaktee .. was that the movie he was in with Amitabh .. really good acting in that .. both of them were awesome but I think Dilip stole the show

sher-e-mohabbat, hijar ka mosam
23

AAP KUCH "AAPAY" SE BAHIR HO RAHE HEIN..MIAN ! HUM NE AISA KIYA KEH DIYA AAP KI SHAAN MEIN KE AAP HUM PE SAWAR HO GAYE!!!:)

HEIRATOUN KE SILSILAY ROZE' NEHAN TAKK AGAYE..
HUM TOU DILL TUKK CHAHTAY THAY...AAP TOU JAAN KO AGAYE!!:):)

24

QUOTE:

HAMARE KHAYAL MEIN..BALKE YAQEENUNN...AMIT NE DOU MOUQOUN PE HUMEIN APNI BARRHEEYA ADAKARI SE MUTA'SIRR KIYA HAI...HUM SAMAJH TE HEIN KE AGARR KOI HAMARA JA'NASHEEN HAI..TOU SIRF AMITABH" UNQUOTE

Dilip Kumar addressing Filmfare awards ceremony in Mumbai.

25

LAWRENCE OF ARABIA (The Movie) & DILIP KUMAR:

Dilip Kumar fans like me would have loved to see him in at least one Hollywood movie production But it was not to be. Yousuf, say's my cousin Nawabzada Durrez Ahmed Khan of Loharu from Jaipur, India about his closest friend--- was only too concious of his value in the Indian market to fritter it away playing small inconsequential roles in Hollywood films merely to impress Indian fans. So when David Lean offered him the smaller role (eventually played by Omar Sharif) in Lawrence of Arabia, Dilip fended him off saying that he would rather play the title role for which Peter O'Toole had already been signed.

**I thought--to cast an Asian actor (whatever his standing or following in his home country) then--was a commercially impossible decision which no Hollywood producer, least of all an established one like David Lean, would take. India and crossover films, it appears, were not in fashion then as they are currently. And I think Dilip was wise enough to comprehend or know that ! **

Maybe deep down in his heart he was probably afraid that he would not be able to dictate the shaping of the script (as Sanjit tells me--that Dilip had grown used to being) and may loose control over the presentation of his character in the movie.

Dilip Kumar, as Sanjit continues, refused the lead role in Sir Alexander Korda's dream film TAJ MAHAL. It is said that Dilip remarked (after the refusals) "In your own bazar you enjoy a certain status. What's the point of venturing out into fields unknown where you have no say? No contact with the subject matter."

-Raju Jamil (Karachi)

Research assistance: Sanjit Narwekar, Pune and Raja Thappar-Delhi.
(SN my client/friend from UBL Abudhabi days, 1984-1990 & RT my FB friend)

26

he doesnot act anymore...is liye kaha tha

27

Re: DILIP KUMAR (YOUSUF KHAN)

thx for sharing:)

28

MUGHAL-E-AZAM & DILIP KUMAR:

When I sent my research papers to Sanjit & Raja in India--the article I had written when MUGHAL-e-AZAM was digitally converted into a full length color movie---Raja was baffled when he called on phone and said that it was amazing on how close to the truth my article was. Sanjit laughed and said that he could be my doosra janam--Hindus strongly believe in.

Nevertheless, what I am to scribe below on subtitle---contains 60% of Sanjit's submission upon my request, 20% Raja's and the rest belongs to my own study--having watched almost ALL of Dilip's movies and surfed every bit of website and article and magazines on the great actor.

Dilip Kumar almost missed being in MUGHAL-e-AZAM (1960). The film was planned by K.Asif in the mid-1940s and its main financial backer was Shiraz Ali Hakim, as informs my cousin from Jaipur, who had recently given the young film maker a break with PHOOL in 1945 right after the end of World War-II.

He also recommended Dilip Kumar for the role of Prince Salim but K. asif, even then the master of spectacle, was not keen on signing up a rank new comer. He knew (like they do currently in private -TV- productions of Pakistan!) that without stars no one would even look at the film. He, therefore, signed up Sapru, Nargis and Chandramohan to play the roles of Prince Salim, Anarkali and Emperor Akbar. Asif also signed up the famous Urdu writer Imtiaz Ali Taj (father of Yasmin Tahir) to script the film from his own original drama *ANARKAL*I written in 1920s. Upcoming film writer Kamal Amrohi was signed to write the dialogues -- the success of MAHAL was still four years away. Anil Biswas, then at his height of creativity, was signed to score the music.

MUGHAL-e-AZAM went on the floors, a few reels even shot and then, the Partition-1947 intervened. Shiraz Ali Hakim, who had led a public meeting in the early 1940s to felicitate Muhammad Ali Jinnah, thought he would be victimized for it and so, decided to migrate to Pakistan after selling the FAMOUS CINE STUDIOS and other assets to Jangmohan Rangta. Among other things and films, MUGHAL-e-AZAM also came to a standstill.

However-----when the project revived in the early 1950s -- thanks to the financial backing provided by the construction magnate and multi-millionaire Shapurji Pallanji -- the scenario had changed completely. The actor selected to play King Akbar, Chandramohan, had died in 1949 at the young age of 44 years. Sapru was no longer the major star that he had been in the pre-Partition days. But another young actor who was making major strides in post-Independent cinema had just come within the K.Asif ambit. DILIP KUMAR was playing the lead in his own production HULCHUL, being directed by S.K.Ojha. But if K. Asif gained a hero on the sets of HULCHUL he also lost his heroine there. Nargis and Dilip fell out while shooting for HULCHUL and Nargis swore that it was the last film she would do with Dilip. She backed out of *MUGHAL-e-AZA*M and the hunt for a heroine was on again.

In the meantime the other stars were replaced. Prithivraj with his rich baritone voice was signed to play King Akbar. Ajit (Mona Darling fame of Zanjeer),** whose own career as a leading man** (remember the hit song MUFT HUAY BADNAAM on him!)** was coming to close, was selected to play the loyal aide to Prince Salim as Durjan Singh while Asif's third wife Nigar Sultana was to play Bahar. Durge Khote was the only one who continued to play the role she had been initially signed for; Jodhabai...Akbar's Rajput wife and Prince salim's mother. The film went on the floor in real earnest in 1951 with no heroine in sight. The hunt was still on but something happened before another heroine could be found......?**

(MILTE HEIN...AIK BREAK KE BAAD !!!)

Contd..../2

-Raju Jamil (Karachi)

Research assistance: Sanjit Narwekar, Pune and Raja Thappar-Delhi.
(SN my client/friend from UBL Abudhabi days, 1984-1990 & RT my FB friend)

29

Re: DILIP KUMAR (YOUSUF KHAN)

dont they have any kids?? i've never seen ir heard of them. ?

30

Saira-Yousuf do not have any offspring !

31

Contd/2: (MUGHAL-E-AZAM & DILIP KUMAR)
==============================

Two other films on the same subject were announced. One was to be made under the M & T Studios banner and directed by Kamal Amrohi, who, thinking MUGHAL-e-AZAM had been shelved, had sold the story to the studio. The other was to be produced by S. Mukherji under the Filmistan banner and directed by the veteran director Nandlal Jaswantlal. Asif had a measure of control over Kamal Amrohi and so his version was quickly brought to a halt. Not so the Filmistan version! The studio went ahead with Bina Rai and Pradeep Kumar playing ANARKALI and SALIM. The film ANARKALI was released within a year and proved to be a major musical hit.

Things weren't easier for Asif who had a much grander opera-style film in his mind. A year of shooting later he finally shouted EUREKA when he found his heroine in one of Dilip's co-stars; MADHUBALA !!. She was Dilip Kumar's leading lady in two of his under production films. Ram Daryani's TARANA (1951) and R.C.Talwar's SANGDIL (1952). More than that, she was also the girl Dilip Kumar was in love with. She was the one about whom Dilip was to say in open court "She is the only woman I have loved in my life and I shall love her till my dying day" The unfortunate fact which history hadn't disclosed as yet was that their love would run its course during the production of the film which would take a full nine years to make.

Khatija Akbar in her book on MADHUBALA writes; "During the making of MUGHAL-e-AZAM, Dilip Kumar was in the habit of dropping by to see Madhu even when he was not required for the day's shooting. He came on her sets and, if she was working, nothing was said. He stood watching; wordless glances were exchanged and he left, but his very presence was enough to transport Madhu to a world of happiness. She looked forward to these few moments with all her heart, her eyes searching for him. When she saw him, her day was made"

**The passion for each other translated very well into the big screen ----- not only in the film they had done together but more so in an innately romantic film like MUGHAL-e-AZAM. Many film observers of the day believe that the film captures the actual stages of Dilip's own romance with Madhubala. Which is why the romantic scenes of the film are some of the most intimate ever shot in the history of Indian cinema that which has not yet been superceded by another till date--particularly (I wrote this part elaborately in my article also) the scene in which Dilip Kumar caresses Madhubala's ecstatic face with ruffles from an ostrich-feather. **

The story goes---that Asif realized it wouldn't happen with Madhubala's father Attaullah Khan on the set. Asif took his PR man, Taraknath Gandhi, aside and laid it down for him: "Buddhe Ko Phuttao....Jab Tak Buddha Yehan Rahega...Madhu Shooting Nahin Karsakti!.....Take the money and play cards with him...Loose.." It is said that Gandhi spent entire day in a remote office of the studio loosing rummy hands to Khan while asif filmed the love scene.

But even as the scene was being shot it was apparent that the lovers had fallen out with each other!!!!!

WHY Dilip & Madhu fell out with each other is a mystery. Unlike his other loves this affair could not have been socially forbidden. Both of them were Pathans. Both were compatible in age. Both were at the height of their film careers. More important, both were single and hence, there were no social impediments to their union. Many are of the opinion that it was Madhubala's fanatically stern father Khan Attaullah Khan who stood in the way of the marraige for fear of loosing Madhubala, who was, after all, the breadwinner for the entire brood of sisters the old man had sired.

So-------while the filming continued, K. Asif grew more and more impatient.

(MILTE HEIN...AIK BREAK KE BAAD !!!)

-Raju Jamil (Karachi)
Research assistance: Sanjit Narwekar, Pune and Raja Thappar-Delhi.
(SN my client/friend from UBL Abudhabi days, 1984-1990 & RT my FB friend)

32

MADHUBALA, DILIP KUMAR, K.ASIF & MUGHAL-e-AZAM…
**THE STORY UNTOLD! **
(Full Version) .

When I sent my research papers to Sanjit & Raja in India–the article I had written when MUGHAL-e-AZAM was digitally converted into a full length color movie—Raja was baffled when he called on phone and said that it was amazing on how close to the truth my article was. Sanjit laughed and said that he could be my doosra janam–Hindus strongly believe in.
Nevertheless, what I am to scribe below on subtitle—contains 60% of Sanjit’s submission upon my request, 20% Raja’s and the rest belongs to my own study–having watched almost ALL of Dilip’s movies and surfed every bit of website and article and magazines on the great actor
*(*Raju Jamil)

Dilip Kumar almost missed being in MUGHAL-e-AZAM (1960). The film was planned by K.Asif in the mid-1940s and its main financial backer was Shiraz Ali Hakim, as informs my cousin from Jaipur, who had recently given the young film maker a break with PHOOL in 1945 right after the end of World War-II.

He also recommended Dilip Kumar for the role of Prince Salim but K. asif, even then the master of spectacle, was not keen on signing up a rank new comer. He knew (like they do currently in private -TV- productions of Pakistan!) that without stars no one would even look at the film. He, therefore, signed up Sapru, Nargis and Chandramohan to play the roles of Prince Salim, Anarkali and Emperor Akbar. Asif also signed up the famous Urdu writer Imtiaz Ali Taj (father of Yasmin Tahir) to script the film from his own original drama ANARKALI written in 1920s. Upcoming film writer Kamal Amrohi was signed to write the dialogues – the success of MAHAL was still four years away. Anil Biswas, then at his height of creativity, was signed to score the music.

MUGHAL-e-AZAM went on the floors, a few reels even shot and then, the Partition-1947 intervened. Shiraz Ali Hakim, who had led a public meeting in the early 1940s to felicitate Muhammad Ali Jinnah, thought he would be victimized for it and so, decided to migrate to Pakistan after selling the FAMOUS CINE STUDIOS and other assets to Jangmohan Rangta. Among other things and films, MUGHAL-e-AZAM also came to a standstill.

However-----when the project revived in the early 1950s – thanks to the financial backing provided by the construction magnate and multi-millionaire Shapurji Pallanji – the scenario had changed completely. The actor selected to play King Akbar, Chandramohan, had died in 1949 at the young age of 44 years. Sapru was no longer the major star that he had been in the pre-Partition days. But another young actor who was making major strides in post-Independent cinema had just come within the K.Asif ambit. DILIP KUMAR was playing the lead in his own production HULCHUL, being directed by S.K.Ojha. But if K. Asif gained a hero on the sets of HULCHUL he also lost his heroine there. Nargis and Dilip fell out while shooting for HULCHUL and Nargis swore that it was the last film she would do with Dilip. She backed out of MUGHAL-e-AZAM and the hunt for a heroine was on again.

In the meantime the other stars were replaced. Prithivraj with his rich baritone voice was signed to play King Akbar. Ajit (Mona Darling fame of Zanjeer), whose own career as a leading man (remember the hit song MUFT HUAY BADNAAM on him!) was coming to close, was selected to play the loyal aide to Prince Salim as Durjan Singh while Asif’s third wife Nigar Sultana was to play Bahar. Durge Khote was the only one who continued to play the role she had been initially signed for; Jodhabai…Akbar’s Rajput wife and Prince salim’s mother. The film went on the floor in real earnest in 1951 with no heroine in sight. The hunt was still on but something happened before another heroine could be found…?

Two other films on the same subject were announced. One was to be made under the M & T Studios banner and directed by Kamal Amrohi, who, thinking MUGHAL-e-AZAM had been shelved, had sold the story to the studio. The other was to be produced by S. Mukherji under the Filmistan banner and directed by the veteran director Nandlal Jaswantlal. Asif had a measure of control over Kamal Amrohi and so his version was quickly brought to a halt. Not so the Filmistan version! The studio went ahead with Bina Rai and Pradeep Kumar playing ANARKALI and SALIM. The film ANARKALI was released within a year and proved to be a major musical hit.

Things weren’t easier for Asif who had a much grander opera-style film in his mind. A year of shooting later he finally shouted EUREKA when he found his heroine in one of Dilip’s co-stars; MADHUBALA !!. She was Dilip Kumar’s leading lady in two of his under production films. Ram Daryani’s TARANA (1951) and R.C.Talwar’s SANGDIL (1952). More than that, she was also the girl Dilip Kumar was in love with. She was the one about whom Dilip was to say in open court “She is the only woman I have loved in my life and I shall love her till my dying day” The unfortunate fact which history hadn’t disclosed as yet was that their love would run its course during the production of the film which would take a full nine years to make.

Khatija Akbar in her book on MSDHUBALA writes; “During the making of MUGHAL-e-AZAM, Dilip Kumar was in the habit of dropping by to see Madhu even when he was not required for the day’s shooting. He came on her sets and, if she was working, nothing was said. He stood watching; wordless glances were exchanged and he left, but his very presence was enough to transport Madhu to a world of happiness. She looked forward to these few moments with all her heart, her eyes searching for him. When she saw him, her day was made”

The passion for each other translated very well into the big screen ----- not only in the film they had done together but more so in an innately romantic film like MUGHAL-e-AZAM. Many film observers of the day believe that the film captures the actual stages of Dilip’s own romance with Madhubala. Which is why the romantic scenes of the film are some of the most intimate ever shot in the history of Indian cinema that which has not yet been superceded by another till date–particularly (I wrote this part elaborately in my article also) the scene in which Dilip Kumar caresses Madhubala’s ecstatic face with ruffles from an ostrich-feather. The story goes—that Asif realized it wouldn’t happen with Madhubala’s father Attaullah Khan on the set. Asif took his PR man, Taraknath Gandhi, aside and laid it down for him: “Buddhe Ko Phuttao…Jab Tak Buddha Yehan Rahega…Madhu Shooting Nahin Karsakti!..Take the money and play cards with him…Loose..” It is said that Gandhi spent entire day in a remote office of the studio loosing rummy hands to Khan while asif filmed the love scene.

But even as the scene was being shot it was apparent that the lovers had fallen out with each other!!!

WHY Dilip & Madhu fell out with each other is a mystery. Unlike his other loves this affair could not have been socially forbidden. Both of them were Pathans. Both were compatible in age. Both were at the height of their film careers. More important, both were single and hence, there were no social impediments to their union. Many are of the opinion that it was Madhubala’s fanatically stern father Khan Attaullah Khan who stood in the way of the marraige for fear of loosing Madhubala, who was, after all, the breadwinner for the entire brood of sisters the old man had sired. So—while the filming continued, K. Asif grew more and more impatient. The lovers were no longer talking to each other. If that wasn’t bad enough. Madhubala’s health began to deteriorate. She’d been diagnosed with “an enlarged heart with a hole in it.” Paranoid to the core Attaullah Khan now even refused to allow his daughter to take part in important outdoor shots, out of fear she would get infected. Her illness was now so bad that she was suffering uncontrollable coughing fits. And yet, she continued to shoot.

Asif was a dreamer of huge ornate dreams but he was also a stickler to reality. When he wanted to show Anarkali in chains at the end of MUGHAL-e-AZAM he got her to don real chains made of iron and which weighed kilos rather than the rubber chains which filmmakers generally use. And to think that Madhubala was in the final stages of the heart ailment which would eventually claim her life.

By the time the climatic scenes were shot the romance was also at an end. So, not only were the chains real but the pangs of separating from one’s beloved were also real because Dilip Kumar, as told by Thappar, barely looked at Madhubala (which was also noted by the cameramen and the makeup girl close to Madhu always on the sets----that make up girl was the mousi of Raja Thappar-----she died two years back at 78 of age) once the shots were done. And how true were the words of the song “Muhabbat Ki Jhooti Kahani Pe Ro’ye”

Madhubala suffered during these scenes but she refused to quit. For Madhubala, the film was a challenge. Having come up the hard way in life she knew that whatever she had done as an actress till then would pale in comparison to the film which she was making. In the final run she wanted to be the best of the ANARKALIs in Dindi cinema — better than Salouchna (Ruby Meyers) and Bina Rai.It was her passport to immortality. So, even after the romance had died down, she continued to give priority to the film — also hoping against hope that there would be some responsive spark from her former lover Dilip Kumar but he had moved on to other films…and other women. In spite of this tragic end to a wonderful love story the film celebrated LOVE and the song “Pyar Kiya Tou Darna Kiya” has, since then, become the anthem for defiant lovers of Indo-Pakistan.

MUGHAL-e-AZAM was released on August 5, 1960 and instantly captivated the heart of audiences all over India. Historically the film was inaccurate. Prince Salim (later to become Jehangir) had accumulated a total of 18 wives (Shaikh Zayed of Abudhabi beat him by a large margin..though!) during the course of his promiscruity but there never was an ANARKALI in sight! But who cared? The film’s ornate and opulent settings (in particular, the Sheesh Mahal set which is rumored to have, then, cost Rs.15 Lakhs, its soulfully classical-based music (scored by Dilip favourite Naushad…who came to be known as ‘Naushad-e-Azam’ after the movie) and above all, its larger-than-life performances have placed the film in the all-time TOP TEN of Indian cinema.

**Asif claimed to have spent 20 years and Rs.1.25 Crores (of that time—safely Rs.100 crores now) in the making of MUGHAL-e-AZAM. **

As usual FILM INDIA, giving thumbs down to everyone in the film, had the last word. It wrote, “MUGHAL-e-AZAM must be seen to realise how much a man can do in 20 years and with Rs.1.25 crores belonging to a PARSI-multi millionaire”

-END

-Raju Jamil (Karachi)
Research assistance: Sanjit Narwekar, Pune and Raja Thappar-Delhi.
(Both my friends from India)

Some memorable scenes/clips from; Mughal e Azam;

The story goes—that Asif realized it wouldn’t happen with Madhubala’s father Attaullah Khan on the set. Asif took his PR man, Taraknath Gandhi, aside and laid it down for him: “Buddhe Ko Phuttao…Jab Tak Buddha Yehan Rahega…Madhu Shooting Nahin Karsakti!..Take the money and play cards with him…Loose..” It is said that Gandhi spent entire day in a remote office of the studio loosing rummy hands to Khan while asif filmed the love scene.
www.youtube.com/watch?v=plsRqFDk-2A

AND

MADHUBALA…1933-1969

33

Re: DILIP KUMAR (YOUSUF KHAN)

they dont have any kids......i once heard dilip kumar saying "saira aur mere khandan mein itne bachay hain ke humain apne bachon ki kabhi kami mehsoos nahi hui"

34

**COMING UP NEXT

THE
FIRST

M
I
L
E
S
T
O
N
E

"A N D A Z"**

(Dilip Kumar, Nargis & Raj Kapoor)

35

That's a nice thing to say. If only they had a son or daughter who could maybe carry on his legacy in some form or manner. An actor of such finesse is born once in a lifetime and more are needed like him as the standards of method acting have dropped so much that any yassu panju is jumping the bandwagon and making a NO ENTRY.

36

THE FIRST MILESTONE FOR DILIP KUMAR ---- “ANDAZ” (1949)

ANDAZ was released on March 21, 1949 at the Liberty in Bombay, and was an instant box-office hit…and now even after 60 years, it is listed among Indian Cinema’s all-time hits.

ANDAZ is the first major milestone in Dilip Kumar’s career. He had given good performances before Andaz…he had had hits before ANDAZ…but none gave him the star status that ANDAZ did. And more than that! The film established him as a major historionic talent. It was with this film that the sobriquet Tragedy King got attached to his name for the rest of his career. In brief, there was no looking back after ANDAZ!

For Mehboob Khan, ANDAZ was a turning point in his career. Mehboob’s films proceeding ANDAZ were unadulterated romantic musicals with a quaint old-fashioned look (ANOKHI ADA, ANMOL GHARRI) and though they were huge commercial successes, Mehboob was keen on giving all his future films a modern look. Maybe it had something to do with a nation’s upbeat mood in the immediate post-Independence period. Or maybe it had something to do with Mehboob’s recent Hollywood visit where no less a filmmaker than Cecil B’ Demille, who was also his idol, had described his early HUMAYUN as “one of the finest examples of cinema art to come out if India”.

***The film industry in India, say’s Sanjit, was already in a state of flux. Old stars were on their way out and new faces were showing up in the trade papers every day. ***

New stories were being told using the latest narrative techniques (something which I see happening in private productions for TV serials in Pakistan these days!). Mehboob’s script was ready and he wanted to make it in the best traditions of Hollywood. ANDAZ tells the story (by Shams Lukhnavi) of an immensely rich girl Neena (NARGIS) who lives the life of the idle rich. She befriends Dilip (Dilip Kumar) who sves her from a riding accident. Dilip misunderstands her friendship and falls passionately in love with her. This misunderstanding is further fanned when Neena asks Dilip to look after her estates after the death of her father.

Enter RAJAN, a childhood turned England-returned fiance who matches her step in her idle but larger-than-life lifestyle. In spite of the number of intense numbers Dilip croons to her, neither she nor Rajan realise he is putting into song his heartbroken torment. They continue to plan their wedding and it is only on the wedding night that Dilip reveals his love for Neena, thus sowing a suspicion in Rajan’s mind that the two have had an affair.Matters come to a head and Neena shoots down Dilip. Neena is brought to trial but Rajan refuses to help her in her case until he discovers a crucial letter written by Dilip but never read. By then it’s too late!

ANDAZ is said to be a TRUE story which happened in Lucknow–as also confirmed by Shams Lukhnavi but disdain that he never revealed who the real Dilip, Neena & Rajan were–of his father’s ancestors. But the script by S. Ali Raza gives it a totally new dimension, imbuing it with so many unspoken insights into the idiosyncrancies of the rich, the nature of youthful bonding and the pangs of unrequited love. It is a dark moralistic tale of what happens when the permissiveness of a western lifestyle is allowed to impinge on what is considered to be Indian culture. In a sense Mehboob was merely echoing the doubts of a million parents who were apprehensive about the fate of their offsprings who had taken to an excessively western lifestyle in the immediate post-Independence era (late 40s)

Ironically, the film itself is replete with the symbols of westernised lifestyle: ballroom dancing and badminton games at the club; elaborate birthday parties with songs sung at the piano; the formal western dresses for both the sexes; the free inter-mixing of the sexes. It is as if the film advocates the very lifestyle it seeks to condemn. Mehboob also uses symbolism and metaphor in the telling of the story: the two male leads tossing a flower at each other as they verbally duel over their lady love (almost like a badminton match); Dilip appearing in Neena’s mirror almost as a physical representation of her innermost feelings for him.

Other highlights of the film include its low-key high-contrast cinematography (Cameramen Faridoon Irani), the opulent sets by K.Mistry and Nausha’s eternally pleasant music. The songs are as fresh as they were back in 1949. The musical highlight of the film in Mukesh breaking out of the Sehgal mould and really coming into his own as well as Lata Mangeshkar singing for Nargis.

Mehboob Khan wanted fresh faces but not inexperienced newcomers (Pakistan Private TV Production directors’ thoughts currently!!!). He signed Nargis because he had introduced her in TAQDEER and she now was a successful star (exactly like Kazim Pasha introducing Sadia Imam in ULJHAN for PTV-K and within not long time----casting her for a private production that she was a successful artiste!). Nargis suggested Raj Kapoor with whom she was starring in AAG. Dilip Kumar was recommended by Naushad who had been favourably impressed with him while working in MELA. Unfortunately, Mehboob Khan was one of the film persons who had reacted adversely to the inclusion of Dilip Kumar in the cast of MILAN. He had even confided to Hiten Chaudhry, " You have got a chance to make a film on your own but I cannot understand why you should take risk with that new hero of yours."

That was in 1945. In 1948 however, Naushad’s recommendation backed by the success of MELA and SHAHEED was enough to get the role for Dilip Kumar. This time, however, Mehboob’s permanent cameramen F. Irani was not too happy with the choice. " Who is this monkey?". Faridoon is supposed to have asked Mehboob when the young actor came in on the first day for the shooting. Dilip went on to do more films for Mehboob but never really got along with Faridoon who continued with his dislike for the actor.

But Dilip vindicated his selection as one of the leading stars of ANDAZ. Calling it “Dilip Kumar’s greatest performance so far”, FILM INDIA, informs Sanjit, said, “Dilip Kumar improves beyond recognition under Mehboob’s direction. He casts off his usual mannerisms and becomes versatile in the role Dilip, the frustrated lover. The way he portrays his struggle of suppressed emotions is a fine piece of histronic art. This is easily Dilip Kumar’s greatest performance so far”

ANDAZ collected a whopping seven lakhs in 28 weeks at the Liberty in Bombay, which had been inaugurated with the film.

Sanjit Narewaker…insists on taking this into aspect in my crusade for research on DILIP KUMAR and his movies----that, quote Sanjit; the film went on to become a classic but at the time of its run at the theatre the film was an ill omen for Mehboob and his stars…

  • Mehboob’s mother passed away a week before the film’s intended premiere which had to be delayed.
  • Mehboob’s younger brother died in a motorcycle accident.
  • Mehboob’s property at Bandra (now housing Mehboob Studios) was attached under Evacuee Ordinance and Mehboob was declared evacuee.
  • Nargis lost her mother.
  • Dilip Kumar was assaulted by goons at Worli.

**-END
**
-Raju Jamil (Karachi)
Research assistance: Sanjit Narwekar, Pune ( My friend from Abudhabi days—mid 80s)

**ANDAZ–songs **
(The songs are as fresh…TODAY…as they were back in 1949)