Winners of Filmfare Award for Best Actor
The Filmfare ceremony is one of the oldest film events in India. The awards were first introduced in 1954, the same year as the National Film Awards.
Note: Due to Security reasons, filmfare was not awarded for 1986 and 1987.
Note: Due to Security reasons, filmfare was not awarded for 1986 and 1987.
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- Actor
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Dilip Kumar (1922-2021) is widely considered the greatest acting exponent India ever produced. Born Muhammad Yusuf Khan on December 11, 1922, in Qissa Khwani Bazaar, Peshawar, British India (present-day Pakistan), he is better known by his stage name Dilip Kumar given to him by actress and owner of Bombay Talkies, Devika Rani. Credited with pioneering method acting in Indian cinema in mid-1940s, before Marlon Brando introduced it to Hollywood in 1950s, he has been often called as "Abhinay Samrat" (Hindi for "Emperor of Acting") by the audience. He was the biggest Indian star since Post-Independence period throughout 1960s, starring in some of the biggest commercial and critical successes of Indian cinema. It is to be noted that according to major trade analysts, many of his big commercial successes were films with apparently no commercial/entertainment value, which relied heavily on his histrionics to succeed, an extremely rare feat in the annals of cinema worldwide. Box Office India quoted that any such an instance has never happened with any other star, as their films had to be backed by at least few commercial elements/genres to succeed. Irrfan Khan, while saying that Kumar is the only one who should be called "legend", justifiably quoted the reason as, "the combination of artiste and star that he brought, started and ended with him."
Born to a fruit merchant, Lala Ghulam Sarvar Khan and his wife Ayesha Begum, Yousuf Khan and his family would migrate to Bombay Province, to expand their family business in 1930s which had come to a halt due to the complications of WWII. He had his schooling in Deolali and graduation in Mumbai. He started with managing a shop and selling fruits in an army canteen in Pune. Upon a rebellion in the canteen during Indian National Movement, he gave a speech justifying India's struggle for Independence, which resulted in his eviction from the canteen. A chance encounter with Devika Rani, got him opportunity to work for Bombay Talkies, at remuneration of Rs 1250/- per month. Having no clear intention of working there, he still accepted the job because of the high salary. Kumar later accepted that by the age of 14, he hadn't watched a film, and later in his teenage, watched few English films. Devika Rani selected Dilip Kumar as his stage name (a common tradition back then) from the 3 names suggested by Pandit Bhagvati Charan Verma, which also included Vasudev and Jehangir. Kumar in 1970, in an interview told that, one of the main reason, he agreed to adopt a stage name was out of fear of his father, who was strictly against films due to their poor reputation among the masses at the time. He further said that on being offered to choose among the three names, he expressed that he was okay with any of them. Later, he got to know his stage name, when it was first published in a newspaper.
Kumar's first film as an actor was Jwara Bhata (1944), which was the 6th highest grossing Hindi film of the year, according to some sources, though not really profitable. His performance was severely criticized by the major critic of the time, Baburao Patel of FilmIndia. Similarly the next venture, Pratima (1945) was also flop and his work again criticized. The next venture, Milan (1946), directed by Nitin Bose, proved to be fruitful for Kumar, not only because it was successful commercially, but his acting sensibilities greatly improved during the period of its filming. However his performance was still criticized by FilmIndia. The success of the next film Jugnu (1947), which was the highest grossing Indian film of the year, established him as the first star of Post-Independence India and arguably, the biggest star of the country at that moment. His performance was appreciated by Baburao Patel for the first time. However, he severely criticized the film, writing a letter to the then Home Minister (who later went on to become Prime Minister under Janata Dal in 1977), Moraji Desai, asking him to ban the film. It was banned for a few months, after which the ban was uplifted. The film, already a roaring success, became an even bigger hit, after it was re-released. The period starting from here till at least 1961, was a period of raging success in Kumar's career, both critically and commercially, which cemented his legacy notch above his contemporaries. Post 1961, the workload slowed, with fewer releases thereafter and also slowed their commercial success, although his earlier films still doing great in re-releases, many times higher than many of his contemporaries' fresh releases. During this period, his two main contemporaries were Raj Kapoor and Dev Anand. The three of them were sometimes referred collectively as "the golden trio" of this period, with camaraderie between the three contemporary actors famous and each renowned for their own style.
Shaheed (1948) is cited by many to be the first true Dilip Kumar film, in the sense his legacy was to be built on performances like this in the years to come. It was a roaring success, highest grossing Hindi film of the year. Andaz (1949), a record grosser at the time, starring Nargis and Raj Kapoor along with Kumar, popularized the theme of love triangles in Indian cinema. His performance in the film was superlatively appreciated by masses and critics alike. Baburao Patel's review headline read "Dilip Kumar draws crowd to cinemas". His dramatic performances in the next films till early 1950s, brought him the title of "Tragedy King". These intense performances, in which he immersed himself, had an adverse affect on his psyche. He consulted psychiatrists in London, who advised him to take up lighter roles. Interestingly, almost all of his lighter roles starting from Aan (1952) and Aazad (1955) were huge commercial successes. His performance in these roles were appreciated by masses and critics alike. Aan (1952) was the highest grossing Indian film ever at the time both in India and overseas. Post Aan, Kumar's popularity again took a big leap, establishing him as undisputedly the biggest star of the country. Devdas released on 30 December, 1955 is considered one of the most iconic performance of his career. Although a moderate success when initially released, the film found greater success in subsequent years though re-releases, making it amongst the most popular role essayed by Kumar. All three Andaz (1949), Aan (1952) and Naya Daur (1957) briefly became the highest grossing Indian film upto that point, a feat later achieved by Kumar's Mughal-e-Azam (1960) in which he essayed the role of Prince Saleem (amongst his most popular roles), a record it held for 15 years. By adjusting for inflation, it is still the Highest-grossing Indian film of all time, as of 2022.
The decade 1950s was the most prolific decade of Kumar's career, with 21 releases of which only 1 film, namely Hulchul (1951) failed commercially. 5 (or even 6) of his films were placed in top 10 highest grossers of the decade by Box Office India. Similarly 9 (or even 10) of his 21 releases were placed among the top 30 highest grossers of the decade. The period from late 1940s to early 1960s is often referred to as the "Golden Age of Hindi cinema and music". The 1950s decade is also important in terms of popularising cinema and filmi music in India and establishing it as a part of popular culture. The decade also saw the rise of stars (in true sense), commercialisation of industry as well as rise in the number of theatres. Kumar was the representative of this period, holding the status of a matinée idol and the country's highest paid actor.
Gunga Jumna released on 6 Jan, 1961, few months after the release of Mughal-e-Azam (1960) and Kohinoor (1960), represents the peak of Kumar's career both as an actor and star. His performance as robust and defiant Gunga is considered by many to be the greatest acting performance in the history of Indian cinema. It won him international laurels. His performance was profoundly appreciated by actors in the West. The film set the template for the "Angry Young Man" films starring Bachchan in 1970s and the theme of brothers on the opposite side of the law. After Gunga Jumna (1961), Kumar's workload slowed significantly, his next venture Leader (1964), failed to be a big commercial success. It did mediocre business. Next film Dil Diya Dard Liya (1966) is the first flop film of Kumar in over 15 years. Ram aur Shyam (1967) is the last big hit of Kumar's first innings (as an actor) in Hindi cinema. It was his first double role film and popularized "double role" and "lost and found" films in mainstream Indian cinema. 1970s saw Kumar's career as a lead actor take a downturn. Age was becoming a factor, and the onset of new stars further convinced Kumar to take a hiatus. Out of his 4 Hindi films released in 1970s, Gopi (1970) was the only clean box office hit. As per the new reports of Box Office India, Bairaag (1976), is either "Hit" or "Semi-Hit". In 1970, he acted in his only Bengali film, Sagina Mahato (which also has a Hindi version, Sagina released in 1974, starring Kumar). The film was reportedly a huge success in Bengal. He won BFJA (Bengal Film Journalist Associations) award for Best Actor for his performance in the film. In 1976, he took a five-year hiatus aligning on the above mentioned reasons.
He returned to the big screen playing the title role of Kranti (1981), the highest grossing Indian film of the decade, when adjusted for inflation. In this phase of his career, he played senior, mature roles who were the main characters of the films. Films were specifically written for him which also starred other actors playing young roles. Films like Kranti (1981), Vidhaata (1982), Karma (1986), and Saudagar (1991) were among the biggest hits of the time and all driven by him despite playing senior roles, a feat that had remained unprecedented even after him as per trade analysts. Some other films also found average success, including Shakti (1982), which starred Kumar along with Amitabh Bachchan in the lead roles. The film won him his last Filmfare Award for Best Actor. His next venture after Saudagar (1991) was the commercially unsuccessful Qila (1998), which also turned out to be his last. He retired from film industry in 1999.
Kumar had been involved in many relationships including Kamini Kaushal, with whom he fell in love on the sets of Shaheed (1948). Their relationship fell apart as Kaushal was married to her brother-in-law after her sister-in-law died in a car accident. Reportedly she married on the insistence of her family to look after the little children of her sister-in-law. His next relationship was with Madhubala, which started on the sets of Tarana (1951). It was a seven year long relationship that ended after the Naya Daur court case in which Kumar sided with the producer B.R. Chopra and testified against Madhubala's father, Ataullah Khan as he declined her to travel to the planned shooting locations at the last moment. However Kumar in his autobiography cites another reason that played an important role in the fallout; Madhubala's father insisted him to act only under his own banner after their marriage. In 1966, he married actress Saira Banu in a private ceremony. Their marriage survived for over 50 years until Kumar's death in 2021-despite undergoing an upheaval-Kumar's alleged second marriage with Asma Rehman in 1981, whom he met at a cricket match in Hyderabad, where she lived. He soon divorced her in 1983, describing this incident as a "grave mistake taken in pressure" in his autobiography.
Kumar died on 7 July 2021, due to kidney complications and other age related issues. He had no children through his marriage. At the time of his death he was survived by his wife Saira Banu.
As of 2022, he holds the record for winning 8 Filmfare awards for Best Actor ( later equalled by Shah Rukh Khan) and was also the inaugural recipient of the award. He has also won numerous other awards including Dadasaheb Phalke award in 1994. He is the recipient of Padma Vibhushan (in 2015) and Padma Bhushan (in 1991), India's second and third highest civilian honour respectively. He is also the only Indian recipient of Pakistan's highest civilian honour, Nishan-e-Imtiaz (in 1998). As of 2021, he holds the Guinness World record for having received the most awards by an Indian actor.
He holds several long standing box office records including giving at least 1 clean hit for 15 years straight, which is at least an Indian record, according to a trade analyst. Since independence till late 2010s, he held the record for giving the maximum number of highest grossing film of the year, 9 times which was then surpassed by Salman Khan. However as per latest Box Office India reports, highest grossing Indian film of 1991 was Kumar's Saudagar (1991) and not Salman Khan's Saajan (1991), thus perhaps re-establishing his long standing record. In regards to his films' success ratio, he is the most successful Bollywood actor (quite possibly, Indian actor) of all time, by a distance, as of 2022. These gigantic records, his overwhelming popularity across Indian subcontinent, North Africa, Eastern Europe, and beyond, especially among South Asian diaspora around the world, makes him easily among the biggest stars cinema has ever seen across the globe. He famously turned down David Lean's offer of the role which ultimately went to Omar Sharif in one of West's greatest critical and commercial success, Lawrence of Arabia (1962), which made a major Hollywood star out of Sharif. Justifying his decision, Dilip Kumar had remarked, "In your own bazaar 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." He was also considered for a role in another film Lean was working on, titled "Taj Mahal". Elizabeth Taylor was supposed to play the part opposite Kumar. However, the project was eventually shelved.
According to many, he is probably the first person to perform method acting on screen in mid 1940s. Despite not knowing what it meant by then, he had been practising it since a time when, perhaps, the term wasn't even coined. Kumar, who never went to any acting school, was described by the renowned filmmaker Satyajit Ray as "the ultimate method actor", despite not having worked with him. There are innumerable such complements by numerous luminaries across professions to quote, which is quite not possible; from the likes of the recent statement by Indian born naturalised British economist Lord Meghnad Desai, claiming Kumar to be the greatest actor on global scale to age old statements like the one by, V. Shantaram, one of founding fathers and pioneers of Indian cinema, prompted by Kumar's versatility expressed, "Had Shakespeare met Dilip Kumar, he would have added one more character to the already well-defined ones he had created." Most importantly, Dilip Kumar's complete impact is realized definitely in the fact how he changed the rules of acting and influenced generations of future artistes in Indian subcontinent (even his contemporaries), but also in the truth that at his best, he was the catalyst in expanding the reach of quality cinema, from metros to rural India, from classes to masses, from serious connoisseurs to common entertainment seekers. Some of the greatest critical successes became some of the biggest hits when he acted in them, liked, revered and celebrated by classes and masses alike. His intense, in-depth performances, eloquent silences and the most nuanced expressions observed and enjoyed and celebrated at the same time by the most casual entertainment seekers of his time. There have been some great artistes across the history. And there have been some huge stars across the history. But the instance of both of them being a single entity, elevating and expanding the art form to an even greater point, is true, an extremely rare sight, but equally magical while it lasts.1954- Daag as Shankar- Actor
- Writer
- Producer
Bharat Bhushan, born in Meerut, Uttar Pradesh, India, was a renowned Indian film actor who left an indelible mark on the Bollywood industry during the mid-20th century. Known for his charm, distinctive voice, and impactful performances, Bharat Bhushan became a popular leading actor of his time.
Bharat Bhushan started his acting career on the stage before making his debut in Hindi cinema with the film "Choti Choti Baatein" (1965). However, it was his role in the classic film "Baiju Bawra" (1952) that catapulted him to stardom. In the film, directed by Vijay Bhatt, Bharat Bhushan played the titular character of Baiju, a young musician seeking revenge for his father's death. The film was a massive success and showcased Bharat Bhushan's acting prowess.
"Baiju Bawra" marked the beginning of Bharat Bhushan's successful career in the 1950s and 1960s. He starred in a series of hit films, including "Mirza Ghalib" (1954), where he portrayed the legendary poet, Mirza Ghalib, with finesse. His ability to bring depth and authenticity to historical and romantic characters made him a sought-after actor during that era.
Despite facing challenges later in his career with the changing dynamics of the film industry, Bharat Bhushan continued to act in films like "Barsaat Ki Raat" (1960) and "Bees Saal Baad" (1962). However, his popularity waned over time.
In addition to his acting career, Bharat Bhushan was known for his melodious singing voice, and he lent his voice to a few songs in some of his films. He also explored filmmaking, directing and producing the film "Bahu" (1955).
Bharat Bhushan received accolades for his contributions to Indian cinema, including the Filmfare Award for Best Actor for his performance in "Bees Saal Baad." Despite facing ups and downs in his career, he remains a respected figure in the history of Bollywood cinema.
Bharat Bhushan passed away on January 27, 1992, leaving behind a legacy of memorable performances and a significant impact on Indian cinema during its golden era.1955- Shri Chaitanya Mahaprabhu as Chaitanya Mahaprabhu.- Actor
- Writer
- Director
Dilip Kumar (1922-2021) is widely considered the greatest acting exponent India ever produced. Born Muhammad Yusuf Khan on December 11, 1922, in Qissa Khwani Bazaar, Peshawar, British India (present-day Pakistan), he is better known by his stage name Dilip Kumar given to him by actress and owner of Bombay Talkies, Devika Rani. Credited with pioneering method acting in Indian cinema in mid-1940s, before Marlon Brando introduced it to Hollywood in 1950s, he has been often called as "Abhinay Samrat" (Hindi for "Emperor of Acting") by the audience. He was the biggest Indian star since Post-Independence period throughout 1960s, starring in some of the biggest commercial and critical successes of Indian cinema. It is to be noted that according to major trade analysts, many of his big commercial successes were films with apparently no commercial/entertainment value, which relied heavily on his histrionics to succeed, an extremely rare feat in the annals of cinema worldwide. Box Office India quoted that any such an instance has never happened with any other star, as their films had to be backed by at least few commercial elements/genres to succeed. Irrfan Khan, while saying that Kumar is the only one who should be called "legend", justifiably quoted the reason as, "the combination of artiste and star that he brought, started and ended with him."
Born to a fruit merchant, Lala Ghulam Sarvar Khan and his wife Ayesha Begum, Yousuf Khan and his family would migrate to Bombay Province, to expand their family business in 1930s which had come to a halt due to the complications of WWII. He had his schooling in Deolali and graduation in Mumbai. He started with managing a shop and selling fruits in an army canteen in Pune. Upon a rebellion in the canteen during Indian National Movement, he gave a speech justifying India's struggle for Independence, which resulted in his eviction from the canteen. A chance encounter with Devika Rani, got him opportunity to work for Bombay Talkies, at remuneration of Rs 1250/- per month. Having no clear intention of working there, he still accepted the job because of the high salary. Kumar later accepted that by the age of 14, he hadn't watched a film, and later in his teenage, watched few English films. Devika Rani selected Dilip Kumar as his stage name (a common tradition back then) from the 3 names suggested by Pandit Bhagvati Charan Verma, which also included Vasudev and Jehangir. Kumar in 1970, in an interview told that, one of the main reason, he agreed to adopt a stage name was out of fear of his father, who was strictly against films due to their poor reputation among the masses at the time. He further said that on being offered to choose among the three names, he expressed that he was okay with any of them. Later, he got to know his stage name, when it was first published in a newspaper.
Kumar's first film as an actor was Jwara Bhata (1944), which was the 6th highest grossing Hindi film of the year, according to some sources, though not really profitable. His performance was severely criticized by the major critic of the time, Baburao Patel of FilmIndia. Similarly the next venture, Pratima (1945) was also flop and his work again criticized. The next venture, Milan (1946), directed by Nitin Bose, proved to be fruitful for Kumar, not only because it was successful commercially, but his acting sensibilities greatly improved during the period of its filming. However his performance was still criticized by FilmIndia. The success of the next film Jugnu (1947), which was the highest grossing Indian film of the year, established him as the first star of Post-Independence India and arguably, the biggest star of the country at that moment. His performance was appreciated by Baburao Patel for the first time. However, he severely criticized the film, writing a letter to the then Home Minister (who later went on to become Prime Minister under Janata Dal in 1977), Moraji Desai, asking him to ban the film. It was banned for a few months, after which the ban was uplifted. The film, already a roaring success, became an even bigger hit, after it was re-released. The period starting from here till at least 1961, was a period of raging success in Kumar's career, both critically and commercially, which cemented his legacy notch above his contemporaries. Post 1961, the workload slowed, with fewer releases thereafter and also slowed their commercial success, although his earlier films still doing great in re-releases, many times higher than many of his contemporaries' fresh releases. During this period, his two main contemporaries were Raj Kapoor and Dev Anand. The three of them were sometimes referred collectively as "the golden trio" of this period, with camaraderie between the three contemporary actors famous and each renowned for their own style.
Shaheed (1948) is cited by many to be the first true Dilip Kumar film, in the sense his legacy was to be built on performances like this in the years to come. It was a roaring success, highest grossing Hindi film of the year. Andaz (1949), a record grosser at the time, starring Nargis and Raj Kapoor along with Kumar, popularized the theme of love triangles in Indian cinema. His performance in the film was superlatively appreciated by masses and critics alike. Baburao Patel's review headline read "Dilip Kumar draws crowd to cinemas". His dramatic performances in the next films till early 1950s, brought him the title of "Tragedy King". These intense performances, in which he immersed himself, had an adverse affect on his psyche. He consulted psychiatrists in London, who advised him to take up lighter roles. Interestingly, almost all of his lighter roles starting from Aan (1952) and Aazad (1955) were huge commercial successes. His performance in these roles were appreciated by masses and critics alike. Aan (1952) was the highest grossing Indian film ever at the time both in India and overseas. Post Aan, Kumar's popularity again took a big leap, establishing him as undisputedly the biggest star of the country. Devdas released on 30 December, 1955 is considered one of the most iconic performance of his career. Although a moderate success when initially released, the film found greater success in subsequent years though re-releases, making it amongst the most popular role essayed by Kumar. All three Andaz (1949), Aan (1952) and Naya Daur (1957) briefly became the highest grossing Indian film upto that point, a feat later achieved by Kumar's Mughal-e-Azam (1960) in which he essayed the role of Prince Saleem (amongst his most popular roles), a record it held for 15 years. By adjusting for inflation, it is still the Highest-grossing Indian film of all time, as of 2022.
The decade 1950s was the most prolific decade of Kumar's career, with 21 releases of which only 1 film, namely Hulchul (1951) failed commercially. 5 (or even 6) of his films were placed in top 10 highest grossers of the decade by Box Office India. Similarly 9 (or even 10) of his 21 releases were placed among the top 30 highest grossers of the decade. The period from late 1940s to early 1960s is often referred to as the "Golden Age of Hindi cinema and music". The 1950s decade is also important in terms of popularising cinema and filmi music in India and establishing it as a part of popular culture. The decade also saw the rise of stars (in true sense), commercialisation of industry as well as rise in the number of theatres. Kumar was the representative of this period, holding the status of a matinée idol and the country's highest paid actor.
Gunga Jumna released on 6 Jan, 1961, few months after the release of Mughal-e-Azam (1960) and Kohinoor (1960), represents the peak of Kumar's career both as an actor and star. His performance as robust and defiant Gunga is considered by many to be the greatest acting performance in the history of Indian cinema. It won him international laurels. His performance was profoundly appreciated by actors in the West. The film set the template for the "Angry Young Man" films starring Bachchan in 1970s and the theme of brothers on the opposite side of the law. After Gunga Jumna (1961), Kumar's workload slowed significantly, his next venture Leader (1964), failed to be a big commercial success. It did mediocre business. Next film Dil Diya Dard Liya (1966) is the first flop film of Kumar in over 15 years. Ram aur Shyam (1967) is the last big hit of Kumar's first innings (as an actor) in Hindi cinema. It was his first double role film and popularized "double role" and "lost and found" films in mainstream Indian cinema. 1970s saw Kumar's career as a lead actor take a downturn. Age was becoming a factor, and the onset of new stars further convinced Kumar to take a hiatus. Out of his 4 Hindi films released in 1970s, Gopi (1970) was the only clean box office hit. As per the new reports of Box Office India, Bairaag (1976), is either "Hit" or "Semi-Hit". In 1970, he acted in his only Bengali film, Sagina Mahato (which also has a Hindi version, Sagina released in 1974, starring Kumar). The film was reportedly a huge success in Bengal. He won BFJA (Bengal Film Journalist Associations) award for Best Actor for his performance in the film. In 1976, he took a five-year hiatus aligning on the above mentioned reasons.
He returned to the big screen playing the title role of Kranti (1981), the highest grossing Indian film of the decade, when adjusted for inflation. In this phase of his career, he played senior, mature roles who were the main characters of the films. Films were specifically written for him which also starred other actors playing young roles. Films like Kranti (1981), Vidhaata (1982), Karma (1986), and Saudagar (1991) were among the biggest hits of the time and all driven by him despite playing senior roles, a feat that had remained unprecedented even after him as per trade analysts. Some other films also found average success, including Shakti (1982), which starred Kumar along with Amitabh Bachchan in the lead roles. The film won him his last Filmfare Award for Best Actor. His next venture after Saudagar (1991) was the commercially unsuccessful Qila (1998), which also turned out to be his last. He retired from film industry in 1999.
Kumar had been involved in many relationships including Kamini Kaushal, with whom he fell in love on the sets of Shaheed (1948). Their relationship fell apart as Kaushal was married to her brother-in-law after her sister-in-law died in a car accident. Reportedly she married on the insistence of her family to look after the little children of her sister-in-law. His next relationship was with Madhubala, which started on the sets of Tarana (1951). It was a seven year long relationship that ended after the Naya Daur court case in which Kumar sided with the producer B.R. Chopra and testified against Madhubala's father, Ataullah Khan as he declined her to travel to the planned shooting locations at the last moment. However Kumar in his autobiography cites another reason that played an important role in the fallout; Madhubala's father insisted him to act only under his own banner after their marriage. In 1966, he married actress Saira Banu in a private ceremony. Their marriage survived for over 50 years until Kumar's death in 2021-despite undergoing an upheaval-Kumar's alleged second marriage with Asma Rehman in 1981, whom he met at a cricket match in Hyderabad, where she lived. He soon divorced her in 1983, describing this incident as a "grave mistake taken in pressure" in his autobiography.
Kumar died on 7 July 2021, due to kidney complications and other age related issues. He had no children through his marriage. At the time of his death he was survived by his wife Saira Banu.
As of 2022, he holds the record for winning 8 Filmfare awards for Best Actor ( later equalled by Shah Rukh Khan) and was also the inaugural recipient of the award. He has also won numerous other awards including Dadasaheb Phalke award in 1994. He is the recipient of Padma Vibhushan (in 2015) and Padma Bhushan (in 1991), India's second and third highest civilian honour respectively. He is also the only Indian recipient of Pakistan's highest civilian honour, Nishan-e-Imtiaz (in 1998). As of 2021, he holds the Guinness World record for having received the most awards by an Indian actor.
He holds several long standing box office records including giving at least 1 clean hit for 15 years straight, which is at least an Indian record, according to a trade analyst. Since independence till late 2010s, he held the record for giving the maximum number of highest grossing film of the year, 9 times which was then surpassed by Salman Khan. However as per latest Box Office India reports, highest grossing Indian film of 1991 was Kumar's Saudagar (1991) and not Salman Khan's Saajan (1991), thus perhaps re-establishing his long standing record. In regards to his films' success ratio, he is the most successful Bollywood actor (quite possibly, Indian actor) of all time, by a distance, as of 2022. These gigantic records, his overwhelming popularity across Indian subcontinent, North Africa, Eastern Europe, and beyond, especially among South Asian diaspora around the world, makes him easily among the biggest stars cinema has ever seen across the globe. He famously turned down David Lean's offer of the role which ultimately went to Omar Sharif in one of West's greatest critical and commercial success, Lawrence of Arabia (1962), which made a major Hollywood star out of Sharif. Justifying his decision, Dilip Kumar had remarked, "In your own bazaar 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." He was also considered for a role in another film Lean was working on, titled "Taj Mahal". Elizabeth Taylor was supposed to play the part opposite Kumar. However, the project was eventually shelved.
According to many, he is probably the first person to perform method acting on screen in mid 1940s. Despite not knowing what it meant by then, he had been practising it since a time when, perhaps, the term wasn't even coined. Kumar, who never went to any acting school, was described by the renowned filmmaker Satyajit Ray as "the ultimate method actor", despite not having worked with him. There are innumerable such complements by numerous luminaries across professions to quote, which is quite not possible; from the likes of the recent statement by Indian born naturalised British economist Lord Meghnad Desai, claiming Kumar to be the greatest actor on global scale to age old statements like the one by, V. Shantaram, one of founding fathers and pioneers of Indian cinema, prompted by Kumar's versatility expressed, "Had Shakespeare met Dilip Kumar, he would have added one more character to the already well-defined ones he had created." Most importantly, Dilip Kumar's complete impact is realized definitely in the fact how he changed the rules of acting and influenced generations of future artistes in Indian subcontinent (even his contemporaries), but also in the truth that at his best, he was the catalyst in expanding the reach of quality cinema, from metros to rural India, from classes to masses, from serious connoisseurs to common entertainment seekers. Some of the greatest critical successes became some of the biggest hits when he acted in them, liked, revered and celebrated by classes and masses alike. His intense, in-depth performances, eloquent silences and the most nuanced expressions observed and enjoyed and celebrated at the same time by the most casual entertainment seekers of his time. There have been some great artistes across the history. And there have been some huge stars across the history. But the instance of both of them being a single entity, elevating and expanding the art form to an even greater point, is true, an extremely rare sight, but equally magical while it lasts.1956- Azaad as Abdul Rahim Khan- Actor
- Writer
- Director
Dilip Kumar (1922-2021) is widely considered the greatest acting exponent India ever produced. Born Muhammad Yusuf Khan on December 11, 1922, in Qissa Khwani Bazaar, Peshawar, British India (present-day Pakistan), he is better known by his stage name Dilip Kumar given to him by actress and owner of Bombay Talkies, Devika Rani. Credited with pioneering method acting in Indian cinema in mid-1940s, before Marlon Brando introduced it to Hollywood in 1950s, he has been often called as "Abhinay Samrat" (Hindi for "Emperor of Acting") by the audience. He was the biggest Indian star since Post-Independence period throughout 1960s, starring in some of the biggest commercial and critical successes of Indian cinema. It is to be noted that according to major trade analysts, many of his big commercial successes were films with apparently no commercial/entertainment value, which relied heavily on his histrionics to succeed, an extremely rare feat in the annals of cinema worldwide. Box Office India quoted that any such an instance has never happened with any other star, as their films had to be backed by at least few commercial elements/genres to succeed. Irrfan Khan, while saying that Kumar is the only one who should be called "legend", justifiably quoted the reason as, "the combination of artiste and star that he brought, started and ended with him."
Born to a fruit merchant, Lala Ghulam Sarvar Khan and his wife Ayesha Begum, Yousuf Khan and his family would migrate to Bombay Province, to expand their family business in 1930s which had come to a halt due to the complications of WWII. He had his schooling in Deolali and graduation in Mumbai. He started with managing a shop and selling fruits in an army canteen in Pune. Upon a rebellion in the canteen during Indian National Movement, he gave a speech justifying India's struggle for Independence, which resulted in his eviction from the canteen. A chance encounter with Devika Rani, got him opportunity to work for Bombay Talkies, at remuneration of Rs 1250/- per month. Having no clear intention of working there, he still accepted the job because of the high salary. Kumar later accepted that by the age of 14, he hadn't watched a film, and later in his teenage, watched few English films. Devika Rani selected Dilip Kumar as his stage name (a common tradition back then) from the 3 names suggested by Pandit Bhagvati Charan Verma, which also included Vasudev and Jehangir. Kumar in 1970, in an interview told that, one of the main reason, he agreed to adopt a stage name was out of fear of his father, who was strictly against films due to their poor reputation among the masses at the time. He further said that on being offered to choose among the three names, he expressed that he was okay with any of them. Later, he got to know his stage name, when it was first published in a newspaper.
Kumar's first film as an actor was Jwara Bhata (1944), which was the 6th highest grossing Hindi film of the year, according to some sources, though not really profitable. His performance was severely criticized by the major critic of the time, Baburao Patel of FilmIndia. Similarly the next venture, Pratima (1945) was also flop and his work again criticized. The next venture, Milan (1946), directed by Nitin Bose, proved to be fruitful for Kumar, not only because it was successful commercially, but his acting sensibilities greatly improved during the period of its filming. However his performance was still criticized by FilmIndia. The success of the next film Jugnu (1947), which was the highest grossing Indian film of the year, established him as the first star of Post-Independence India and arguably, the biggest star of the country at that moment. His performance was appreciated by Baburao Patel for the first time. However, he severely criticized the film, writing a letter to the then Home Minister (who later went on to become Prime Minister under Janata Dal in 1977), Moraji Desai, asking him to ban the film. It was banned for a few months, after which the ban was uplifted. The film, already a roaring success, became an even bigger hit, after it was re-released. The period starting from here till at least 1961, was a period of raging success in Kumar's career, both critically and commercially, which cemented his legacy notch above his contemporaries. Post 1961, the workload slowed, with fewer releases thereafter and also slowed their commercial success, although his earlier films still doing great in re-releases, many times higher than many of his contemporaries' fresh releases. During this period, his two main contemporaries were Raj Kapoor and Dev Anand. The three of them were sometimes referred collectively as "the golden trio" of this period, with camaraderie between the three contemporary actors famous and each renowned for their own style.
Shaheed (1948) is cited by many to be the first true Dilip Kumar film, in the sense his legacy was to be built on performances like this in the years to come. It was a roaring success, highest grossing Hindi film of the year. Andaz (1949), a record grosser at the time, starring Nargis and Raj Kapoor along with Kumar, popularized the theme of love triangles in Indian cinema. His performance in the film was superlatively appreciated by masses and critics alike. Baburao Patel's review headline read "Dilip Kumar draws crowd to cinemas". His dramatic performances in the next films till early 1950s, brought him the title of "Tragedy King". These intense performances, in which he immersed himself, had an adverse affect on his psyche. He consulted psychiatrists in London, who advised him to take up lighter roles. Interestingly, almost all of his lighter roles starting from Aan (1952) and Aazad (1955) were huge commercial successes. His performance in these roles were appreciated by masses and critics alike. Aan (1952) was the highest grossing Indian film ever at the time both in India and overseas. Post Aan, Kumar's popularity again took a big leap, establishing him as undisputedly the biggest star of the country. Devdas released on 30 December, 1955 is considered one of the most iconic performance of his career. Although a moderate success when initially released, the film found greater success in subsequent years though re-releases, making it amongst the most popular role essayed by Kumar. All three Andaz (1949), Aan (1952) and Naya Daur (1957) briefly became the highest grossing Indian film upto that point, a feat later achieved by Kumar's Mughal-e-Azam (1960) in which he essayed the role of Prince Saleem (amongst his most popular roles), a record it held for 15 years. By adjusting for inflation, it is still the Highest-grossing Indian film of all time, as of 2022.
The decade 1950s was the most prolific decade of Kumar's career, with 21 releases of which only 1 film, namely Hulchul (1951) failed commercially. 5 (or even 6) of his films were placed in top 10 highest grossers of the decade by Box Office India. Similarly 9 (or even 10) of his 21 releases were placed among the top 30 highest grossers of the decade. The period from late 1940s to early 1960s is often referred to as the "Golden Age of Hindi cinema and music". The 1950s decade is also important in terms of popularising cinema and filmi music in India and establishing it as a part of popular culture. The decade also saw the rise of stars (in true sense), commercialisation of industry as well as rise in the number of theatres. Kumar was the representative of this period, holding the status of a matinée idol and the country's highest paid actor.
Gunga Jumna released on 6 Jan, 1961, few months after the release of Mughal-e-Azam (1960) and Kohinoor (1960), represents the peak of Kumar's career both as an actor and star. His performance as robust and defiant Gunga is considered by many to be the greatest acting performance in the history of Indian cinema. It won him international laurels. His performance was profoundly appreciated by actors in the West. The film set the template for the "Angry Young Man" films starring Bachchan in 1970s and the theme of brothers on the opposite side of the law. After Gunga Jumna (1961), Kumar's workload slowed significantly, his next venture Leader (1964), failed to be a big commercial success. It did mediocre business. Next film Dil Diya Dard Liya (1966) is the first flop film of Kumar in over 15 years. Ram aur Shyam (1967) is the last big hit of Kumar's first innings (as an actor) in Hindi cinema. It was his first double role film and popularized "double role" and "lost and found" films in mainstream Indian cinema. 1970s saw Kumar's career as a lead actor take a downturn. Age was becoming a factor, and the onset of new stars further convinced Kumar to take a hiatus. Out of his 4 Hindi films released in 1970s, Gopi (1970) was the only clean box office hit. As per the new reports of Box Office India, Bairaag (1976), is either "Hit" or "Semi-Hit". In 1970, he acted in his only Bengali film, Sagina Mahato (which also has a Hindi version, Sagina released in 1974, starring Kumar). The film was reportedly a huge success in Bengal. He won BFJA (Bengal Film Journalist Associations) award for Best Actor for his performance in the film. In 1976, he took a five-year hiatus aligning on the above mentioned reasons.
He returned to the big screen playing the title role of Kranti (1981), the highest grossing Indian film of the decade, when adjusted for inflation. In this phase of his career, he played senior, mature roles who were the main characters of the films. Films were specifically written for him which also starred other actors playing young roles. Films like Kranti (1981), Vidhaata (1982), Karma (1986), and Saudagar (1991) were among the biggest hits of the time and all driven by him despite playing senior roles, a feat that had remained unprecedented even after him as per trade analysts. Some other films also found average success, including Shakti (1982), which starred Kumar along with Amitabh Bachchan in the lead roles. The film won him his last Filmfare Award for Best Actor. His next venture after Saudagar (1991) was the commercially unsuccessful Qila (1998), which also turned out to be his last. He retired from film industry in 1999.
Kumar had been involved in many relationships including Kamini Kaushal, with whom he fell in love on the sets of Shaheed (1948). Their relationship fell apart as Kaushal was married to her brother-in-law after her sister-in-law died in a car accident. Reportedly she married on the insistence of her family to look after the little children of her sister-in-law. His next relationship was with Madhubala, which started on the sets of Tarana (1951). It was a seven year long relationship that ended after the Naya Daur court case in which Kumar sided with the producer B.R. Chopra and testified against Madhubala's father, Ataullah Khan as he declined her to travel to the planned shooting locations at the last moment. However Kumar in his autobiography cites another reason that played an important role in the fallout; Madhubala's father insisted him to act only under his own banner after their marriage. In 1966, he married actress Saira Banu in a private ceremony. Their marriage survived for over 50 years until Kumar's death in 2021-despite undergoing an upheaval-Kumar's alleged second marriage with Asma Rehman in 1981, whom he met at a cricket match in Hyderabad, where she lived. He soon divorced her in 1983, describing this incident as a "grave mistake taken in pressure" in his autobiography.
Kumar died on 7 July 2021, due to kidney complications and other age related issues. He had no children through his marriage. At the time of his death he was survived by his wife Saira Banu.
As of 2022, he holds the record for winning 8 Filmfare awards for Best Actor ( later equalled by Shah Rukh Khan) and was also the inaugural recipient of the award. He has also won numerous other awards including Dadasaheb Phalke award in 1994. He is the recipient of Padma Vibhushan (in 2015) and Padma Bhushan (in 1991), India's second and third highest civilian honour respectively. He is also the only Indian recipient of Pakistan's highest civilian honour, Nishan-e-Imtiaz (in 1998). As of 2021, he holds the Guinness World record for having received the most awards by an Indian actor.
He holds several long standing box office records including giving at least 1 clean hit for 15 years straight, which is at least an Indian record, according to a trade analyst. Since independence till late 2010s, he held the record for giving the maximum number of highest grossing film of the year, 9 times which was then surpassed by Salman Khan. However as per latest Box Office India reports, highest grossing Indian film of 1991 was Kumar's Saudagar (1991) and not Salman Khan's Saajan (1991), thus perhaps re-establishing his long standing record. In regards to his films' success ratio, he is the most successful Bollywood actor (quite possibly, Indian actor) of all time, by a distance, as of 2022. These gigantic records, his overwhelming popularity across Indian subcontinent, North Africa, Eastern Europe, and beyond, especially among South Asian diaspora around the world, makes him easily among the biggest stars cinema has ever seen across the globe. He famously turned down David Lean's offer of the role which ultimately went to Omar Sharif in one of West's greatest critical and commercial success, Lawrence of Arabia (1962), which made a major Hollywood star out of Sharif. Justifying his decision, Dilip Kumar had remarked, "In your own bazaar 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." He was also considered for a role in another film Lean was working on, titled "Taj Mahal". Elizabeth Taylor was supposed to play the part opposite Kumar. However, the project was eventually shelved.
According to many, he is probably the first person to perform method acting on screen in mid 1940s. Despite not knowing what it meant by then, he had been practising it since a time when, perhaps, the term wasn't even coined. Kumar, who never went to any acting school, was described by the renowned filmmaker Satyajit Ray as "the ultimate method actor", despite not having worked with him. There are innumerable such complements by numerous luminaries across professions to quote, which is quite not possible; from the likes of the recent statement by Indian born naturalised British economist Lord Meghnad Desai, claiming Kumar to be the greatest actor on global scale to age old statements like the one by, V. Shantaram, one of founding fathers and pioneers of Indian cinema, prompted by Kumar's versatility expressed, "Had Shakespeare met Dilip Kumar, he would have added one more character to the already well-defined ones he had created." Most importantly, Dilip Kumar's complete impact is realized definitely in the fact how he changed the rules of acting and influenced generations of future artistes in Indian subcontinent (even his contemporaries), but also in the truth that at his best, he was the catalyst in expanding the reach of quality cinema, from metros to rural India, from classes to masses, from serious connoisseurs to common entertainment seekers. Some of the greatest critical successes became some of the biggest hits when he acted in them, liked, revered and celebrated by classes and masses alike. His intense, in-depth performances, eloquent silences and the most nuanced expressions observed and enjoyed and celebrated at the same time by the most casual entertainment seekers of his time. There have been some great artistes across the history. And there have been some huge stars across the history. But the instance of both of them being a single entity, elevating and expanding the art form to an even greater point, is true, an extremely rare sight, but equally magical while it lasts.1957' Devdas as Devdas Mukherjee- Actor
- Writer
- Director
Dilip Kumar (1922-2021) is widely considered the greatest acting exponent India ever produced. Born Muhammad Yusuf Khan on December 11, 1922, in Qissa Khwani Bazaar, Peshawar, British India (present-day Pakistan), he is better known by his stage name Dilip Kumar given to him by actress and owner of Bombay Talkies, Devika Rani. Credited with pioneering method acting in Indian cinema in mid-1940s, before Marlon Brando introduced it to Hollywood in 1950s, he has been often called as "Abhinay Samrat" (Hindi for "Emperor of Acting") by the audience. He was the biggest Indian star since Post-Independence period throughout 1960s, starring in some of the biggest commercial and critical successes of Indian cinema. It is to be noted that according to major trade analysts, many of his big commercial successes were films with apparently no commercial/entertainment value, which relied heavily on his histrionics to succeed, an extremely rare feat in the annals of cinema worldwide. Box Office India quoted that any such an instance has never happened with any other star, as their films had to be backed by at least few commercial elements/genres to succeed. Irrfan Khan, while saying that Kumar is the only one who should be called "legend", justifiably quoted the reason as, "the combination of artiste and star that he brought, started and ended with him."
Born to a fruit merchant, Lala Ghulam Sarvar Khan and his wife Ayesha Begum, Yousuf Khan and his family would migrate to Bombay Province, to expand their family business in 1930s which had come to a halt due to the complications of WWII. He had his schooling in Deolali and graduation in Mumbai. He started with managing a shop and selling fruits in an army canteen in Pune. Upon a rebellion in the canteen during Indian National Movement, he gave a speech justifying India's struggle for Independence, which resulted in his eviction from the canteen. A chance encounter with Devika Rani, got him opportunity to work for Bombay Talkies, at remuneration of Rs 1250/- per month. Having no clear intention of working there, he still accepted the job because of the high salary. Kumar later accepted that by the age of 14, he hadn't watched a film, and later in his teenage, watched few English films. Devika Rani selected Dilip Kumar as his stage name (a common tradition back then) from the 3 names suggested by Pandit Bhagvati Charan Verma, which also included Vasudev and Jehangir. Kumar in 1970, in an interview told that, one of the main reason, he agreed to adopt a stage name was out of fear of his father, who was strictly against films due to their poor reputation among the masses at the time. He further said that on being offered to choose among the three names, he expressed that he was okay with any of them. Later, he got to know his stage name, when it was first published in a newspaper.
Kumar's first film as an actor was Jwara Bhata (1944), which was the 6th highest grossing Hindi film of the year, according to some sources, though not really profitable. His performance was severely criticized by the major critic of the time, Baburao Patel of FilmIndia. Similarly the next venture, Pratima (1945) was also flop and his work again criticized. The next venture, Milan (1946), directed by Nitin Bose, proved to be fruitful for Kumar, not only because it was successful commercially, but his acting sensibilities greatly improved during the period of its filming. However his performance was still criticized by FilmIndia. The success of the next film Jugnu (1947), which was the highest grossing Indian film of the year, established him as the first star of Post-Independence India and arguably, the biggest star of the country at that moment. His performance was appreciated by Baburao Patel for the first time. However, he severely criticized the film, writing a letter to the then Home Minister (who later went on to become Prime Minister under Janata Dal in 1977), Moraji Desai, asking him to ban the film. It was banned for a few months, after which the ban was uplifted. The film, already a roaring success, became an even bigger hit, after it was re-released. The period starting from here till at least 1961, was a period of raging success in Kumar's career, both critically and commercially, which cemented his legacy notch above his contemporaries. Post 1961, the workload slowed, with fewer releases thereafter and also slowed their commercial success, although his earlier films still doing great in re-releases, many times higher than many of his contemporaries' fresh releases. During this period, his two main contemporaries were Raj Kapoor and Dev Anand. The three of them were sometimes referred collectively as "the golden trio" of this period, with camaraderie between the three contemporary actors famous and each renowned for their own style.
Shaheed (1948) is cited by many to be the first true Dilip Kumar film, in the sense his legacy was to be built on performances like this in the years to come. It was a roaring success, highest grossing Hindi film of the year. Andaz (1949), a record grosser at the time, starring Nargis and Raj Kapoor along with Kumar, popularized the theme of love triangles in Indian cinema. His performance in the film was superlatively appreciated by masses and critics alike. Baburao Patel's review headline read "Dilip Kumar draws crowd to cinemas". His dramatic performances in the next films till early 1950s, brought him the title of "Tragedy King". These intense performances, in which he immersed himself, had an adverse affect on his psyche. He consulted psychiatrists in London, who advised him to take up lighter roles. Interestingly, almost all of his lighter roles starting from Aan (1952) and Aazad (1955) were huge commercial successes. His performance in these roles were appreciated by masses and critics alike. Aan (1952) was the highest grossing Indian film ever at the time both in India and overseas. Post Aan, Kumar's popularity again took a big leap, establishing him as undisputedly the biggest star of the country. Devdas released on 30 December, 1955 is considered one of the most iconic performance of his career. Although a moderate success when initially released, the film found greater success in subsequent years though re-releases, making it amongst the most popular role essayed by Kumar. All three Andaz (1949), Aan (1952) and Naya Daur (1957) briefly became the highest grossing Indian film upto that point, a feat later achieved by Kumar's Mughal-e-Azam (1960) in which he essayed the role of Prince Saleem (amongst his most popular roles), a record it held for 15 years. By adjusting for inflation, it is still the Highest-grossing Indian film of all time, as of 2022.
The decade 1950s was the most prolific decade of Kumar's career, with 21 releases of which only 1 film, namely Hulchul (1951) failed commercially. 5 (or even 6) of his films were placed in top 10 highest grossers of the decade by Box Office India. Similarly 9 (or even 10) of his 21 releases were placed among the top 30 highest grossers of the decade. The period from late 1940s to early 1960s is often referred to as the "Golden Age of Hindi cinema and music". The 1950s decade is also important in terms of popularising cinema and filmi music in India and establishing it as a part of popular culture. The decade also saw the rise of stars (in true sense), commercialisation of industry as well as rise in the number of theatres. Kumar was the representative of this period, holding the status of a matinée idol and the country's highest paid actor.
Gunga Jumna released on 6 Jan, 1961, few months after the release of Mughal-e-Azam (1960) and Kohinoor (1960), represents the peak of Kumar's career both as an actor and star. His performance as robust and defiant Gunga is considered by many to be the greatest acting performance in the history of Indian cinema. It won him international laurels. His performance was profoundly appreciated by actors in the West. The film set the template for the "Angry Young Man" films starring Bachchan in 1970s and the theme of brothers on the opposite side of the law. After Gunga Jumna (1961), Kumar's workload slowed significantly, his next venture Leader (1964), failed to be a big commercial success. It did mediocre business. Next film Dil Diya Dard Liya (1966) is the first flop film of Kumar in over 15 years. Ram aur Shyam (1967) is the last big hit of Kumar's first innings (as an actor) in Hindi cinema. It was his first double role film and popularized "double role" and "lost and found" films in mainstream Indian cinema. 1970s saw Kumar's career as a lead actor take a downturn. Age was becoming a factor, and the onset of new stars further convinced Kumar to take a hiatus. Out of his 4 Hindi films released in 1970s, Gopi (1970) was the only clean box office hit. As per the new reports of Box Office India, Bairaag (1976), is either "Hit" or "Semi-Hit". In 1970, he acted in his only Bengali film, Sagina Mahato (which also has a Hindi version, Sagina released in 1974, starring Kumar). The film was reportedly a huge success in Bengal. He won BFJA (Bengal Film Journalist Associations) award for Best Actor for his performance in the film. In 1976, he took a five-year hiatus aligning on the above mentioned reasons.
He returned to the big screen playing the title role of Kranti (1981), the highest grossing Indian film of the decade, when adjusted for inflation. In this phase of his career, he played senior, mature roles who were the main characters of the films. Films were specifically written for him which also starred other actors playing young roles. Films like Kranti (1981), Vidhaata (1982), Karma (1986), and Saudagar (1991) were among the biggest hits of the time and all driven by him despite playing senior roles, a feat that had remained unprecedented even after him as per trade analysts. Some other films also found average success, including Shakti (1982), which starred Kumar along with Amitabh Bachchan in the lead roles. The film won him his last Filmfare Award for Best Actor. His next venture after Saudagar (1991) was the commercially unsuccessful Qila (1998), which also turned out to be his last. He retired from film industry in 1999.
Kumar had been involved in many relationships including Kamini Kaushal, with whom he fell in love on the sets of Shaheed (1948). Their relationship fell apart as Kaushal was married to her brother-in-law after her sister-in-law died in a car accident. Reportedly she married on the insistence of her family to look after the little children of her sister-in-law. His next relationship was with Madhubala, which started on the sets of Tarana (1951). It was a seven year long relationship that ended after the Naya Daur court case in which Kumar sided with the producer B.R. Chopra and testified against Madhubala's father, Ataullah Khan as he declined her to travel to the planned shooting locations at the last moment. However Kumar in his autobiography cites another reason that played an important role in the fallout; Madhubala's father insisted him to act only under his own banner after their marriage. In 1966, he married actress Saira Banu in a private ceremony. Their marriage survived for over 50 years until Kumar's death in 2021-despite undergoing an upheaval-Kumar's alleged second marriage with Asma Rehman in 1981, whom he met at a cricket match in Hyderabad, where she lived. He soon divorced her in 1983, describing this incident as a "grave mistake taken in pressure" in his autobiography.
Kumar died on 7 July 2021, due to kidney complications and other age related issues. He had no children through his marriage. At the time of his death he was survived by his wife Saira Banu.
As of 2022, he holds the record for winning 8 Filmfare awards for Best Actor ( later equalled by Shah Rukh Khan) and was also the inaugural recipient of the award. He has also won numerous other awards including Dadasaheb Phalke award in 1994. He is the recipient of Padma Vibhushan (in 2015) and Padma Bhushan (in 1991), India's second and third highest civilian honour respectively. He is also the only Indian recipient of Pakistan's highest civilian honour, Nishan-e-Imtiaz (in 1998). As of 2021, he holds the Guinness World record for having received the most awards by an Indian actor.
He holds several long standing box office records including giving at least 1 clean hit for 15 years straight, which is at least an Indian record, according to a trade analyst. Since independence till late 2010s, he held the record for giving the maximum number of highest grossing film of the year, 9 times which was then surpassed by Salman Khan. However as per latest Box Office India reports, highest grossing Indian film of 1991 was Kumar's Saudagar (1991) and not Salman Khan's Saajan (1991), thus perhaps re-establishing his long standing record. In regards to his films' success ratio, he is the most successful Bollywood actor (quite possibly, Indian actor) of all time, by a distance, as of 2022. These gigantic records, his overwhelming popularity across Indian subcontinent, North Africa, Eastern Europe, and beyond, especially among South Asian diaspora around the world, makes him easily among the biggest stars cinema has ever seen across the globe. He famously turned down David Lean's offer of the role which ultimately went to Omar Sharif in one of West's greatest critical and commercial success, Lawrence of Arabia (1962), which made a major Hollywood star out of Sharif. Justifying his decision, Dilip Kumar had remarked, "In your own bazaar 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." He was also considered for a role in another film Lean was working on, titled "Taj Mahal". Elizabeth Taylor was supposed to play the part opposite Kumar. However, the project was eventually shelved.
According to many, he is probably the first person to perform method acting on screen in mid 1940s. Despite not knowing what it meant by then, he had been practising it since a time when, perhaps, the term wasn't even coined. Kumar, who never went to any acting school, was described by the renowned filmmaker Satyajit Ray as "the ultimate method actor", despite not having worked with him. There are innumerable such complements by numerous luminaries across professions to quote, which is quite not possible; from the likes of the recent statement by Indian born naturalised British economist Lord Meghnad Desai, claiming Kumar to be the greatest actor on global scale to age old statements like the one by, V. Shantaram, one of founding fathers and pioneers of Indian cinema, prompted by Kumar's versatility expressed, "Had Shakespeare met Dilip Kumar, he would have added one more character to the already well-defined ones he had created." Most importantly, Dilip Kumar's complete impact is realized definitely in the fact how he changed the rules of acting and influenced generations of future artistes in Indian subcontinent (even his contemporaries), but also in the truth that at his best, he was the catalyst in expanding the reach of quality cinema, from metros to rural India, from classes to masses, from serious connoisseurs to common entertainment seekers. Some of the greatest critical successes became some of the biggest hits when he acted in them, liked, revered and celebrated by classes and masses alike. His intense, in-depth performances, eloquent silences and the most nuanced expressions observed and enjoyed and celebrated at the same time by the most casual entertainment seekers of his time. There have been some great artistes across the history. And there have been some huge stars across the history. But the instance of both of them being a single entity, elevating and expanding the art form to an even greater point, is true, an extremely rare sight, but equally magical while it lasts.1958- Naya Daur as Shankar- Actor
- Producer
- Director
One of the most beloved, charismatic and accomplished actors as well as one of the most imaginative and pathbreaking directors in the history of Indian cinema, Dev Anand was a leading man for more than five decades in over 110 motion pictures and continues to bestride Indian film fraternity even after his passing. He gave a new dimension to that magical state known as Stardom. And for his exemplary work he was awarded the Padma Bhushan in 2001 by the President of India. From the time he embarked on his career as a Film Actor in the mid-forties till his demise, his movies had been a journey filled with enriching experiences for the 'Evergreen Living Legend' of Indian Cinema. And he had always remained eternally youthful by his remarkable ability to live always in the present and the future; never in the past.
Also, as head of his film production company Navketan International Films, which was founded in 1949, Anand introduced a multitude of talent to the Indian Film Industry by way of actors, directors, music composers and cinematographers. He introduced new talent to cinema and experimented with new ideas for movies. He also headed one of the finest Film Sound Post-Production facilities in India - Anand Recording Studios - which has to its credit more than 3,000 Indian feature films that have been mixed/ surround mixed for worldwide release.
Anand won two Filmfare Awards - India's equivalent of the Oscars - in 1958 for his performance in the film "Kala Paani" (Black Water) and in 1966 for his performance in Navketan International Films' "Guide". "Guide" went on to win Filmfare Awards in five other categories including 'Best Film' and 'Best Director' and was sent as India's entry for the Oscars in the foreign film category that year. He co-produced the English Version of "Guide" with the Nobel Laureate Pearl S. Buck ("The Good Earth"). Eventually, his creative sensibilities got the better of him and he started writing and directing his own movies.
In 1993, he received a Filmfare 'Lifetime Achievement Award' and in 1996 he received a Screen Videocon 'Lifetime Achievement Award'. Then in 1997 he was given the Mumbai Academy of Moving Images Award for his Outstanding Services to the Indian Film Industry. In 1998, he was given a 'Lifetime Achievement Award' by the Ujala Anandlok Film Awards Committee in Calcutta. In 1999, he received the Sansui 'Lifetime Achievement Award' for his 'Immense Contribution to Indian Cinema' in New Delhi. In the year 2000, he was awarded the Film Goers' 'Mega Movie Maestro of the Millenium' Award in Mumbai. And then in July 2000, in New York City, he was honored by an Award at the hands of the then First Lady of the United States of America - Mrs. Hillary Rodham Clinton - for his 'Outstanding Contribution to Indian Cinema'. And again Anand was awarded the Indo-American Association 'Star of the Millennium' Award in the Silicon Valley, California. The President of India honored Anand with the prestigious Padma Bhushan Award on India's Republic Day - January 26th, 2001. And yet again, Donna Ferrar, Member New York State Assembly, honored him with a New York State Assembly Citation for his 'Outstanding Contribution to the Cinematic Arts Worthy of the Esteem and Gratitude of the Great State of New York' on May 1st, 2001.
Most recently, in April 2003, Anand was given a 'Lifetime Achievement Award' by the F.I.F.A. Committee in Johannesburg, South Africa. For an Indian Movie Icon who has hobnobbed with royalty, heads of State and celebrities, he did it all.
Anand passed away on December 3rd, 2011 in London's Washington Hotel, aged 88.
There are some who might remember Anand for not hanging his boots at the right time like his rival Dilip Kumar. But for millions of his admirers, both India and overseas, he shall remain the embodiment of someone who just never learnt to give up and being one of the pivotal figures who shaped the destiny of Indian Cinema in its formative years post independence and with his peerless intellect combined with his killer good looks gave it a footing on the map of world.1959- Kala Pani as Karan Mehra- Actor
- Producer
- Director
Raj Kapoor was the son of well-known Indian actor Prithviraj Kapoor, who acted both in film and on stage. After apprenticing in the Bollywood production studios of the 1940's, at 24 years of age Raj Kapoor produced, directed and acted in Aag (1948), with his new company, RK Films. His next production, Barsaat (1949), was a smash hit. In 1951, he also produced, directed and starred in Awaara (1951), which was another megahit, and costarred Nargis, who had appeared in Aag and Barsaat. Awaara also gained popular acclaim in Russia, where the movie and songs were dubbed into Russian. The theme song, Awaara Hoon, was popular in the East for many years. Kapoor has been dubbed "a great showman," and a filmmaker in the purest Romantic tradition, as he strove to entertain as well as address social themes close to his heart. Awaara dealt with the question of what forms an individual's moral grounding, ("nurture or nature") while incorporating comedy and stirring love scenes; in Shree 420 (1955) he addressed issues of poverty, unemployment and national pride in the new Indian state at the same time maintaining the audience's interest in the romantic plot. While never revolutionary in tone, many of his films explore the ability of the individual to overcome economic and environmental injustice while maintaining his/her innocence and integrity. He is quoted as believing that the individual's struggles ultimately lead to the desire for love, to care and be cared for. This is consistent with his admiration of Charles Chaplin, and Kapoor's own "tramp" (Awaara, Shree 420, Mera Naam Joker (1970) is modeled somewhat on his mentor, though with a definite individual flair.
His films demonstrate an understanding of music and direction that continue to influence Bollywood filmmaking today. Also a musician, his understanding of the musical feel of his movies gives them a storytelling fluidity equal to that of the best American movie musicals. He surrounded himself with the foremost talents in filmmaking, acting, writing (Kwaja Ahmad Abbas'), music composition (Jaikishan Dayabhai Panchal, 'Shankarsinh Raguwanshi'), and playback singers, including Mukesh, 'Mohamed Rafi', and Lata Mangeshkar. Kapoor continued to make films of varying critical and popular success up until his death in 1988, and apparently considered Mera Naam Joker his personal favorite. He is still a well-known name not only in India, but in the Middle East, SE Asia, and Eastern Europe. His descendants have attempted to continue the RK Films banner.1960- Anari as Raj Kumar- Actor
- Writer
- Director
Dilip Kumar (1922-2021) is widely considered the greatest acting exponent India ever produced. Born Muhammad Yusuf Khan on December 11, 1922, in Qissa Khwani Bazaar, Peshawar, British India (present-day Pakistan), he is better known by his stage name Dilip Kumar given to him by actress and owner of Bombay Talkies, Devika Rani. Credited with pioneering method acting in Indian cinema in mid-1940s, before Marlon Brando introduced it to Hollywood in 1950s, he has been often called as "Abhinay Samrat" (Hindi for "Emperor of Acting") by the audience. He was the biggest Indian star since Post-Independence period throughout 1960s, starring in some of the biggest commercial and critical successes of Indian cinema. It is to be noted that according to major trade analysts, many of his big commercial successes were films with apparently no commercial/entertainment value, which relied heavily on his histrionics to succeed, an extremely rare feat in the annals of cinema worldwide. Box Office India quoted that any such an instance has never happened with any other star, as their films had to be backed by at least few commercial elements/genres to succeed. Irrfan Khan, while saying that Kumar is the only one who should be called "legend", justifiably quoted the reason as, "the combination of artiste and star that he brought, started and ended with him."
Born to a fruit merchant, Lala Ghulam Sarvar Khan and his wife Ayesha Begum, Yousuf Khan and his family would migrate to Bombay Province, to expand their family business in 1930s which had come to a halt due to the complications of WWII. He had his schooling in Deolali and graduation in Mumbai. He started with managing a shop and selling fruits in an army canteen in Pune. Upon a rebellion in the canteen during Indian National Movement, he gave a speech justifying India's struggle for Independence, which resulted in his eviction from the canteen. A chance encounter with Devika Rani, got him opportunity to work for Bombay Talkies, at remuneration of Rs 1250/- per month. Having no clear intention of working there, he still accepted the job because of the high salary. Kumar later accepted that by the age of 14, he hadn't watched a film, and later in his teenage, watched few English films. Devika Rani selected Dilip Kumar as his stage name (a common tradition back then) from the 3 names suggested by Pandit Bhagvati Charan Verma, which also included Vasudev and Jehangir. Kumar in 1970, in an interview told that, one of the main reason, he agreed to adopt a stage name was out of fear of his father, who was strictly against films due to their poor reputation among the masses at the time. He further said that on being offered to choose among the three names, he expressed that he was okay with any of them. Later, he got to know his stage name, when it was first published in a newspaper.
Kumar's first film as an actor was Jwara Bhata (1944), which was the 6th highest grossing Hindi film of the year, according to some sources, though not really profitable. His performance was severely criticized by the major critic of the time, Baburao Patel of FilmIndia. Similarly the next venture, Pratima (1945) was also flop and his work again criticized. The next venture, Milan (1946), directed by Nitin Bose, proved to be fruitful for Kumar, not only because it was successful commercially, but his acting sensibilities greatly improved during the period of its filming. However his performance was still criticized by FilmIndia. The success of the next film Jugnu (1947), which was the highest grossing Indian film of the year, established him as the first star of Post-Independence India and arguably, the biggest star of the country at that moment. His performance was appreciated by Baburao Patel for the first time. However, he severely criticized the film, writing a letter to the then Home Minister (who later went on to become Prime Minister under Janata Dal in 1977), Moraji Desai, asking him to ban the film. It was banned for a few months, after which the ban was uplifted. The film, already a roaring success, became an even bigger hit, after it was re-released. The period starting from here till at least 1961, was a period of raging success in Kumar's career, both critically and commercially, which cemented his legacy notch above his contemporaries. Post 1961, the workload slowed, with fewer releases thereafter and also slowed their commercial success, although his earlier films still doing great in re-releases, many times higher than many of his contemporaries' fresh releases. During this period, his two main contemporaries were Raj Kapoor and Dev Anand. The three of them were sometimes referred collectively as "the golden trio" of this period, with camaraderie between the three contemporary actors famous and each renowned for their own style.
Shaheed (1948) is cited by many to be the first true Dilip Kumar film, in the sense his legacy was to be built on performances like this in the years to come. It was a roaring success, highest grossing Hindi film of the year. Andaz (1949), a record grosser at the time, starring Nargis and Raj Kapoor along with Kumar, popularized the theme of love triangles in Indian cinema. His performance in the film was superlatively appreciated by masses and critics alike. Baburao Patel's review headline read "Dilip Kumar draws crowd to cinemas". His dramatic performances in the next films till early 1950s, brought him the title of "Tragedy King". These intense performances, in which he immersed himself, had an adverse affect on his psyche. He consulted psychiatrists in London, who advised him to take up lighter roles. Interestingly, almost all of his lighter roles starting from Aan (1952) and Aazad (1955) were huge commercial successes. His performance in these roles were appreciated by masses and critics alike. Aan (1952) was the highest grossing Indian film ever at the time both in India and overseas. Post Aan, Kumar's popularity again took a big leap, establishing him as undisputedly the biggest star of the country. Devdas released on 30 December, 1955 is considered one of the most iconic performance of his career. Although a moderate success when initially released, the film found greater success in subsequent years though re-releases, making it amongst the most popular role essayed by Kumar. All three Andaz (1949), Aan (1952) and Naya Daur (1957) briefly became the highest grossing Indian film upto that point, a feat later achieved by Kumar's Mughal-e-Azam (1960) in which he essayed the role of Prince Saleem (amongst his most popular roles), a record it held for 15 years. By adjusting for inflation, it is still the Highest-grossing Indian film of all time, as of 2022.
The decade 1950s was the most prolific decade of Kumar's career, with 21 releases of which only 1 film, namely Hulchul (1951) failed commercially. 5 (or even 6) of his films were placed in top 10 highest grossers of the decade by Box Office India. Similarly 9 (or even 10) of his 21 releases were placed among the top 30 highest grossers of the decade. The period from late 1940s to early 1960s is often referred to as the "Golden Age of Hindi cinema and music". The 1950s decade is also important in terms of popularising cinema and filmi music in India and establishing it as a part of popular culture. The decade also saw the rise of stars (in true sense), commercialisation of industry as well as rise in the number of theatres. Kumar was the representative of this period, holding the status of a matinée idol and the country's highest paid actor.
Gunga Jumna released on 6 Jan, 1961, few months after the release of Mughal-e-Azam (1960) and Kohinoor (1960), represents the peak of Kumar's career both as an actor and star. His performance as robust and defiant Gunga is considered by many to be the greatest acting performance in the history of Indian cinema. It won him international laurels. His performance was profoundly appreciated by actors in the West. The film set the template for the "Angry Young Man" films starring Bachchan in 1970s and the theme of brothers on the opposite side of the law. After Gunga Jumna (1961), Kumar's workload slowed significantly, his next venture Leader (1964), failed to be a big commercial success. It did mediocre business. Next film Dil Diya Dard Liya (1966) is the first flop film of Kumar in over 15 years. Ram aur Shyam (1967) is the last big hit of Kumar's first innings (as an actor) in Hindi cinema. It was his first double role film and popularized "double role" and "lost and found" films in mainstream Indian cinema. 1970s saw Kumar's career as a lead actor take a downturn. Age was becoming a factor, and the onset of new stars further convinced Kumar to take a hiatus. Out of his 4 Hindi films released in 1970s, Gopi (1970) was the only clean box office hit. As per the new reports of Box Office India, Bairaag (1976), is either "Hit" or "Semi-Hit". In 1970, he acted in his only Bengali film, Sagina Mahato (which also has a Hindi version, Sagina released in 1974, starring Kumar). The film was reportedly a huge success in Bengal. He won BFJA (Bengal Film Journalist Associations) award for Best Actor for his performance in the film. In 1976, he took a five-year hiatus aligning on the above mentioned reasons.
He returned to the big screen playing the title role of Kranti (1981), the highest grossing Indian film of the decade, when adjusted for inflation. In this phase of his career, he played senior, mature roles who were the main characters of the films. Films were specifically written for him which also starred other actors playing young roles. Films like Kranti (1981), Vidhaata (1982), Karma (1986), and Saudagar (1991) were among the biggest hits of the time and all driven by him despite playing senior roles, a feat that had remained unprecedented even after him as per trade analysts. Some other films also found average success, including Shakti (1982), which starred Kumar along with Amitabh Bachchan in the lead roles. The film won him his last Filmfare Award for Best Actor. His next venture after Saudagar (1991) was the commercially unsuccessful Qila (1998), which also turned out to be his last. He retired from film industry in 1999.
Kumar had been involved in many relationships including Kamini Kaushal, with whom he fell in love on the sets of Shaheed (1948). Their relationship fell apart as Kaushal was married to her brother-in-law after her sister-in-law died in a car accident. Reportedly she married on the insistence of her family to look after the little children of her sister-in-law. His next relationship was with Madhubala, which started on the sets of Tarana (1951). It was a seven year long relationship that ended after the Naya Daur court case in which Kumar sided with the producer B.R. Chopra and testified against Madhubala's father, Ataullah Khan as he declined her to travel to the planned shooting locations at the last moment. However Kumar in his autobiography cites another reason that played an important role in the fallout; Madhubala's father insisted him to act only under his own banner after their marriage. In 1966, he married actress Saira Banu in a private ceremony. Their marriage survived for over 50 years until Kumar's death in 2021-despite undergoing an upheaval-Kumar's alleged second marriage with Asma Rehman in 1981, whom he met at a cricket match in Hyderabad, where she lived. He soon divorced her in 1983, describing this incident as a "grave mistake taken in pressure" in his autobiography.
Kumar died on 7 July 2021, due to kidney complications and other age related issues. He had no children through his marriage. At the time of his death he was survived by his wife Saira Banu.
As of 2022, he holds the record for winning 8 Filmfare awards for Best Actor ( later equalled by Shah Rukh Khan) and was also the inaugural recipient of the award. He has also won numerous other awards including Dadasaheb Phalke award in 1994. He is the recipient of Padma Vibhushan (in 2015) and Padma Bhushan (in 1991), India's second and third highest civilian honour respectively. He is also the only Indian recipient of Pakistan's highest civilian honour, Nishan-e-Imtiaz (in 1998). As of 2021, he holds the Guinness World record for having received the most awards by an Indian actor.
He holds several long standing box office records including giving at least 1 clean hit for 15 years straight, which is at least an Indian record, according to a trade analyst. Since independence till late 2010s, he held the record for giving the maximum number of highest grossing film of the year, 9 times which was then surpassed by Salman Khan. However as per latest Box Office India reports, highest grossing Indian film of 1991 was Kumar's Saudagar (1991) and not Salman Khan's Saajan (1991), thus perhaps re-establishing his long standing record. In regards to his films' success ratio, he is the most successful Bollywood actor (quite possibly, Indian actor) of all time, by a distance, as of 2022. These gigantic records, his overwhelming popularity across Indian subcontinent, North Africa, Eastern Europe, and beyond, especially among South Asian diaspora around the world, makes him easily among the biggest stars cinema has ever seen across the globe. He famously turned down David Lean's offer of the role which ultimately went to Omar Sharif in one of West's greatest critical and commercial success, Lawrence of Arabia (1962), which made a major Hollywood star out of Sharif. Justifying his decision, Dilip Kumar had remarked, "In your own bazaar 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." He was also considered for a role in another film Lean was working on, titled "Taj Mahal". Elizabeth Taylor was supposed to play the part opposite Kumar. However, the project was eventually shelved.
According to many, he is probably the first person to perform method acting on screen in mid 1940s. Despite not knowing what it meant by then, he had been practising it since a time when, perhaps, the term wasn't even coined. Kumar, who never went to any acting school, was described by the renowned filmmaker Satyajit Ray as "the ultimate method actor", despite not having worked with him. There are innumerable such complements by numerous luminaries across professions to quote, which is quite not possible; from the likes of the recent statement by Indian born naturalised British economist Lord Meghnad Desai, claiming Kumar to be the greatest actor on global scale to age old statements like the one by, V. Shantaram, one of founding fathers and pioneers of Indian cinema, prompted by Kumar's versatility expressed, "Had Shakespeare met Dilip Kumar, he would have added one more character to the already well-defined ones he had created." Most importantly, Dilip Kumar's complete impact is realized definitely in the fact how he changed the rules of acting and influenced generations of future artistes in Indian subcontinent (even his contemporaries), but also in the truth that at his best, he was the catalyst in expanding the reach of quality cinema, from metros to rural India, from classes to masses, from serious connoisseurs to common entertainment seekers. Some of the greatest critical successes became some of the biggest hits when he acted in them, liked, revered and celebrated by classes and masses alike. His intense, in-depth performances, eloquent silences and the most nuanced expressions observed and enjoyed and celebrated at the same time by the most casual entertainment seekers of his time. There have been some great artistes across the history. And there have been some huge stars across the history. But the instance of both of them being a single entity, elevating and expanding the art form to an even greater point, is true, an extremely rare sight, but equally magical while it lasts.1961- Kohinoor as Rajkumar- Actor
- Producer
- Director
Raj Kapoor was the son of well-known Indian actor Prithviraj Kapoor, who acted both in film and on stage. After apprenticing in the Bollywood production studios of the 1940's, at 24 years of age Raj Kapoor produced, directed and acted in Aag (1948), with his new company, RK Films. His next production, Barsaat (1949), was a smash hit. In 1951, he also produced, directed and starred in Awaara (1951), which was another megahit, and costarred Nargis, who had appeared in Aag and Barsaat. Awaara also gained popular acclaim in Russia, where the movie and songs were dubbed into Russian. The theme song, Awaara Hoon, was popular in the East for many years. Kapoor has been dubbed "a great showman," and a filmmaker in the purest Romantic tradition, as he strove to entertain as well as address social themes close to his heart. Awaara dealt with the question of what forms an individual's moral grounding, ("nurture or nature") while incorporating comedy and stirring love scenes; in Shree 420 (1955) he addressed issues of poverty, unemployment and national pride in the new Indian state at the same time maintaining the audience's interest in the romantic plot. While never revolutionary in tone, many of his films explore the ability of the individual to overcome economic and environmental injustice while maintaining his/her innocence and integrity. He is quoted as believing that the individual's struggles ultimately lead to the desire for love, to care and be cared for. This is consistent with his admiration of Charles Chaplin, and Kapoor's own "tramp" (Awaara, Shree 420, Mera Naam Joker (1970) is modeled somewhat on his mentor, though with a definite individual flair.
His films demonstrate an understanding of music and direction that continue to influence Bollywood filmmaking today. Also a musician, his understanding of the musical feel of his movies gives them a storytelling fluidity equal to that of the best American movie musicals. He surrounded himself with the foremost talents in filmmaking, acting, writing (Kwaja Ahmad Abbas'), music composition (Jaikishan Dayabhai Panchal, 'Shankarsinh Raguwanshi'), and playback singers, including Mukesh, 'Mohamed Rafi', and Lata Mangeshkar. Kapoor continued to make films of varying critical and popular success up until his death in 1988, and apparently considered Mera Naam Joker his personal favorite. He is still a well-known name not only in India, but in the Middle East, SE Asia, and Eastern Europe. His descendants have attempted to continue the RK Films banner.1962- Jis Desh Men Ganga Behti Hai as Raju- Actor
- Producer
- Music Department
The Grandfather & Great Custodian of Indian Motion Pictures!
Ashok Kumar was one of India's most famous actors for over half a century, from before independence to the cusp of the new millennia!
As a young assistant to Bengali film-maker Himanshu Rai, he got his start in acting by accident when he volunteered to substitute for the lead actor, Jeevan Naya (1936), who fell ill before production on the film Achhut Kanya (1936) was to start. Kumar was terrified of acting in the first place, especially opposite lead actress Devika Rani, known as 'the dragon lady' for her smoking, drinking, cursing and legendary hot temper. After finishing shooting, Kumar continued with overseeing the process of the film with editing, mixing and processing. His unexpected acclaim to his role had him in demand for more acting roles, which he pursued in a few more 'Bombay Talkies' with Devika Rani.
His breakthrough performance was in Kismet (1943) which ran for three years in Bombay and Calcutta and was one of the first Hindi language mega-hits of India and gained him national fame through his charismatic performances and his talented singing. From then onwards, Kumar became a sought-after actor who appeared in over 200 Hindi and a few other Indian language films, playing romantic leads or threatening villains and making Rs.300-400 a month during the 1940s and 1950s.
Although his roles gradually decreased to supporting and minor parts as he got older and suffered more ill health, his popularity in India never diminished and he was often in demand for cameos and live convention appearances. From the 1990s to his death, he lived in a comfortable retirement in Bombay with a slew of Indian films to show for his work.1963- Rakhi as Raj Kumar- Actor
- Producer
- Director
Actor, social activist and politician. Sunil Dutt wore many hats and excelled in a plethora of roles that came his way - both on and off screen.
Born on June 6th, 1926, Sunil Dutt grew up as Balraj Dutt in a family that had survived the Partition of India. A student of Mumbai's Jai Hind college, he first started off as radio show host and celebrity interviewer, which led to his first encounter with the glamour world.
Interestingly, wife-to-be Nargis was one of the celebrities he met in the course of his work. Soon, Dutt got a chance to enter the film-world, when director Ramesh Saigal offered him the hero's role in his Nalini Jaywant starrer 'Railway Platform' (1955).
'Ek Hi Raasta' (1956), marked the start of a seven-film long association with B R Chopra. Dutt's true breakthrough came with Mehboob Khan's magnum opus 'Mother India' (1957).
His portrayal of Birju, Nargi's rebellious younger son, portrayed a raw, urgent energy. Dutt's association with Nargis in the movie resulted in a more serious one, when he married her after the release of the film.
Dutt's role in women-oriented films like 'Sadhna' (1958), 'Sujata' (1959) and 'Main Chup Rahungi' (1962) were well-appreciated. Noted filmmakers like Bimal Roy, Hrishikesh Mukherji and B R Chopra dared to defy Sunil Dutt's established rebellious Birju image and cast him as a sensitive lover.
Dutt turned producer in the early sixties with a couple of offbeat movies - 'Yeh Raaste Hain Pyar Ke' (1963), where heroine Leela Naidu has an adulterous relationship and 'Mujhe Jeene Do' (1963) where he played a dacoit.
In his cinematic association with B R Chopra, Dutt gave three big hits in the sixties - 'Gumraah' (1963), 'Waqt' (1965) and 'Humraaz' (1967). He also worked with South Indian filmmakers, which resulted in emotion-heavy, rural-based hits with Nutan like 'Khandaan' and 'Milan'.
In 1967, he had a hat-trick of hits with 'Milan', 'Meherban' and 'Humraaz'. His role of a buffoon in Mehmood's 'Padosan' (1968) was much appreciated.
In 1981, Dutt's world was rocked when his wife Nargis died after a protracted battle with her cancer. He later joined politics and social work.
But the actor in Dutt continued to surface during the last decade with movies with select filmmakers like J P Dutta 'Kshatriya' and Yash Chopra 'Parampara'. His last screen cameo was in Rajkumar Hirani's immensely popular laugh riot 'Munnabhai MBBS', where he played on-screen father to his son Sanjay.1964- Mujhe Jeene Do as Thakhur Jernail Singh- Actor
- Writer
- Director
Dilip Kumar (1922-2021) is widely considered the greatest acting exponent India ever produced. Born Muhammad Yusuf Khan on December 11, 1922, in Qissa Khwani Bazaar, Peshawar, British India (present-day Pakistan), he is better known by his stage name Dilip Kumar given to him by actress and owner of Bombay Talkies, Devika Rani. Credited with pioneering method acting in Indian cinema in mid-1940s, before Marlon Brando introduced it to Hollywood in 1950s, he has been often called as "Abhinay Samrat" (Hindi for "Emperor of Acting") by the audience. He was the biggest Indian star since Post-Independence period throughout 1960s, starring in some of the biggest commercial and critical successes of Indian cinema. It is to be noted that according to major trade analysts, many of his big commercial successes were films with apparently no commercial/entertainment value, which relied heavily on his histrionics to succeed, an extremely rare feat in the annals of cinema worldwide. Box Office India quoted that any such an instance has never happened with any other star, as their films had to be backed by at least few commercial elements/genres to succeed. Irrfan Khan, while saying that Kumar is the only one who should be called "legend", justifiably quoted the reason as, "the combination of artiste and star that he brought, started and ended with him."
Born to a fruit merchant, Lala Ghulam Sarvar Khan and his wife Ayesha Begum, Yousuf Khan and his family would migrate to Bombay Province, to expand their family business in 1930s which had come to a halt due to the complications of WWII. He had his schooling in Deolali and graduation in Mumbai. He started with managing a shop and selling fruits in an army canteen in Pune. Upon a rebellion in the canteen during Indian National Movement, he gave a speech justifying India's struggle for Independence, which resulted in his eviction from the canteen. A chance encounter with Devika Rani, got him opportunity to work for Bombay Talkies, at remuneration of Rs 1250/- per month. Having no clear intention of working there, he still accepted the job because of the high salary. Kumar later accepted that by the age of 14, he hadn't watched a film, and later in his teenage, watched few English films. Devika Rani selected Dilip Kumar as his stage name (a common tradition back then) from the 3 names suggested by Pandit Bhagvati Charan Verma, which also included Vasudev and Jehangir. Kumar in 1970, in an interview told that, one of the main reason, he agreed to adopt a stage name was out of fear of his father, who was strictly against films due to their poor reputation among the masses at the time. He further said that on being offered to choose among the three names, he expressed that he was okay with any of them. Later, he got to know his stage name, when it was first published in a newspaper.
Kumar's first film as an actor was Jwara Bhata (1944), which was the 6th highest grossing Hindi film of the year, according to some sources, though not really profitable. His performance was severely criticized by the major critic of the time, Baburao Patel of FilmIndia. Similarly the next venture, Pratima (1945) was also flop and his work again criticized. The next venture, Milan (1946), directed by Nitin Bose, proved to be fruitful for Kumar, not only because it was successful commercially, but his acting sensibilities greatly improved during the period of its filming. However his performance was still criticized by FilmIndia. The success of the next film Jugnu (1947), which was the highest grossing Indian film of the year, established him as the first star of Post-Independence India and arguably, the biggest star of the country at that moment. His performance was appreciated by Baburao Patel for the first time. However, he severely criticized the film, writing a letter to the then Home Minister (who later went on to become Prime Minister under Janata Dal in 1977), Moraji Desai, asking him to ban the film. It was banned for a few months, after which the ban was uplifted. The film, already a roaring success, became an even bigger hit, after it was re-released. The period starting from here till at least 1961, was a period of raging success in Kumar's career, both critically and commercially, which cemented his legacy notch above his contemporaries. Post 1961, the workload slowed, with fewer releases thereafter and also slowed their commercial success, although his earlier films still doing great in re-releases, many times higher than many of his contemporaries' fresh releases. During this period, his two main contemporaries were Raj Kapoor and Dev Anand. The three of them were sometimes referred collectively as "the golden trio" of this period, with camaraderie between the three contemporary actors famous and each renowned for their own style.
Shaheed (1948) is cited by many to be the first true Dilip Kumar film, in the sense his legacy was to be built on performances like this in the years to come. It was a roaring success, highest grossing Hindi film of the year. Andaz (1949), a record grosser at the time, starring Nargis and Raj Kapoor along with Kumar, popularized the theme of love triangles in Indian cinema. His performance in the film was superlatively appreciated by masses and critics alike. Baburao Patel's review headline read "Dilip Kumar draws crowd to cinemas". His dramatic performances in the next films till early 1950s, brought him the title of "Tragedy King". These intense performances, in which he immersed himself, had an adverse affect on his psyche. He consulted psychiatrists in London, who advised him to take up lighter roles. Interestingly, almost all of his lighter roles starting from Aan (1952) and Aazad (1955) were huge commercial successes. His performance in these roles were appreciated by masses and critics alike. Aan (1952) was the highest grossing Indian film ever at the time both in India and overseas. Post Aan, Kumar's popularity again took a big leap, establishing him as undisputedly the biggest star of the country. Devdas released on 30 December, 1955 is considered one of the most iconic performance of his career. Although a moderate success when initially released, the film found greater success in subsequent years though re-releases, making it amongst the most popular role essayed by Kumar. All three Andaz (1949), Aan (1952) and Naya Daur (1957) briefly became the highest grossing Indian film upto that point, a feat later achieved by Kumar's Mughal-e-Azam (1960) in which he essayed the role of Prince Saleem (amongst his most popular roles), a record it held for 15 years. By adjusting for inflation, it is still the Highest-grossing Indian film of all time, as of 2022.
The decade 1950s was the most prolific decade of Kumar's career, with 21 releases of which only 1 film, namely Hulchul (1951) failed commercially. 5 (or even 6) of his films were placed in top 10 highest grossers of the decade by Box Office India. Similarly 9 (or even 10) of his 21 releases were placed among the top 30 highest grossers of the decade. The period from late 1940s to early 1960s is often referred to as the "Golden Age of Hindi cinema and music". The 1950s decade is also important in terms of popularising cinema and filmi music in India and establishing it as a part of popular culture. The decade also saw the rise of stars (in true sense), commercialisation of industry as well as rise in the number of theatres. Kumar was the representative of this period, holding the status of a matinée idol and the country's highest paid actor.
Gunga Jumna released on 6 Jan, 1961, few months after the release of Mughal-e-Azam (1960) and Kohinoor (1960), represents the peak of Kumar's career both as an actor and star. His performance as robust and defiant Gunga is considered by many to be the greatest acting performance in the history of Indian cinema. It won him international laurels. His performance was profoundly appreciated by actors in the West. The film set the template for the "Angry Young Man" films starring Bachchan in 1970s and the theme of brothers on the opposite side of the law. After Gunga Jumna (1961), Kumar's workload slowed significantly, his next venture Leader (1964), failed to be a big commercial success. It did mediocre business. Next film Dil Diya Dard Liya (1966) is the first flop film of Kumar in over 15 years. Ram aur Shyam (1967) is the last big hit of Kumar's first innings (as an actor) in Hindi cinema. It was his first double role film and popularized "double role" and "lost and found" films in mainstream Indian cinema. 1970s saw Kumar's career as a lead actor take a downturn. Age was becoming a factor, and the onset of new stars further convinced Kumar to take a hiatus. Out of his 4 Hindi films released in 1970s, Gopi (1970) was the only clean box office hit. As per the new reports of Box Office India, Bairaag (1976), is either "Hit" or "Semi-Hit". In 1970, he acted in his only Bengali film, Sagina Mahato (which also has a Hindi version, Sagina released in 1974, starring Kumar). The film was reportedly a huge success in Bengal. He won BFJA (Bengal Film Journalist Associations) award for Best Actor for his performance in the film. In 1976, he took a five-year hiatus aligning on the above mentioned reasons.
He returned to the big screen playing the title role of Kranti (1981), the highest grossing Indian film of the decade, when adjusted for inflation. In this phase of his career, he played senior, mature roles who were the main characters of the films. Films were specifically written for him which also starred other actors playing young roles. Films like Kranti (1981), Vidhaata (1982), Karma (1986), and Saudagar (1991) were among the biggest hits of the time and all driven by him despite playing senior roles, a feat that had remained unprecedented even after him as per trade analysts. Some other films also found average success, including Shakti (1982), which starred Kumar along with Amitabh Bachchan in the lead roles. The film won him his last Filmfare Award for Best Actor. His next venture after Saudagar (1991) was the commercially unsuccessful Qila (1998), which also turned out to be his last. He retired from film industry in 1999.
Kumar had been involved in many relationships including Kamini Kaushal, with whom he fell in love on the sets of Shaheed (1948). Their relationship fell apart as Kaushal was married to her brother-in-law after her sister-in-law died in a car accident. Reportedly she married on the insistence of her family to look after the little children of her sister-in-law. His next relationship was with Madhubala, which started on the sets of Tarana (1951). It was a seven year long relationship that ended after the Naya Daur court case in which Kumar sided with the producer B.R. Chopra and testified against Madhubala's father, Ataullah Khan as he declined her to travel to the planned shooting locations at the last moment. However Kumar in his autobiography cites another reason that played an important role in the fallout; Madhubala's father insisted him to act only under his own banner after their marriage. In 1966, he married actress Saira Banu in a private ceremony. Their marriage survived for over 50 years until Kumar's death in 2021-despite undergoing an upheaval-Kumar's alleged second marriage with Asma Rehman in 1981, whom he met at a cricket match in Hyderabad, where she lived. He soon divorced her in 1983, describing this incident as a "grave mistake taken in pressure" in his autobiography.
Kumar died on 7 July 2021, due to kidney complications and other age related issues. He had no children through his marriage. At the time of his death he was survived by his wife Saira Banu.
As of 2022, he holds the record for winning 8 Filmfare awards for Best Actor ( later equalled by Shah Rukh Khan) and was also the inaugural recipient of the award. He has also won numerous other awards including Dadasaheb Phalke award in 1994. He is the recipient of Padma Vibhushan (in 2015) and Padma Bhushan (in 1991), India's second and third highest civilian honour respectively. He is also the only Indian recipient of Pakistan's highest civilian honour, Nishan-e-Imtiaz (in 1998). As of 2021, he holds the Guinness World record for having received the most awards by an Indian actor.
He holds several long standing box office records including giving at least 1 clean hit for 15 years straight, which is at least an Indian record, according to a trade analyst. Since independence till late 2010s, he held the record for giving the maximum number of highest grossing film of the year, 9 times which was then surpassed by Salman Khan. However as per latest Box Office India reports, highest grossing Indian film of 1991 was Kumar's Saudagar (1991) and not Salman Khan's Saajan (1991), thus perhaps re-establishing his long standing record. In regards to his films' success ratio, he is the most successful Bollywood actor (quite possibly, Indian actor) of all time, by a distance, as of 2022. These gigantic records, his overwhelming popularity across Indian subcontinent, North Africa, Eastern Europe, and beyond, especially among South Asian diaspora around the world, makes him easily among the biggest stars cinema has ever seen across the globe. He famously turned down David Lean's offer of the role which ultimately went to Omar Sharif in one of West's greatest critical and commercial success, Lawrence of Arabia (1962), which made a major Hollywood star out of Sharif. Justifying his decision, Dilip Kumar had remarked, "In your own bazaar 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." He was also considered for a role in another film Lean was working on, titled "Taj Mahal". Elizabeth Taylor was supposed to play the part opposite Kumar. However, the project was eventually shelved.
According to many, he is probably the first person to perform method acting on screen in mid 1940s. Despite not knowing what it meant by then, he had been practising it since a time when, perhaps, the term wasn't even coined. Kumar, who never went to any acting school, was described by the renowned filmmaker Satyajit Ray as "the ultimate method actor", despite not having worked with him. There are innumerable such complements by numerous luminaries across professions to quote, which is quite not possible; from the likes of the recent statement by Indian born naturalised British economist Lord Meghnad Desai, claiming Kumar to be the greatest actor on global scale to age old statements like the one by, V. Shantaram, one of founding fathers and pioneers of Indian cinema, prompted by Kumar's versatility expressed, "Had Shakespeare met Dilip Kumar, he would have added one more character to the already well-defined ones he had created." Most importantly, Dilip Kumar's complete impact is realized definitely in the fact how he changed the rules of acting and influenced generations of future artistes in Indian subcontinent (even his contemporaries), but also in the truth that at his best, he was the catalyst in expanding the reach of quality cinema, from metros to rural India, from classes to masses, from serious connoisseurs to common entertainment seekers. Some of the greatest critical successes became some of the biggest hits when he acted in them, liked, revered and celebrated by classes and masses alike. His intense, in-depth performances, eloquent silences and the most nuanced expressions observed and enjoyed and celebrated at the same time by the most casual entertainment seekers of his time. There have been some great artistes across the history. And there have been some huge stars across the history. But the instance of both of them being a single entity, elevating and expanding the art form to an even greater point, is true, an extremely rare sight, but equally magical while it lasts.1965- Leader as Vijay Khanna- Actor
- Producer
- Director
Actor, social activist and politician. Sunil Dutt wore many hats and excelled in a plethora of roles that came his way - both on and off screen.
Born on June 6th, 1926, Sunil Dutt grew up as Balraj Dutt in a family that had survived the Partition of India. A student of Mumbai's Jai Hind college, he first started off as radio show host and celebrity interviewer, which led to his first encounter with the glamour world.
Interestingly, wife-to-be Nargis was one of the celebrities he met in the course of his work. Soon, Dutt got a chance to enter the film-world, when director Ramesh Saigal offered him the hero's role in his Nalini Jaywant starrer 'Railway Platform' (1955).
'Ek Hi Raasta' (1956), marked the start of a seven-film long association with B R Chopra. Dutt's true breakthrough came with Mehboob Khan's magnum opus 'Mother India' (1957).
His portrayal of Birju, Nargi's rebellious younger son, portrayed a raw, urgent energy. Dutt's association with Nargis in the movie resulted in a more serious one, when he married her after the release of the film.
Dutt's role in women-oriented films like 'Sadhna' (1958), 'Sujata' (1959) and 'Main Chup Rahungi' (1962) were well-appreciated. Noted filmmakers like Bimal Roy, Hrishikesh Mukherji and B R Chopra dared to defy Sunil Dutt's established rebellious Birju image and cast him as a sensitive lover.
Dutt turned producer in the early sixties with a couple of offbeat movies - 'Yeh Raaste Hain Pyar Ke' (1963), where heroine Leela Naidu has an adulterous relationship and 'Mujhe Jeene Do' (1963) where he played a dacoit.
In his cinematic association with B R Chopra, Dutt gave three big hits in the sixties - 'Gumraah' (1963), 'Waqt' (1965) and 'Humraaz' (1967). He also worked with South Indian filmmakers, which resulted in emotion-heavy, rural-based hits with Nutan like 'Khandaan' and 'Milan'.
In 1967, he had a hat-trick of hits with 'Milan', 'Meherban' and 'Humraaz'. His role of a buffoon in Mehmood's 'Padosan' (1968) was much appreciated.
In 1981, Dutt's world was rocked when his wife Nargis died after a protracted battle with her cancer. He later joined politics and social work.
But the actor in Dutt continued to surface during the last decade with movies with select filmmakers like J P Dutta 'Kshatriya' and Yash Chopra 'Parampara'. His last screen cameo was in Rajkumar Hirani's immensely popular laugh riot 'Munnabhai MBBS', where he played on-screen father to his son Sanjay.1966- Khandan as Govind S. Lal- Actor
- Producer
- Director
One of the most beloved, charismatic and accomplished actors as well as one of the most imaginative and pathbreaking directors in the history of Indian cinema, Dev Anand was a leading man for more than five decades in over 110 motion pictures and continues to bestride Indian film fraternity even after his passing. He gave a new dimension to that magical state known as Stardom. And for his exemplary work he was awarded the Padma Bhushan in 2001 by the President of India. From the time he embarked on his career as a Film Actor in the mid-forties till his demise, his movies had been a journey filled with enriching experiences for the 'Evergreen Living Legend' of Indian Cinema. And he had always remained eternally youthful by his remarkable ability to live always in the present and the future; never in the past.
Also, as head of his film production company Navketan International Films, which was founded in 1949, Anand introduced a multitude of talent to the Indian Film Industry by way of actors, directors, music composers and cinematographers. He introduced new talent to cinema and experimented with new ideas for movies. He also headed one of the finest Film Sound Post-Production facilities in India - Anand Recording Studios - which has to its credit more than 3,000 Indian feature films that have been mixed/ surround mixed for worldwide release.
Anand won two Filmfare Awards - India's equivalent of the Oscars - in 1958 for his performance in the film "Kala Paani" (Black Water) and in 1966 for his performance in Navketan International Films' "Guide". "Guide" went on to win Filmfare Awards in five other categories including 'Best Film' and 'Best Director' and was sent as India's entry for the Oscars in the foreign film category that year. He co-produced the English Version of "Guide" with the Nobel Laureate Pearl S. Buck ("The Good Earth"). Eventually, his creative sensibilities got the better of him and he started writing and directing his own movies.
In 1993, he received a Filmfare 'Lifetime Achievement Award' and in 1996 he received a Screen Videocon 'Lifetime Achievement Award'. Then in 1997 he was given the Mumbai Academy of Moving Images Award for his Outstanding Services to the Indian Film Industry. In 1998, he was given a 'Lifetime Achievement Award' by the Ujala Anandlok Film Awards Committee in Calcutta. In 1999, he received the Sansui 'Lifetime Achievement Award' for his 'Immense Contribution to Indian Cinema' in New Delhi. In the year 2000, he was awarded the Film Goers' 'Mega Movie Maestro of the Millenium' Award in Mumbai. And then in July 2000, in New York City, he was honored by an Award at the hands of the then First Lady of the United States of America - Mrs. Hillary Rodham Clinton - for his 'Outstanding Contribution to Indian Cinema'. And again Anand was awarded the Indo-American Association 'Star of the Millennium' Award in the Silicon Valley, California. The President of India honored Anand with the prestigious Padma Bhushan Award on India's Republic Day - January 26th, 2001. And yet again, Donna Ferrar, Member New York State Assembly, honored him with a New York State Assembly Citation for his 'Outstanding Contribution to the Cinematic Arts Worthy of the Esteem and Gratitude of the Great State of New York' on May 1st, 2001.
Most recently, in April 2003, Anand was given a 'Lifetime Achievement Award' by the F.I.F.A. Committee in Johannesburg, South Africa. For an Indian Movie Icon who has hobnobbed with royalty, heads of State and celebrities, he did it all.
Anand passed away on December 3rd, 2011 in London's Washington Hotel, aged 88.
There are some who might remember Anand for not hanging his boots at the right time like his rival Dilip Kumar. But for millions of his admirers, both India and overseas, he shall remain the embodiment of someone who just never learnt to give up and being one of the pivotal figures who shaped the destiny of Indian Cinema in its formative years post independence and with his peerless intellect combined with his killer good looks gave it a footing on the map of world.1967- Guide as Raju- Actor
- Writer
- Director
Dilip Kumar (1922-2021) is widely considered the greatest acting exponent India ever produced. Born Muhammad Yusuf Khan on December 11, 1922, in Qissa Khwani Bazaar, Peshawar, British India (present-day Pakistan), he is better known by his stage name Dilip Kumar given to him by actress and owner of Bombay Talkies, Devika Rani. Credited with pioneering method acting in Indian cinema in mid-1940s, before Marlon Brando introduced it to Hollywood in 1950s, he has been often called as "Abhinay Samrat" (Hindi for "Emperor of Acting") by the audience. He was the biggest Indian star since Post-Independence period throughout 1960s, starring in some of the biggest commercial and critical successes of Indian cinema. It is to be noted that according to major trade analysts, many of his big commercial successes were films with apparently no commercial/entertainment value, which relied heavily on his histrionics to succeed, an extremely rare feat in the annals of cinema worldwide. Box Office India quoted that any such an instance has never happened with any other star, as their films had to be backed by at least few commercial elements/genres to succeed. Irrfan Khan, while saying that Kumar is the only one who should be called "legend", justifiably quoted the reason as, "the combination of artiste and star that he brought, started and ended with him."
Born to a fruit merchant, Lala Ghulam Sarvar Khan and his wife Ayesha Begum, Yousuf Khan and his family would migrate to Bombay Province, to expand their family business in 1930s which had come to a halt due to the complications of WWII. He had his schooling in Deolali and graduation in Mumbai. He started with managing a shop and selling fruits in an army canteen in Pune. Upon a rebellion in the canteen during Indian National Movement, he gave a speech justifying India's struggle for Independence, which resulted in his eviction from the canteen. A chance encounter with Devika Rani, got him opportunity to work for Bombay Talkies, at remuneration of Rs 1250/- per month. Having no clear intention of working there, he still accepted the job because of the high salary. Kumar later accepted that by the age of 14, he hadn't watched a film, and later in his teenage, watched few English films. Devika Rani selected Dilip Kumar as his stage name (a common tradition back then) from the 3 names suggested by Pandit Bhagvati Charan Verma, which also included Vasudev and Jehangir. Kumar in 1970, in an interview told that, one of the main reason, he agreed to adopt a stage name was out of fear of his father, who was strictly against films due to their poor reputation among the masses at the time. He further said that on being offered to choose among the three names, he expressed that he was okay with any of them. Later, he got to know his stage name, when it was first published in a newspaper.
Kumar's first film as an actor was Jwara Bhata (1944), which was the 6th highest grossing Hindi film of the year, according to some sources, though not really profitable. His performance was severely criticized by the major critic of the time, Baburao Patel of FilmIndia. Similarly the next venture, Pratima (1945) was also flop and his work again criticized. The next venture, Milan (1946), directed by Nitin Bose, proved to be fruitful for Kumar, not only because it was successful commercially, but his acting sensibilities greatly improved during the period of its filming. However his performance was still criticized by FilmIndia. The success of the next film Jugnu (1947), which was the highest grossing Indian film of the year, established him as the first star of Post-Independence India and arguably, the biggest star of the country at that moment. His performance was appreciated by Baburao Patel for the first time. However, he severely criticized the film, writing a letter to the then Home Minister (who later went on to become Prime Minister under Janata Dal in 1977), Moraji Desai, asking him to ban the film. It was banned for a few months, after which the ban was uplifted. The film, already a roaring success, became an even bigger hit, after it was re-released. The period starting from here till at least 1961, was a period of raging success in Kumar's career, both critically and commercially, which cemented his legacy notch above his contemporaries. Post 1961, the workload slowed, with fewer releases thereafter and also slowed their commercial success, although his earlier films still doing great in re-releases, many times higher than many of his contemporaries' fresh releases. During this period, his two main contemporaries were Raj Kapoor and Dev Anand. The three of them were sometimes referred collectively as "the golden trio" of this period, with camaraderie between the three contemporary actors famous and each renowned for their own style.
Shaheed (1948) is cited by many to be the first true Dilip Kumar film, in the sense his legacy was to be built on performances like this in the years to come. It was a roaring success, highest grossing Hindi film of the year. Andaz (1949), a record grosser at the time, starring Nargis and Raj Kapoor along with Kumar, popularized the theme of love triangles in Indian cinema. His performance in the film was superlatively appreciated by masses and critics alike. Baburao Patel's review headline read "Dilip Kumar draws crowd to cinemas". His dramatic performances in the next films till early 1950s, brought him the title of "Tragedy King". These intense performances, in which he immersed himself, had an adverse affect on his psyche. He consulted psychiatrists in London, who advised him to take up lighter roles. Interestingly, almost all of his lighter roles starting from Aan (1952) and Aazad (1955) were huge commercial successes. His performance in these roles were appreciated by masses and critics alike. Aan (1952) was the highest grossing Indian film ever at the time both in India and overseas. Post Aan, Kumar's popularity again took a big leap, establishing him as undisputedly the biggest star of the country. Devdas released on 30 December, 1955 is considered one of the most iconic performance of his career. Although a moderate success when initially released, the film found greater success in subsequent years though re-releases, making it amongst the most popular role essayed by Kumar. All three Andaz (1949), Aan (1952) and Naya Daur (1957) briefly became the highest grossing Indian film upto that point, a feat later achieved by Kumar's Mughal-e-Azam (1960) in which he essayed the role of Prince Saleem (amongst his most popular roles), a record it held for 15 years. By adjusting for inflation, it is still the Highest-grossing Indian film of all time, as of 2022.
The decade 1950s was the most prolific decade of Kumar's career, with 21 releases of which only 1 film, namely Hulchul (1951) failed commercially. 5 (or even 6) of his films were placed in top 10 highest grossers of the decade by Box Office India. Similarly 9 (or even 10) of his 21 releases were placed among the top 30 highest grossers of the decade. The period from late 1940s to early 1960s is often referred to as the "Golden Age of Hindi cinema and music". The 1950s decade is also important in terms of popularising cinema and filmi music in India and establishing it as a part of popular culture. The decade also saw the rise of stars (in true sense), commercialisation of industry as well as rise in the number of theatres. Kumar was the representative of this period, holding the status of a matinée idol and the country's highest paid actor.
Gunga Jumna released on 6 Jan, 1961, few months after the release of Mughal-e-Azam (1960) and Kohinoor (1960), represents the peak of Kumar's career both as an actor and star. His performance as robust and defiant Gunga is considered by many to be the greatest acting performance in the history of Indian cinema. It won him international laurels. His performance was profoundly appreciated by actors in the West. The film set the template for the "Angry Young Man" films starring Bachchan in 1970s and the theme of brothers on the opposite side of the law. After Gunga Jumna (1961), Kumar's workload slowed significantly, his next venture Leader (1964), failed to be a big commercial success. It did mediocre business. Next film Dil Diya Dard Liya (1966) is the first flop film of Kumar in over 15 years. Ram aur Shyam (1967) is the last big hit of Kumar's first innings (as an actor) in Hindi cinema. It was his first double role film and popularized "double role" and "lost and found" films in mainstream Indian cinema. 1970s saw Kumar's career as a lead actor take a downturn. Age was becoming a factor, and the onset of new stars further convinced Kumar to take a hiatus. Out of his 4 Hindi films released in 1970s, Gopi (1970) was the only clean box office hit. As per the new reports of Box Office India, Bairaag (1976), is either "Hit" or "Semi-Hit". In 1970, he acted in his only Bengali film, Sagina Mahato (which also has a Hindi version, Sagina released in 1974, starring Kumar). The film was reportedly a huge success in Bengal. He won BFJA (Bengal Film Journalist Associations) award for Best Actor for his performance in the film. In 1976, he took a five-year hiatus aligning on the above mentioned reasons.
He returned to the big screen playing the title role of Kranti (1981), the highest grossing Indian film of the decade, when adjusted for inflation. In this phase of his career, he played senior, mature roles who were the main characters of the films. Films were specifically written for him which also starred other actors playing young roles. Films like Kranti (1981), Vidhaata (1982), Karma (1986), and Saudagar (1991) were among the biggest hits of the time and all driven by him despite playing senior roles, a feat that had remained unprecedented even after him as per trade analysts. Some other films also found average success, including Shakti (1982), which starred Kumar along with Amitabh Bachchan in the lead roles. The film won him his last Filmfare Award for Best Actor. His next venture after Saudagar (1991) was the commercially unsuccessful Qila (1998), which also turned out to be his last. He retired from film industry in 1999.
Kumar had been involved in many relationships including Kamini Kaushal, with whom he fell in love on the sets of Shaheed (1948). Their relationship fell apart as Kaushal was married to her brother-in-law after her sister-in-law died in a car accident. Reportedly she married on the insistence of her family to look after the little children of her sister-in-law. His next relationship was with Madhubala, which started on the sets of Tarana (1951). It was a seven year long relationship that ended after the Naya Daur court case in which Kumar sided with the producer B.R. Chopra and testified against Madhubala's father, Ataullah Khan as he declined her to travel to the planned shooting locations at the last moment. However Kumar in his autobiography cites another reason that played an important role in the fallout; Madhubala's father insisted him to act only under his own banner after their marriage. In 1966, he married actress Saira Banu in a private ceremony. Their marriage survived for over 50 years until Kumar's death in 2021-despite undergoing an upheaval-Kumar's alleged second marriage with Asma Rehman in 1981, whom he met at a cricket match in Hyderabad, where she lived. He soon divorced her in 1983, describing this incident as a "grave mistake taken in pressure" in his autobiography.
Kumar died on 7 July 2021, due to kidney complications and other age related issues. He had no children through his marriage. At the time of his death he was survived by his wife Saira Banu.
As of 2022, he holds the record for winning 8 Filmfare awards for Best Actor ( later equalled by Shah Rukh Khan) and was also the inaugural recipient of the award. He has also won numerous other awards including Dadasaheb Phalke award in 1994. He is the recipient of Padma Vibhushan (in 2015) and Padma Bhushan (in 1991), India's second and third highest civilian honour respectively. He is also the only Indian recipient of Pakistan's highest civilian honour, Nishan-e-Imtiaz (in 1998). As of 2021, he holds the Guinness World record for having received the most awards by an Indian actor.
He holds several long standing box office records including giving at least 1 clean hit for 15 years straight, which is at least an Indian record, according to a trade analyst. Since independence till late 2010s, he held the record for giving the maximum number of highest grossing film of the year, 9 times which was then surpassed by Salman Khan. However as per latest Box Office India reports, highest grossing Indian film of 1991 was Kumar's Saudagar (1991) and not Salman Khan's Saajan (1991), thus perhaps re-establishing his long standing record. In regards to his films' success ratio, he is the most successful Bollywood actor (quite possibly, Indian actor) of all time, by a distance, as of 2022. These gigantic records, his overwhelming popularity across Indian subcontinent, North Africa, Eastern Europe, and beyond, especially among South Asian diaspora around the world, makes him easily among the biggest stars cinema has ever seen across the globe. He famously turned down David Lean's offer of the role which ultimately went to Omar Sharif in one of West's greatest critical and commercial success, Lawrence of Arabia (1962), which made a major Hollywood star out of Sharif. Justifying his decision, Dilip Kumar had remarked, "In your own bazaar 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." He was also considered for a role in another film Lean was working on, titled "Taj Mahal". Elizabeth Taylor was supposed to play the part opposite Kumar. However, the project was eventually shelved.
According to many, he is probably the first person to perform method acting on screen in mid 1940s. Despite not knowing what it meant by then, he had been practising it since a time when, perhaps, the term wasn't even coined. Kumar, who never went to any acting school, was described by the renowned filmmaker Satyajit Ray as "the ultimate method actor", despite not having worked with him. There are innumerable such complements by numerous luminaries across professions to quote, which is quite not possible; from the likes of the recent statement by Indian born naturalised British economist Lord Meghnad Desai, claiming Kumar to be the greatest actor on global scale to age old statements like the one by, V. Shantaram, one of founding fathers and pioneers of Indian cinema, prompted by Kumar's versatility expressed, "Had Shakespeare met Dilip Kumar, he would have added one more character to the already well-defined ones he had created." Most importantly, Dilip Kumar's complete impact is realized definitely in the fact how he changed the rules of acting and influenced generations of future artistes in Indian subcontinent (even his contemporaries), but also in the truth that at his best, he was the catalyst in expanding the reach of quality cinema, from metros to rural India, from classes to masses, from serious connoisseurs to common entertainment seekers. Some of the greatest critical successes became some of the biggest hits when he acted in them, liked, revered and celebrated by classes and masses alike. His intense, in-depth performances, eloquent silences and the most nuanced expressions observed and enjoyed and celebrated at the same time by the most casual entertainment seekers of his time. There have been some great artistes across the history. And there have been some huge stars across the history. But the instance of both of them being a single entity, elevating and expanding the art form to an even greater point, is true, an extremely rare sight, but equally magical while it lasts.1968- Ram Aur Shyam as Ram / Shyam- Actor
- Director
Shamsher Raj "Shammi" Kapoor was the son of theater and film actor Prithviraj Kapoor and his wife Ramsarni "Rama" Mehra Kapoor. Shammi's acting career began in 1948, when he joined his father's theatrical company "Prithvi Theatres." Like his father and his brothers, Shammi eventually moved into the world of movie-making. He made his big screen debut in 1953. His earliest films were mostly low-budget swashbucklers and romances that failed to succeed at the box office. Shammi referred to himself at that point in his career as a "male starlet."
In April of 1955, on the sets of Rangin Raaten (1956), Shammi met and fell in love with the actress Geeta Bali. She was an established actress, and he was still struggling in his career. Four months later, Geeta agreed to marry Shammi and they wed in small ceremony witnessed by Hari Walia who produced and directed their next film together Coffee House (1957). The couple had two children, a son Aditya Raj Kapoor born in 1956 and a daughter Kanchan born in 1961.
The film Tumsa Nahin Dekha (1957) was a turning point in Shammi's career. For this film, he cut his hair and shaved off his pencil-thin mustache; creating a new look and persona. The film was a success and was soon followed by more hits. By 1961, Shammi's boisterous shout of "Yahoo!" and his exuberant hip-shaking dance moves, in his first color picture Junglee (1961), had made him a star. His natural talent for dancing and his modern and casual fashion sense brought him comparisons to Elvis Presley, and Shammi became known as the "Rebel Star."
In 1965, while Shammi was filming Teesri Manzil (1966), his wife Geeta fell ill with smallpox and passed away. After months away from the set, Shammi eventually returned to film the song "Tumne Mujhe Dekha." Shammi's success continued and in 1968, his acting talent was formally recognized. He received the Filmfare Best Actor award for his role in Brahmachari (1968).
In 1969, Shammi married Neila Devi from the former royal family of Bhavanagar. Their families had long been friends and they first met when Neila was 9 and Shammi was 19. Neila later recalled that Shammi had pulled her pigtails while she was watching one of his plays from the backstage wings. Shammi's sister-in-law first suggested the match to him. Eventually, Shammi called Neila on the phone to propose. They spent hours talking, and were married the next day.
By the 1970s, Shammi's weight gain and competition from other popular actors was taking a toll on his status as a romantic hero. Andaz (1971) was one of his last hits as a leading man.
Shammi enjoyed directing two films, Manoranjan (1974) and Bundal Baaz (1976). The films met with some critical success but neither did well at the box-office. As the '70s continued, Shammi began transferring his acting talents into supporting roles. He won another Filmfare Award for Best Supporting Actor in Vidhaata (1982).
Shammi took to the Internet early, and was the founder and chairman of Internet Users Community of India. He managed his own website and made online videos to speak directly to his fans. He loved to share stories about his career, his friends, and his famous family: father Prithviraj Kapoor, elder brother Raj Kapoor, younger brother Shashi Kapoor, and their spouses, children, and grandchildren; many of whom work in the film industry.
In later years, Shammi continued to take on supporting roles in film and TV. He was presented with the Filmfare Lifetime Achievement Award in 1995. His last film was the posthumously released Rockstar (2011), in which he appeared alongside his great-nephew Ranbir Kapoor.
The last seven years of his life, he suffered from chronic renal failure and underwent dialysis three times a week. But it never dampened his warmhearted spirit, until the end he continued to share his joy for life. Shammi Kapoor passed away around 5:15 am, August 14th, 2011 at Mumbai Breach Candy hospital.1969- Brahmachari as Brahmachari- Actor
- Producer
- Music Department
The Grandfather & Great Custodian of Indian Motion Pictures!
Ashok Kumar was one of India's most famous actors for over half a century, from before independence to the cusp of the new millennia!
As a young assistant to Bengali film-maker Himanshu Rai, he got his start in acting by accident when he volunteered to substitute for the lead actor, Jeevan Naya (1936), who fell ill before production on the film Achhut Kanya (1936) was to start. Kumar was terrified of acting in the first place, especially opposite lead actress Devika Rani, known as 'the dragon lady' for her smoking, drinking, cursing and legendary hot temper. After finishing shooting, Kumar continued with overseeing the process of the film with editing, mixing and processing. His unexpected acclaim to his role had him in demand for more acting roles, which he pursued in a few more 'Bombay Talkies' with Devika Rani.
His breakthrough performance was in Kismet (1943) which ran for three years in Bombay and Calcutta and was one of the first Hindi language mega-hits of India and gained him national fame through his charismatic performances and his talented singing. From then onwards, Kumar became a sought-after actor who appeared in over 200 Hindi and a few other Indian language films, playing romantic leads or threatening villains and making Rs.300-400 a month during the 1940s and 1950s.
Although his roles gradually decreased to supporting and minor parts as he got older and suffered more ill health, his popularity in India never diminished and he was often in demand for cameos and live convention appearances. From the 1990s to his death, he lived in a comfortable retirement in Bombay with a slew of Indian films to show for his work.1970- Aashirwad as Shivnath 'Joggi Thakur' Choudhary- Actor
- Music Department
- Producer
On Stats Alone, The Most Popular Actor In The History Of Cinema!
The only actor to enjoy near God-like status across the length and breadth of India for a quarter century!
Elected in several expert online polls, as The Greatest Actor In The History Of World Cinema !
With 100+ All-Time Blockbusters- 48 Platinum Jubilee hits + 27 Golden Jubilee hits + 26 Silver Jubilee Hits, & 17 average hits, over 25 yrs.
So these quite wonderful film business websites have come up with a inflation adjusted analysis of few of his random films, which I shall present about now, just to open the eyes of today's audiences, to just the massive quantum of collections, achieved by this one actor alone. They've done this chronologically for just few of his mildly to very successful (~42/125 ie 1/3rd) lead/parallel lead films leaving out vast sums of his other massively successful films , from late 60s to late 90s, & only inflation-adjusted worldwide collection numbers, so audiences of today can get a decent idea.
1. Raaz - 284 Crores 2. Bandhan - 437 Crores 3. Aradhana - 1092 Crores 4. Ittefaq - 266 Crores 5. Doli - 344 Crores 6. Do Raaste - 1014 Crores 7. Kati Patang - 540 Crores 8. Safar - 426 Crores 9. The Train - 284 Crores 10. Sachcha Jhutha - 781 Crores 11. Aan Milo Sajna - 710 Crores 12. Amar Prem - 387 Crores 13. Mehboob Ki Mehndi - 233 Crores 14. Anand - 220 Crores 15. Haathi Mere Saathi - 903 Crores 16. Andaz - 516 Crores 17. Maryada - 581 Crores 18. Dushman - 644 Crores 19. Apna Desh - 492 Crores 20. Shehzada - 223 Crores 21. Daag - 689 Crores 22. Namak Haraam - 212 Crores 23. Aap Ki Kasam - 311 Crores 24. Prem Nagar - 440 Crores 25. Ajnabee - 243 Crores 26. Roti - 388 Crores 27. Prem Kahani - 168 Crores 28. Maha Chor - 143 Crores 29. Mehbooba - 177 Crores 30. Chhaila Babu - 197 Crores 31. Aashiq Hoon Baharon Ka - 146 Crores 32. Muqabla - 175 Crores 33. Amar Deep - 139 Crores 34. Thodisi Bewafai - 143 Crores 35. Kudrat - 174 Crores 36. Fiffty Fiffty - 179 Crores 37. Rajput - 339 Crores 38. Ashanti - 217 Crores 39. Dharam Kanta - 272 Crores 40. Maqsad - 318 Crores 41. Swarg - 85 Crores 42. Aa Ab Laut Chalen - 153 Crores
Have a look at that. And we've just begun checking (a random 1/3rd of his films) !
He was born on 29 December 1942 in Amritsar, Punjab, India, and entered Hindi films in the year 1965 when began shooting for Raaz and did 180 films - 163 feature films and 17 short films. By 2011, he held the record for maximum number of films as solo lead hero and least number of multi star cast films in Hindi Cinema. Of the 163 films - 106 were solo hero films and 22 were multi star films and 29 films had him in special effective guest appearances(though only 97 solo and 20 two hero films only released and 11 unreleased from 1966 till 2013).He ranked first and won the United Producers All India Contest held in 1965 by beating 10000 candidates and the prize of it was acting in films Akhri Khat and Raaz. He first tasted success as an actor with 3 consecutive hit films like Aakhri Khat,Raaz and Aurat.His first brush with super-stardom was when outburst from his fans forced the director to change the story of Baharaon Ke Sapne's ending from a tragic one to a happy one after 1 week of its release. Though Baharon Ke Sapne was average in some centers it was declared flop in most places. In 1969 Rajesh Khanna achieved super-stardom with Shakti Samantha's 'Aradhana" (1969).He became the craze of the nation, and critics across India started calling him the First Superstar of both Indian Cinema (No. 1 Actor) and Hindi Films and remained so alone as the Superstar for 7 years (1969-1976) and had to share the status with Amitabh from 1977-1991 till he left films to join politics in 1991.He overtook his predecessors Dev-Dilip-Raj, Shammi Kapoor,Rajendra Kumar in terms of extreme popularity with audience and critics, quality of performances, variety of roles and films by doing quickly 47 films from 1966-75 which included 36 Golden Jubilee Hits(21 of the 36 were platinum) and 4 silver silver jubilee hits and only 7 flops in 9 years. He also made the world record of having 17 successive super-hits in 3 years from 1969-71 which included 15 consecutive solo super-hit films and 2 two hero films namely Andaz and Maryada. The main difference between him and his predecessors,successors, contemporaries was that Khanna's films ran successfully in whole of India and not just Hindi speaking areas and he did films of every genre simultaneously and has more critically acclaimed films to his credit than all other Hindi Actors of every generation. He stands out even by selection of his films as he regularly did both offbeat alternate cinema along with commercial potboiler films and had success in both.He introduced intelligent cinema to the masses with ease. Those 15 consecutive hit solo lead hero films from 1969-71 were Aradhana, Doli, Bandhan, Ittefaq, Do Raaste, Khamoshi, Safar, The Train, Kati Patang, Sachaa Jhutha, Aan Milo Sajna, Mehboob Ki Mehendi, Choti Bahu, Anand and Haathi Mere Saathi. His next release Maalik flopped ending thereby the record.
Anju Mahendru was his girl friend in 1968-1972, the then aspiring actress but they had breakup in 1972 when Anju was not ready for marriage while Khanna wanted to marry her, and Khanna married his fan Dimple Kapadia in March 1973, 8 months before Dimple's debut film Bobby released in theaters.
Khanna's pairing with Mumtaz always produced much success as they had all of their 8 films together as major platinum jubilee hits.His films with Sharmila Tagore, Asha Parekh, Tanuja, Hema Malini and Zeenat Aman was a favorite with audiences too in 70's.
From 1976 on-wards till 1978, he had 5 box office hits as lead hero(2 silver jubilee hits, 2 platinum hits, 1 average hit), 3 hits in guest appearances, 1 flop in guest appearance and 8 films of him as the main lead flopped unexpectedly although his performances and the film's music were praised by critics and thereby 76-78 is considered his bad phase.
K.Balaji wanted to establish himself in Hindi film industry as a producer and thereby wanted to remake his Tamil film Sivaji Ganeshan starer Dheepam in Hindi. At a time when Khanna's films were not working at the box office, Khanna got this film out of the blue and went on to become a big hit. Khanna bounced back with twin success of Amardeep and Prem Bandhan then again started giving many critically acclaimed and commercially successful films including 35 Golden Jubilee Hits(includes 25 platinum) and 14 SJH starting from 1979 till 1991 and had 9 average hits from 1976-1996. In the 80's his films opposite Tina Munim, Hema Malini, Reena Roy, Rekha, Shabana Azmi, Smita Patil and Poonam Dhillon were big hits.
He produced three films and co-produced 4 films. He had total 105 box office hits(91 as lead hero and 14 in guest appearance) from 1966-1991.He left film industry in 1991 and entered politics by joining the Congress Party in 1991 and became a member of parliament. Khanna was awarded Filmfare Special award in 1991 for having starred in 101 films as the solo lead hero(92 solo film released till 1992 and includes 7 unreleased solos and Anuraag) and having done just 21 two hero films(only 19 released till 1991) but having appeared in 153 films in short span of 25 years between 1966-1991. Has won most number of All India Critics Award for Best Actor for a record 7 times and was nominated for same 10 times.He holds record for being the actor to win maximum BJFA awards for Best Actor - 4 and was nominated the most for it - 25 times.He is still adored and fondly remembered by the masses. Songs from his films adorn the lips of youth and adolescents. He was the first mega-star and has left behind a storehouse of the finest moments in film history.1971- Sachaa Jhutha as Bhola/Ranjit Kumar- Actor
- Music Department
- Producer
On Stats Alone, The Most Popular Actor In The History Of Cinema!
The only actor to enjoy near God-like status across the length and breadth of India for a quarter century!
Elected in several expert online polls, as The Greatest Actor In The History Of World Cinema !
With 100+ All-Time Blockbusters- 48 Platinum Jubilee hits + 27 Golden Jubilee hits + 26 Silver Jubilee Hits, & 17 average hits, over 25 yrs.
So these quite wonderful film business websites have come up with a inflation adjusted analysis of few of his random films, which I shall present about now, just to open the eyes of today's audiences, to just the massive quantum of collections, achieved by this one actor alone. They've done this chronologically for just few of his mildly to very successful (~42/125 ie 1/3rd) lead/parallel lead films leaving out vast sums of his other massively successful films , from late 60s to late 90s, & only inflation-adjusted worldwide collection numbers, so audiences of today can get a decent idea.
1. Raaz - 284 Crores 2. Bandhan - 437 Crores 3. Aradhana - 1092 Crores 4. Ittefaq - 266 Crores 5. Doli - 344 Crores 6. Do Raaste - 1014 Crores 7. Kati Patang - 540 Crores 8. Safar - 426 Crores 9. The Train - 284 Crores 10. Sachcha Jhutha - 781 Crores 11. Aan Milo Sajna - 710 Crores 12. Amar Prem - 387 Crores 13. Mehboob Ki Mehndi - 233 Crores 14. Anand - 220 Crores 15. Haathi Mere Saathi - 903 Crores 16. Andaz - 516 Crores 17. Maryada - 581 Crores 18. Dushman - 644 Crores 19. Apna Desh - 492 Crores 20. Shehzada - 223 Crores 21. Daag - 689 Crores 22. Namak Haraam - 212 Crores 23. Aap Ki Kasam - 311 Crores 24. Prem Nagar - 440 Crores 25. Ajnabee - 243 Crores 26. Roti - 388 Crores 27. Prem Kahani - 168 Crores 28. Maha Chor - 143 Crores 29. Mehbooba - 177 Crores 30. Chhaila Babu - 197 Crores 31. Aashiq Hoon Baharon Ka - 146 Crores 32. Muqabla - 175 Crores 33. Amar Deep - 139 Crores 34. Thodisi Bewafai - 143 Crores 35. Kudrat - 174 Crores 36. Fiffty Fiffty - 179 Crores 37. Rajput - 339 Crores 38. Ashanti - 217 Crores 39. Dharam Kanta - 272 Crores 40. Maqsad - 318 Crores 41. Swarg - 85 Crores 42. Aa Ab Laut Chalen - 153 Crores
Have a look at that. And we've just begun checking (a random 1/3rd of his films) !
He was born on 29 December 1942 in Amritsar, Punjab, India, and entered Hindi films in the year 1965 when began shooting for Raaz and did 180 films - 163 feature films and 17 short films. By 2011, he held the record for maximum number of films as solo lead hero and least number of multi star cast films in Hindi Cinema. Of the 163 films - 106 were solo hero films and 22 were multi star films and 29 films had him in special effective guest appearances(though only 97 solo and 20 two hero films only released and 11 unreleased from 1966 till 2013).He ranked first and won the United Producers All India Contest held in 1965 by beating 10000 candidates and the prize of it was acting in films Akhri Khat and Raaz. He first tasted success as an actor with 3 consecutive hit films like Aakhri Khat,Raaz and Aurat.His first brush with super-stardom was when outburst from his fans forced the director to change the story of Baharaon Ke Sapne's ending from a tragic one to a happy one after 1 week of its release. Though Baharon Ke Sapne was average in some centers it was declared flop in most places. In 1969 Rajesh Khanna achieved super-stardom with Shakti Samantha's 'Aradhana" (1969).He became the craze of the nation, and critics across India started calling him the First Superstar of both Indian Cinema (No. 1 Actor) and Hindi Films and remained so alone as the Superstar for 7 years (1969-1976) and had to share the status with Amitabh from 1977-1991 till he left films to join politics in 1991.He overtook his predecessors Dev-Dilip-Raj, Shammi Kapoor,Rajendra Kumar in terms of extreme popularity with audience and critics, quality of performances, variety of roles and films by doing quickly 47 films from 1966-75 which included 36 Golden Jubilee Hits(21 of the 36 were platinum) and 4 silver silver jubilee hits and only 7 flops in 9 years. He also made the world record of having 17 successive super-hits in 3 years from 1969-71 which included 15 consecutive solo super-hit films and 2 two hero films namely Andaz and Maryada. The main difference between him and his predecessors,successors, contemporaries was that Khanna's films ran successfully in whole of India and not just Hindi speaking areas and he did films of every genre simultaneously and has more critically acclaimed films to his credit than all other Hindi Actors of every generation. He stands out even by selection of his films as he regularly did both offbeat alternate cinema along with commercial potboiler films and had success in both.He introduced intelligent cinema to the masses with ease. Those 15 consecutive hit solo lead hero films from 1969-71 were Aradhana, Doli, Bandhan, Ittefaq, Do Raaste, Khamoshi, Safar, The Train, Kati Patang, Sachaa Jhutha, Aan Milo Sajna, Mehboob Ki Mehendi, Choti Bahu, Anand and Haathi Mere Saathi. His next release Maalik flopped ending thereby the record.
Anju Mahendru was his girl friend in 1968-1972, the then aspiring actress but they had breakup in 1972 when Anju was not ready for marriage while Khanna wanted to marry her, and Khanna married his fan Dimple Kapadia in March 1973, 8 months before Dimple's debut film Bobby released in theaters.
Khanna's pairing with Mumtaz always produced much success as they had all of their 8 films together as major platinum jubilee hits.His films with Sharmila Tagore, Asha Parekh, Tanuja, Hema Malini and Zeenat Aman was a favorite with audiences too in 70's.
From 1976 on-wards till 1978, he had 5 box office hits as lead hero(2 silver jubilee hits, 2 platinum hits, 1 average hit), 3 hits in guest appearances, 1 flop in guest appearance and 8 films of him as the main lead flopped unexpectedly although his performances and the film's music were praised by critics and thereby 76-78 is considered his bad phase.
K.Balaji wanted to establish himself in Hindi film industry as a producer and thereby wanted to remake his Tamil film Sivaji Ganeshan starer Dheepam in Hindi. At a time when Khanna's films were not working at the box office, Khanna got this film out of the blue and went on to become a big hit. Khanna bounced back with twin success of Amardeep and Prem Bandhan then again started giving many critically acclaimed and commercially successful films including 35 Golden Jubilee Hits(includes 25 platinum) and 14 SJH starting from 1979 till 1991 and had 9 average hits from 1976-1996. In the 80's his films opposite Tina Munim, Hema Malini, Reena Roy, Rekha, Shabana Azmi, Smita Patil and Poonam Dhillon were big hits.
He produced three films and co-produced 4 films. He had total 105 box office hits(91 as lead hero and 14 in guest appearance) from 1966-1991.He left film industry in 1991 and entered politics by joining the Congress Party in 1991 and became a member of parliament. Khanna was awarded Filmfare Special award in 1991 for having starred in 101 films as the solo lead hero(92 solo film released till 1992 and includes 7 unreleased solos and Anuraag) and having done just 21 two hero films(only 19 released till 1991) but having appeared in 153 films in short span of 25 years between 1966-1991. Has won most number of All India Critics Award for Best Actor for a record 7 times and was nominated for same 10 times.He holds record for being the actor to win maximum BJFA awards for Best Actor - 4 and was nominated the most for it - 25 times.He is still adored and fondly remembered by the masses. Songs from his films adorn the lips of youth and adolescents. He was the first mega-star and has left behind a storehouse of the finest moments in film history.1972- Anand as Anand Saigal- Actor
- Writer
- Visual Effects
Manoj Kumar, born Harikrishna Giri Goswami, is an Indian film actor, director, and screenwriter best known for his work in Hindi films.
Born in Abbottabad, a small town in the North-West Frontier Province, British India (now Khyber Pakhtunkhwa, Pakistan), he and his family shifted to Delhi during the Partition.
Kumar made his film debut with Fashion (1957). He then got his break in Kanch Ki Gudiya (1961), where he acted with Sayeeda Khan.
After acting in Reshmi Rumal (1961) and Piya Milan Ki Aas (1961), Kumar was cast opposite Mala Sinha in Vijay Bhatt's Hariyali Aur Rasta (1962).
He continued to rule the roost with films, including Apna Banake Dekho (1962) and Nakli Nawab (1962).
He also acted in social films, including Grahasti (1963) and Apne Huye Paraye (1964).
In 1964, Kumar appeared in Raj Khosla's Woh Kaun Thi? (1964) with Sadhana Shivdasani. He worked alongside Mala Sinha and Vijay Bhatt again in Himalay Ki Godmein (1965).
Kumar and Khosla built upon their joint success with Do Badan (1966), which became a success. In this film, Kumar was cast opposite Asha Parekh.
His thriller, Gumnaam (1965), was another box office hit, and it was one of the highest-grossing movies that year, earning Rs. 2.6 crores. In the same year, Kumar starred in the film Shaheed (1965), which explored the life of the great freedom fighter, Bhagat Singh.
He also played pivotal roles in classics such as Sawan Ki Ghata (1966) and Patthar Ke Sanam (1967).
In 1967, he forayed into film direction with Upkar (1967), where he starred as a farmer and a soldier. This film won multiple awards at the Filmfare Awards 1968, including Best Story, Best Dialogue, Best Director, and Best Film.
Kumar followed up his success with more films such as Aadmi (1968), Purab Aur Pachhim (1970), and Be-Imaan (1972). He also directed and acted in Shor (1972).
Kumar acted in and directed Roti Kapada Aur Makaan (1974) and won the Best Director award at the Filmfare Awards in 1975.
He then went on to appear in more classics, including Sanyasi (1975); Pehchan (1975), wherein he starred opposite Babita Kapoor; and Dus Numbri (1976).
He directed Dilip Kumar, his idol, in the film Kranti (1981), which explored the Indian struggle for Independence.
Post Kranti, Kumar acted in films such as Kalyug Aur Ramayan (1987), Clerk (1989), and Maidan-E-Jung (1995). He also directed Kunal Goswami, his son, in Jai Hind (1999).
Kumar was conferred the title of Padma Shri by the Government of India in 1992. He also received The Filmfare Lifetime Achievement Award in 1999 for his work spanning four decades; the Bharat Gaurav Award in New Jersey, U.S., in 2012; and The Dadasaheb Phalke Award in 20161973- Be-Imaan as Mohan- Actor
- Music Department
- Producer
Born in south Mumbai, Kapoor is the second son of film director and actor Raj Kapoor. He did his schooling with his brothers at Mumbai's Campion School. His brothers are well-known actors, Randhir Kapoor and Rajiv Kapoor.
Rishi Kapoor debuted in his father's 1970 film Mera Naam Joker, playing his father's role as a child. Rishi Kapoor had his first lead role opposite Dimple Kapadia in the popular 1973 film Bobby which became an instant hit among youngsters. He made a popular pairing with future wife Neetu Singh in 1974-1981 but the pair was successful only in films with big casts, since films with Rishi as the lead - like Zehreela Insaan, Zinda Dil, Doosara Aadmi, Anjane Mein, Jhoota Kahin Ka, Dhan Daulat - were box office flops. Rishi Neetu pair was successful in multi-star films like Khel Khel Mein, Kabhie Kabhie, Amar Akbar Anthony, Pati Patni Aur Woh, Duniya Meri Jeb Mein. The only solo hit of the Rishi Neetu was Rafoo Chakkar. Rishi Kapoor got 51 films as the solo lead hero from 1974-1997 but of them 40 were box office flops, and he managed only 11 hits: Bobby, Laila Majnu, Rafoo Chakkar, Sargam, Karz, Prem Rog, Nagina, Honeymoon, Banjaran, Heena and Bol Radha Bol. So, he was offered the role of playing younger brother to lead heroes in movies with big casts from 1977-1994. Rishi Kapoor did 41 films with big casts from 1976-2000 where Rishi was cast as 2nd or 3rd lead hero. Of them, 16 were flops and 25 were hits. He was often offered the role of younger brother to main lead heroes in the multi-hero films he did where his character would be a romantic one and the story would revolve on the main lead hero of the film. In the '90s, his 2 hero films Deewana, Damini and Eena Meena Dika were hits. He got the plum lead hero roles in two-hero films only few times like in Hum Kisi Se Kum Nahin, Badalte Roshtey, Aap Ke Deewane, Saagar then in the '90s with Chandni, Deewana (1992), Damini (1993) and Gurudev (1994); otherwise in the 2 hero films Rishi did in the late 70s and throughout the '80s, it was his other co-star whose character overshadowed Rishi's and the other co-star was appreciated more like in case of Katilon Ke Kaatil, Coolie, Sitamgar, Zamana. After several box office failures from in 1990s, he eventually moved on to supporting roles in the 2000s. In 1999 he directed the film Aa Ab Laut Chalen. His last film as a romantic lead was the 5-year delayed release Karobaar: The Business of Love (2000), which was unsuccessful. He has since then played supporting roles in films like Yeh Hai Jalwa, Hum Tum, Fanaa, Namaste London, Love Aaj Kal and Patiala House. He also appeared in the British films Don't Stop Dreaming and Sambar Salsa. He was paired with Neetu Singh in the film Do Dooni Chaar (2010). Rishi has acted in the movie Chintu Ji in which he plays himself. In 2012 he appeared in a villainous role in Agneepath and in the multi-starer Housefull 2 where he appeared with brother Randhir for the first time.1974- Bobby as Raj Nath
(In his autobiography, actor Rishi Kapoor accepted buying the Filmfare Award for Best Actor, for his role in the 1973 film Bobby, for thirty thousand Rupees).- Actor
- Music Department
- Producer
On Stats Alone, The Most Popular Actor In The History Of Cinema!
The only actor to enjoy near God-like status across the length and breadth of India for a quarter century!
Elected in several expert online polls, as The Greatest Actor In The History Of World Cinema !
With 100+ All-Time Blockbusters- 48 Platinum Jubilee hits + 27 Golden Jubilee hits + 26 Silver Jubilee Hits, & 17 average hits, over 25 yrs.
So these quite wonderful film business websites have come up with a inflation adjusted analysis of few of his random films, which I shall present about now, just to open the eyes of today's audiences, to just the massive quantum of collections, achieved by this one actor alone. They've done this chronologically for just few of his mildly to very successful (~42/125 ie 1/3rd) lead/parallel lead films leaving out vast sums of his other massively successful films , from late 60s to late 90s, & only inflation-adjusted worldwide collection numbers, so audiences of today can get a decent idea.
1. Raaz - 284 Crores 2. Bandhan - 437 Crores 3. Aradhana - 1092 Crores 4. Ittefaq - 266 Crores 5. Doli - 344 Crores 6. Do Raaste - 1014 Crores 7. Kati Patang - 540 Crores 8. Safar - 426 Crores 9. The Train - 284 Crores 10. Sachcha Jhutha - 781 Crores 11. Aan Milo Sajna - 710 Crores 12. Amar Prem - 387 Crores 13. Mehboob Ki Mehndi - 233 Crores 14. Anand - 220 Crores 15. Haathi Mere Saathi - 903 Crores 16. Andaz - 516 Crores 17. Maryada - 581 Crores 18. Dushman - 644 Crores 19. Apna Desh - 492 Crores 20. Shehzada - 223 Crores 21. Daag - 689 Crores 22. Namak Haraam - 212 Crores 23. Aap Ki Kasam - 311 Crores 24. Prem Nagar - 440 Crores 25. Ajnabee - 243 Crores 26. Roti - 388 Crores 27. Prem Kahani - 168 Crores 28. Maha Chor - 143 Crores 29. Mehbooba - 177 Crores 30. Chhaila Babu - 197 Crores 31. Aashiq Hoon Baharon Ka - 146 Crores 32. Muqabla - 175 Crores 33. Amar Deep - 139 Crores 34. Thodisi Bewafai - 143 Crores 35. Kudrat - 174 Crores 36. Fiffty Fiffty - 179 Crores 37. Rajput - 339 Crores 38. Ashanti - 217 Crores 39. Dharam Kanta - 272 Crores 40. Maqsad - 318 Crores 41. Swarg - 85 Crores 42. Aa Ab Laut Chalen - 153 Crores
Have a look at that. And we've just begun checking (a random 1/3rd of his films) !
He was born on 29 December 1942 in Amritsar, Punjab, India, and entered Hindi films in the year 1965 when began shooting for Raaz and did 180 films - 163 feature films and 17 short films. By 2011, he held the record for maximum number of films as solo lead hero and least number of multi star cast films in Hindi Cinema. Of the 163 films - 106 were solo hero films and 22 were multi star films and 29 films had him in special effective guest appearances(though only 97 solo and 20 two hero films only released and 11 unreleased from 1966 till 2013).He ranked first and won the United Producers All India Contest held in 1965 by beating 10000 candidates and the prize of it was acting in films Akhri Khat and Raaz. He first tasted success as an actor with 3 consecutive hit films like Aakhri Khat,Raaz and Aurat.His first brush with super-stardom was when outburst from his fans forced the director to change the story of Baharaon Ke Sapne's ending from a tragic one to a happy one after 1 week of its release. Though Baharon Ke Sapne was average in some centers it was declared flop in most places. In 1969 Rajesh Khanna achieved super-stardom with Shakti Samantha's 'Aradhana" (1969).He became the craze of the nation, and critics across India started calling him the First Superstar of both Indian Cinema (No. 1 Actor) and Hindi Films and remained so alone as the Superstar for 7 years (1969-1976) and had to share the status with Amitabh from 1977-1991 till he left films to join politics in 1991.He overtook his predecessors Dev-Dilip-Raj, Shammi Kapoor,Rajendra Kumar in terms of extreme popularity with audience and critics, quality of performances, variety of roles and films by doing quickly 47 films from 1966-75 which included 36 Golden Jubilee Hits(21 of the 36 were platinum) and 4 silver silver jubilee hits and only 7 flops in 9 years. He also made the world record of having 17 successive super-hits in 3 years from 1969-71 which included 15 consecutive solo super-hit films and 2 two hero films namely Andaz and Maryada. The main difference between him and his predecessors,successors, contemporaries was that Khanna's films ran successfully in whole of India and not just Hindi speaking areas and he did films of every genre simultaneously and has more critically acclaimed films to his credit than all other Hindi Actors of every generation. He stands out even by selection of his films as he regularly did both offbeat alternate cinema along with commercial potboiler films and had success in both.He introduced intelligent cinema to the masses with ease. Those 15 consecutive hit solo lead hero films from 1969-71 were Aradhana, Doli, Bandhan, Ittefaq, Do Raaste, Khamoshi, Safar, The Train, Kati Patang, Sachaa Jhutha, Aan Milo Sajna, Mehboob Ki Mehendi, Choti Bahu, Anand and Haathi Mere Saathi. His next release Maalik flopped ending thereby the record.
Anju Mahendru was his girl friend in 1968-1972, the then aspiring actress but they had breakup in 1972 when Anju was not ready for marriage while Khanna wanted to marry her, and Khanna married his fan Dimple Kapadia in March 1973, 8 months before Dimple's debut film Bobby released in theaters.
Khanna's pairing with Mumtaz always produced much success as they had all of their 8 films together as major platinum jubilee hits.His films with Sharmila Tagore, Asha Parekh, Tanuja, Hema Malini and Zeenat Aman was a favorite with audiences too in 70's.
From 1976 on-wards till 1978, he had 5 box office hits as lead hero(2 silver jubilee hits, 2 platinum hits, 1 average hit), 3 hits in guest appearances, 1 flop in guest appearance and 8 films of him as the main lead flopped unexpectedly although his performances and the film's music were praised by critics and thereby 76-78 is considered his bad phase.
K.Balaji wanted to establish himself in Hindi film industry as a producer and thereby wanted to remake his Tamil film Sivaji Ganeshan starer Dheepam in Hindi. At a time when Khanna's films were not working at the box office, Khanna got this film out of the blue and went on to become a big hit. Khanna bounced back with twin success of Amardeep and Prem Bandhan then again started giving many critically acclaimed and commercially successful films including 35 Golden Jubilee Hits(includes 25 platinum) and 14 SJH starting from 1979 till 1991 and had 9 average hits from 1976-1996. In the 80's his films opposite Tina Munim, Hema Malini, Reena Roy, Rekha, Shabana Azmi, Smita Patil and Poonam Dhillon were big hits.
He produced three films and co-produced 4 films. He had total 105 box office hits(91 as lead hero and 14 in guest appearance) from 1966-1991.He left film industry in 1991 and entered politics by joining the Congress Party in 1991 and became a member of parliament. Khanna was awarded Filmfare Special award in 1991 for having starred in 101 films as the solo lead hero(92 solo film released till 1992 and includes 7 unreleased solos and Anuraag) and having done just 21 two hero films(only 19 released till 1991) but having appeared in 153 films in short span of 25 years between 1966-1991. Has won most number of All India Critics Award for Best Actor for a record 7 times and was nominated for same 10 times.He holds record for being the actor to win maximum BJFA awards for Best Actor - 4 and was nominated the most for it - 25 times.He is still adored and fondly remembered by the masses. Songs from his films adorn the lips of youth and adolescents. He was the first mega-star and has left behind a storehouse of the finest moments in film history.1975- Avishkaar as Amar- Harihar Jariwala a.k.a. Sanjeev Kumar was born in a Gujrati family in 1938. He portrayed many roles irrespective of the age or the type of chararcter. The actor ballooned in size in later years of his life due to the gastronomical pleasures he had inherited by sleeping in a kitchen while he was a child (which became the cause of his death in 1985 when he died of a heart ailment). Interestingly the actor was one of the very few who didn't have any competition within the industry. Sanjeev's notable performances were in films like Sholay, Parichay, Aandhi, Angoor and the Satyajit Ray masterpiece Shatranj Kay Khiladi.1976- Aandhi as J.K
- Harihar Jariwala a.k.a. Sanjeev Kumar was born in a Gujrati family in 1938. He portrayed many roles irrespective of the age or the type of chararcter. The actor ballooned in size in later years of his life due to the gastronomical pleasures he had inherited by sleeping in a kitchen while he was a child (which became the cause of his death in 1985 when he died of a heart ailment). Interestingly the actor was one of the very few who didn't have any competition within the industry. Sanjeev's notable performances were in films like Sholay, Parichay, Aandhi, Angoor and the Satyajit Ray masterpiece Shatranj Kay Khiladi.1977- Arjun Pandit as Arjun Pandit
- Actor
- Producer
- Writer
Amitabh Bachchan was born on October 11, 1942 in Allahabad, British India (present-day Prayagraj, Uttar Pradesh, India) to legendary poet Harivansh Rai Bachchan & Teji Bachchan. He also has a brother named Ajitabh. He completed his education from Uttar Pradesh and moved to Bombay to find work as a film star, in vain though, as film-makers preferred someone with a fairer skin, and he was not quite fair enough. But they did use one of his other assets, his deep baritone voice, which was used for narration and background commentary. He was successful in being cast in Saat Hindustani. He got his break in Bollywood after a letter of introduction from the then Prime Minister Mrs. Indira Gandhi, as he was a friend of her son, Rajiv Gandhi. This is how Bachchan made an entry in Bollywood, starting with Zanjeer, co-starred with his future wife Jaya Bhaduri, and since then there has been no looking back.
He married Jaya Bhaduri, an accomplished actress in her own right, and they had two children, Shweta and Abhishek. Shweta is married, lives a non-filmy life and has two children.
Being friends with Rajiv Gandhi, got him to decide to run for seat in the Indian National Congress (political party) from his home town but had to leave mid-term because of controversies, particularly after Rajiv and he were implicated in the now infamous "Bofors" case along with the U. K. based Hinduja Brothers.
After a four year break, he was back in the unsuccessful Mrityudaata (1997), a comeback which the actor wanted to forget. Critics written him off but his career was saved with Bade Miyan Chote Miyan (1998). But four flops in 1999 and incurring debt of over 90 crore rupees of his sinking company ABCL saw him at an all-time low. To make matters worse, after the defeat of the Congress party, Bachchan lost considerable political support, the opposition made him a target, and his credit rating deteriorated to such an extent that a leading nationalized bank, Canara Bank, sued him for outstanding loans. He did bounce back, presenting the Indian version of Who Wants To Be A Millionaire called Kaun Banega Crorepati? (2000). After a series of hits with Mohabbatein (2000), Kabhi Khushi Kabhie Gham... (2001) and Baghban (2003) and Khakee (2004), Bachchan is showing no signs of slowing down and proving the critics wrong once again.
Amitabh and Jaya were interested in getting their son Abhishek married to Karisma Kapoor, the daughter of Babita and Randhir Kapoor, they went through a formal engagement, but later broke it off.
The former Miss World and Bollywood actress, Aishwarya Rai and Abhishek, were formally engaged on Sunday January 14, 2007, at the Bachchan residence in Juhu, Bombay, with the marriage taking place at the Bachchan residence on April 20, 2007.
On November 16, 2011, he became a Dada (paternal grandfather) when Aishwarya gave birth to a daughter in a Mumbai Hospital. He is already a Nana (maternal grandfather) to Navya and Agastye - Shweta's children.
He continues to be one of the busiest actors and singers in Bollywood as well as on TV, as can be seen from the commercials that he appears on, especially on Sahara One. Looks like there are no limits for this super-star and once the "Angry Young Man" of Bollywood.1978- Amar Akbar Anthony as Anthony Gonzalves