July 7, 2025, marks the fourth anniversary of the passing of Dilip Kumar, India’s Koh-i-Noor, whose contributions to Indian cinema remain unparalleled. This tribute celebrates the life, artistry, and enduring impact of the Shahenshah-e-Adakari (The emperor of acting)
The Birth of a Legend
Born Yusuf Khan on December 11, 1922, in Peshawar (now in Pakistan), Dilip Kumar emerged as one of the earliest and most influential stars of Hindi cinema. Alongside Raj Kapoor and Dev Anand, he formed the triumvirate that defined the golden era of Bollywood. However, Dilip Kumar was more than a star; he was a pioneer who blended raw talent with an unmatched screen presence. His debut in Jwar Bhata (1944), produced by Bombay Talkies, marked the beginning of a career that spanned over six decades and included more than 60 films. His ability to embody complex characters earned him the moniker “Tragedy King,” a title bestowed upon him for his heart-wrenching performances in films like Devdas (1955) and Mughal-e-Azam (1960).
Legendary filmmaker Satyajit Ray described him as “the ultimate method actor,” a testament to his immersive approach to acting. Dilip Kumar’s performances were marked by an emotional depth and authenticity that set a benchmark for generations. His films, including Andaz (1949), Naya Daur (1955), Madhumati (1957), Ganga Jamuna (1961), and Ram Aur Shyam (1967), showcased his versatility, from intense romantic leads to socially conscious roles that resonated with audiences.
A Career of Iconic Roles
Dilip Kumar’s filmography is a treasure trove of cinematic milestones. In Devdas, he portrayed the tormented lover with such intensity that the character became synonymous with his name. Mughal-e-Azam, a magnum opus, saw him as Prince Salim, delivering a performance that remains etched in Indian cinema’s history for its emotional and dramatic heft. His role in Naya Daur addressed the clash between tradition and modernity, while Ganga Jamuna showcased his command over dialects and storytelling, as he also produced the film. His dual role in Ram Aur Shyam highlighted his ability to seamlessly switch between contrasting characters, cementing his reputation as a versatile genius.
The 1970s, however, posed challenges. After a string of lacklustre films, Dilip Kumar faced a career slump. Yet, his resilience shone through in 1981 with Kranti, where he played a freedom fighter. In his memoir, Dilip Kumar: The Substance & The Shadow, he revealed that he was contemplating retirement but accepted the role out of loyalty to director Manoj Kumar, who supported him during his wife Saira Banu’s health crisis. Kranti marked the beginning of his second innings, introducing him to a new generation.
Throughout the 1980s, Dilip Kumar delivered powerful performances in films like Vidhaata (1982), Shakti (1982), Mashaal (1984), Karma (1986), and Saudagar (1991). Though no longer the central hero, his pivotal roles drove the narratives, proving his enduring relevance. Reflecting on this phase, he wrote, “All the films I selected at this juncture… were chosen because they offered me the satisfying pivotal role in the script.” His ability to reinvent himself ensured his legacy remained vibrant.
The Unfinished Masterpiece: Shikwa
One of Hindi cinema’s great tragedies is the incomplete film Shikwa (1954), which promised to unite Dilip Kumar with Nutan at the peak of their careers. Directed by Ramesh Saigal, who had previously collaborated with Dilip Kumar on the hit Shaheed (1948), Shikwa cast Dilip Kumar as Ram, a disillusioned army officer court-martialed for advocating peace. Nutan played Indu, his girlfriend, in a story described in a 1951 Filmindia advertisement as “the story of a man who challenged GOD….!” The film, produced by Filmkaar, featured music by Ghulam Haider and promised to be a milestone. Surviving footage of court-martial scenes hints at the brilliance that could have been, with Dilip Kumar and Nutan’s chemistry palpable even in fragments. Financial troubles led to Filmkaar’s collapse, leaving Shikwa unfinished—a loss that cinephiles still mourn.
A Life Beyond the Silver Screen
Dilip Kumar’s personal life was as layered as his performances. Born into a Pathan family, he was a polyglot with mastery over Urdu, Hindi, and English, and a deep appreciation for Urdu and English poetry. His intellectual pursuits extended to chess, where he excelled as a master, and football, where he showcased his athleticism in his youth, defying his father’s wish for him to pursue chess professionally.
His romantic life garnered significant attention. Early relationships with actresses Kamini Kaushal and Madhubala were marred by societal and familial constraints. His marriage to Saira Banu in 1966, despite a 22-year age gap, became a cornerstone of his life. A brief second marriage to Asma in 1980 ended quickly, and he returned to Saira, with whom he shared a bond until his passing. Their partnership extended beyond personal life, as Saira often produced his films, including Ganga Jamuna.
A Legacy of Honours
Dilip Kumar’s contributions to Indian cinema were recognized with prestigious accolades. The Government of India honored him with the Padma Bhushan (1991), the Dadasaheb Phalke Award (1994), and the Padma Vibhushan (2015). He also served as a nominated member of the Rajya Sabha from 2000 to 2006, reflecting his stature as a cultural icon. Pakistan bestowed its highest civilian honour, the Nishan-e-Imtiaz, in 1997, acknowledging his cross-border influence. His philanthropy, including his work with the Dilip Kumar Foundation for underprivileged children, further cemented his legacy as a humanitarian.
The Koh-i-Noor of Indian Cinema
On July 7, 2021, India lost its Koh-i-Noor, a gem whose brilliance illuminated the silver screen for decades. Dilip Kumar’s ability to transcend the ephemeral nature of stardom and create a lasting blueprint for actors remains unmatched. His method acting, emotional depth, and choice of meaningful roles inspired generations, from Amitabh Bachchan to Shah Rukh Khan, who often cited him as an influence.
As we commemorate his fourth death anniversary, the call for a posthumous Bharat Ratna grows louder. Such an honour would be a fitting tribute to a man who not only shaped Indian cinema but also embodied its soul. His words from Mughal-e-Azam echo in our hearts: “Hamare baad mehfil mein afsaane bayaan honge, Baharein humko dhoondhegi na jaane hum kahaan honge.” Dilip Kumar may no longer be among us, but his stories, his craft, and his legacy will forever resonate in the mehfil of Indian cinema.
[Hasnain Naqvi is a former member of the history faculty at St. Xavier’s College, Mumbai]
