Manoj Kumar carved out distinct identity as actor, director, and producer in Hindi cinema

By Bharat Dogra  

Manoj Kumar, who passed away on April 4, was a leading presence in Hindi cinema for several years and carved out his own distinct identity as an actor, director, and producer. He achieved great popularity in all these roles. While several of his films were major box-office hits, his most enduring contributions to Hindi cinema are in the form of two films.

The first of these, "Shaheed" (1965), deserves a place in any list of the greatest films made in Hindi, particularly in the context of films advocating for social change. This film, based on the life of Shaheed Bhagat Singh and his fellow freedom fighters, featured Manoj Kumar portraying Bhagat Singh with great effectiveness. While several films on Bhagat Singh have been made in Hindi, many regard this one as the finest.

The success of "Shaheed" can be attributed partly to Manoj Kumar's profound emotional commitment to the subject and partly to the enduring popularity of its songs, which have left a significant cultural impact. Decades later, these songs remain popular as solidarity and freedom movement anthems. The great lyricist Prem Dhawan, along with iconic singers like Mohammad Rafi, contributed to creating memorable songs that Manoj Kumar brought to life through moving and inspiring visuals. Remarkably, Prem Dhawan not only wrote the lyrics but also composed the music for these songs, a rare occurrence in his career. While drawing from well-known freedom songs, such as the poetry of Ram Prasad Bismil, he adapted them in ways that resonated with contemporary audiences.

For instance, "Ae Watan, Ae Watan, Humko Teri Kasam," sung by Mohammad Rafi, conveys immense determination in a restrained yet powerful voice. This song is performed in the film by Bhagat Singh at a poignant moment when he pledges to sacrifice his life for the nation's freedom. Another song, "Sarfaroshi Ki Tamanna," employs famous lines by Ram Prasad Bismil and is used powerfully in a scene where Shahid Jatindra Nath Das succumbs after a long hunger strike in jail. The iconic "Rang De Basanti Chola," another timeless freedom anthem, is presented memorably in the sequence depicting the execution of the three martyrs—Bhagat Singh, Rajguru, and Sukhdev. Sung by Mukesh, Mohammad Rafi, Rajendra Mehta, and Lata Mangeshkar, this song continues to evoke the spirit of sacrifice for a noble cause. 

The credit for assembling such a remarkable team and creating a film that remains inspirational 60 years later belongs entirely to Manoj Kumar.

The second film of enduring significance from Manoj Kumar is "Upkar" (1967). While it may not match "Shaheed" in terms of filmmaking quality and emotional depth, its role in raising the nation's morale during challenging times is significant. It holds a noteworthy place in the history of Hindi cinema and is essential viewing for those studying the sociology of Indian films.

After watching and admiring "Shaheed," then-Prime Minister Lal Bahadur Shastri suggested to Manoj Kumar that he create a film around the theme of "Jai Jawan, Jai Kisan," a slogan Shastri had given to inspire both national security and agricultural self-reliance during a critical period. The sensitive and committed Manoj Kumar took this suggestion to heart and quickly brought this vision to life in "Upkar." Unfortunately, Shastri did not live to see the film born from his idea, a fact that remained a source of lasting regret for Manoj Kumar.

However, "Upkar" resonated deeply with audiences, capturing the national imagination. As a child in Delhi Cantonment, I vividly remember the excitement surrounding this film—from the struggle to secure tickets to the lively discussions that followed every screening. For months, Manoj Kumar was celebrated as one of Hindi cinema’s most iconic personalities. His performance received widespread acclaim, as did that of Pran, who portrayed an unconventional role, breaking away from his usual on-screen persona.

While Manoj Kumar went on to make other popular films like "Roti, Kapda aur Makaan," "Kranti," and "Shor," these two films—"Shaheed" and "Upkar"—represent the pinnacle of his cinematic achievements, accomplished at a relatively early stage of his career.

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The writer, along with Madhu Dogra, has co-authored the book "Hindi Cinema and Society." His collections of stories and poems include "A Day in 2071," "Navjeevan," and "Kathin Daur Mein Ummeed"