The Man Who Became Cinema: Dilip Kumar, by Ashok Chopra, explores the magic of Indian cinema’s greatest icon with meticulous research. The book navigates and dissects Dilip Kumar’s journey, film by film, scene by scene, and song by song. It intricately examines the psychological, behavioral, and improvisational aspects of the actor, offering a testament to his unparalleled place in Indian cinema. Chopra also investigates the filmmakers, music composers, lyricists, writers, cinematographers, and critics who shaped his career.
In the opening chapter, the author examines Dilip Kumar’s evolution into a legendary actor, marking the classical phase of Hindi cinema. He explores the qualities that triggered Kumar’s meteoric rise, highlighting his introverted nature and his capacity to generate a complete catharsis of emotions—a model of the self-destructing hero in search of an ideal self. Many of his films reflected a quest for liberation from injustice through sustained suffering.
Nikhat Kazmi observed how Kumar often embraced grief as the tragic hero, portraying characters for whom sorrow, rather than happiness, was the only plausible response. Amitabh Bachchan and Vyjayanthimala echoed this sentiment, describing him as a milestone in Bollywood history, with careers divided into periods before and after Dilip Kumar. The book also details how Kumar’s deep immersion in his roles led to psychological strain, prompting a consultation with a psychiatrist in England and a subsequent shift toward comic roles.
Chopra examines how Kumar pioneered method acting, unlocking his artistic potential and introducing new standards of performance. His craft projected the aspirations, dreams, historical ties, and inner conflicts of the people, all expressed in a native idiom. Kumar’s methods influenced the socio-cultural and political themes of Indian cinema. Yet, as Naseeruddin Shah critiqued, Kumar’s later years saw a drift toward star-centric, commercially motivated projects, and a reluctance to transmit his methods to future generations, limiting his influence on experimental cinema.
The book also delves into the evolution of his acting style, showing how he departed from classical conventions. Kumar cultivated a methodology for experiencing roles internally, capturing the socio-historical essence of his characters through meticulous observation. He rejected the notion of “natural” acting, emphasizing precise study of dialogue, expressions, and body language to authentically portray characters.
By separating visual and verbal personalities, he transformed dialogue delivery in Hindi cinema and freed films from theatrical constraints, blending underplay and overplay with remarkable subtlety. Chopra draws a striking parallel to Einstein, noting Kumar’s ability to consciously split emotional fields, transitioning from despair to joy, and making his facial expressions speak volumes.
Music, too, played a critical role in his films. Kumar’s sensitivity to melody and lyrics is evident in his collaborations with composers and singers such as Shakeel Badayuni, Naushad, Mohammad Rafi, Mukesh, Lata Mangeshkar, and Shankar-Jaikishan. From Baiju Bawra to a repertoire spanning six decades, his careful attention to the musical dimension elevated the cinematic experience.
Chopra classifies Kumar’s films under categories such as “Many Faces, Many Hues,” “Negotiations with Grief,” “King of Comedy,” “The Crusading Hero,” “Anti-Hero,” and “Man of the Law,” tracing the evolution of his characters. From tragic heroes in films like Devdas and Madhumati to comic turns in Ram Aur Shyam and crusading roles in Shaheed and Ganga Jamuna, Kumar constantly reinvented himself, showcasing versatility while engaging audiences across eras. The book also examines his unfinished and unreleased projects, including Hollywood offers like Lawrence of Arabia and Indian films such as Aaga Ka Darya and Chanakya Chandragupta.
While Chopra’s study is exhaustive, the work has a few shortcomings. Frequent quotations from industry figures sometimes overshadow the analysis of individual films, and the complex language may challenge general readers. A chronological exploration of his films could have better illustrated the evolution of his craft and its sociopolitical impact. Some chapters, particularly on the “Anti-Hero” and “Crusading Hero,” overlap, and there is limited probing into Kumar’s personal life and experiences. Moreover, contradictions emerge in discussions of whether Kumar was a method actor or a natural performer, and claims about breaking theatrical conventions occasionally seem overstated.
Despite these critiques, The Man Who Became Cinema remains a comprehensive and compelling study of Dilip Kumar’s genius. Chopra’s detailed examination of his art, craft, and the social relevance of his films captures the enduring legacy of an actor whose influence on Indian cinema is profound and timeless.
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*Freelance journalist
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