Dilip Kumar (conceived Muhammad Yusuf Khan; 11 December 1922) is an Indian film performer, maker, screenwriter, and dissident,
known for his work in Hindi film. Otherwise called the Tragedy King, he is attributed with conveying authenticity to film acting since
his first film which was discharged in 1944. He is viewed as one of the best and most powerful performing artists of all time.[citation
Kumar appeared as an on-screen character in the film Jwar Bhata (1944), created by Bombay Talkies. His vocation has spread over more than six
decades and more than 65 films. Kumar is referred to for parts in movies, for example, the sentimental Andaz (1949), the endearing Babul
(1950), the enthusiastic Deedar (1951), the swashbuckling Aan (1952), the sensational Devdas (1955), the amusing Azaad (1955),
Naya Daur (1957), Yahudi (1958), Madhumati (1958), Kohinoor (1960), the epic verifiable Mughal-e-Azam (1960), the social
dacoit wrongdoing show Gunga Jamuna (1961), and the drama Ram Aur Shyam (1967).
In 1976, Dilip Kumar took a five-year break from film exhibitions and came back with a character part in the film Kranti (1981)
furthermore, proceeded with his vocation assuming driving parts in movies, for example, Shakti (1982), Karma (1986) and Saudagar (1991). His last film
was Qila (1998).
He is the victor of nine Filmfare Awards and is the primary beneficiary of the Filmfare Best Actor Award (1954). Regardless he holds the
record for the most Filmfare Awards won for that classification with eight wins. Shah Rukh Khan tied with him in 2011. Commentators have
acclaimed him as one of the best on-screen characters ever.
Kumar was conceived Mohammad Yusuf Khan to Ayesha Begum and Lala Ghulam Sarwar Ali Khan in a Hindko-speaking Awan family
of 12 kids on 11 December 1922 at home in the Qissa Khawani Bazaar territory of Peshawar, British India (cutting edge Khyber
Pakhtunkhwa, Pakistan). His dad was a proprietor and organic product dealer who possessed plantations in Peshawar and Deolali.
Mohammad Yusuf Khan was educated at Barnes School, Deolali, Nashik. He experienced childhood in the same religiously blended
neighborhood as Raj Kapoor, his cherished companion In the late 1930s, his family migrated to Chembur, Mumbai.[citation
In 1940, while still in his teenagers and after a fight with his dad, Mohammad Yusuf Khan left home for Poona (Pune). With
the assistance of a Parsi bistro proprietor and an elderly Anglo-Indian couple, Kumar met a container temporary worker. Without letting on his
family precursors, he landed the position on the value of his insight into great composed and communicated in English. He figured out how to set up a
sandwich slow down at the armed force club and when the agreement finished, he made a beeline for Mumbai having spared Rs. 5000.
In 1942, on edge to begin some dare to assist his dad with family funds, he met Dr. Masani at Churchgate Station,
who requesting that he go with him to Bombay Talkies, in Malad. There he met performing artist Devika Rani, proprietor of Bombay Talkies,
who requesting that he join with the organization on a compensation of Rs. 1250 every month. There he met performing artist Ashok Kumar who was to
impact his acting style instructing him to act “regular”. He additionally met Sashadhar Mukherjee, and both these individuals turned out to be extremely
near Kumar throughout the years. At first, Kumar assisted in the story-composing and scripting division as a result of his
capability in Urdu dialect. Devika Rani asked for him to change his name to Dilip Kumar, and later threw him in a lead
part for Jwar Bhata (1944), which denoted Kumar’s entrance into the Hindi film industry.
Nargis, Raj Kapoor and Dilip Kumar in a scene from the film Andaz (1949).
Picture of Dilip Kumar in 1946.
Dilip Kumar’s first film was Jwar Bhata in 1944, which went unnoticed. After a couple of more unsuccessful movies, it was Jugnu (1947),
in which he featured close by Noor Jehan, that turned into his first real hit in the cinema world. His next real hits were the 1948
films Shaheed and Mela. He got his achievement part in 1949 with Mehboob Khan’s Andaz, in which he featured close by Raj
Kapoor and Nargis. Shabnam additionally discharged that year was another film industry hit
Dilip Kumar in Devdas (1955).
Kumar went ahead to have accomplishment in the 1950s assuming driving parts in a few film industry hits, for example, for example, Jogan (1950),
Babul (1950), Hulchul, (1951), Deedar (1951), Daag (1952), Shikast (1953), Amar (1954), Uran Khatola (1955), Insaniyat (1955),
Devdas (1955), Naya Daur (1957), Yahudi (1958), Madhumati (1958) and Paigham (1959). These movies built up his screen
picture as the “Catastrophe King”. Kumar quickly experienced gloom because of depicting numerous lamentable roles.He likewise played
cheerful parts trying to shed his “catastrophe lord” picture upon his specialist’s recommendation, for example, in Mehboob Khan’s
huge spending plan 1952 swashbuckling melodic Aan. This denoted his first film to be shot in technicolor and to have a wide discharge
crosswise over Europe with a luxurious debut in London. He had encourage accomplishment with lighter parts as a hoodlum in the comic drama Azaad
(1955), and as a regal ruler in the sentimental melodic Kohinoor (1960)
He was the principal performing artist to win the Filmfare Best Actor Award (for Daag) and went ahead to win it a further seven times in his
career.He shaped well known on-screen pairings with a considerable lot of the best performers at the time including Madhubala, Vyjayanthimala,
Nargis, Nimmi, Meena Kumari and Kamini Kaushal. 9 of his movies in the 1950s were positioned in the Top 30 most noteworthy netting
movies of the decade.
In the 1950s, Dilip Kumar turned into the main on-screen character to charge ₹1 lakh (identical to ₹75 lakh or US$120,000 in 2017) per film.
In 1960, he depicted Prince Salim in K. Asif’s huge spending epic authentic film Mughal-e-Azam, which was the most astounding netting
film in Indian film history for a long time until the point that it was outperformed by 1971 film Haathi Mere Saathi and later by the 1975 film Sholay. In the event that
balanced for expansion, Mughal-e-Azam was the most astounding netting Indian film through to the mid 2010s, identical to over ₹1000
crore in 2011.
The film recounted the tale of Prince Salim, who rebels against his dad Akbar (played by Prithviraj Kapoor), and becomes hopelessly enamored with a
concubine (played by Madhubala). The film was for the most part shot in highly contrasting, with just a few scenes in the last 50% of the
film shot in shading. 44 years after its unique discharge, it was completely colourised and re-discharged in 2004.
In 1961, Kumar delivered and featured in Ganga Jamuna inverse his successive driving woman Vyjayanthimala and his sibling
Nasir Khan, this was the main film he delivered. In 1962 British executive David Lean offered him the part of “Sherif Ali” in his film
Lawrence of Arabia (1962), however Dilip Kumar declined to perform in the motion picture. The part in the end went to Omar Sharif, the
Egyptian performing artist. Dilip Kumar remarks in his substantially later discharged collection of memoirs, “he thought Omar Sharif had assumed the part
obviously better than he himself could have”. His next film Leader (1964) was a beneath normal grosser in the cinematic world. He was the
co-executive close by Abdul Rashid Kardar of his next discharge Dil Diya Dard Liya in 1966, yet was uncredited as chief. In
1967, Kumar assumed a double part of twins isolated during childbirth in the hit film Ram Aur Shyam. In 1968, he featured close by Manoj
Kumar and Waheeda Rehman in Aadmi. That same year he featured in Sangharsh with Sanjeev Kumar.
Kumar’s profession drooped in the 1970s with films like Dastaan (1972) coming up short in the cinematic world. He featured close by his genuine living
spouse Saira Banu in Gopi (1970) which was achievement. They were combined again in his first and final Bengali dialect film Sagina
Mahato (1970). A Hindi revamp Sagina was made in 1974 with a similar cast. He assumed triple parts as a father and his twin
children in Bairaag (1976) which neglected to do well in the cinematic world He by and by respected M.G.Ramachandran’s execution in
Enga Veetu Pillai superior to his part in Ram Aur Shyam. He respects his execution in Bairaag significantly higher than that of Ram
Aur Shyam. Despite the fact that his execution in Bairaag and Gopi were widely praised, he lost numerous film offers to act in driving
parts to performers Rajesh Khanna and Sanjeev Kumar, from 1968 to 1987. He took a five-year break from films from 1976 to 1981.
In 1981, he came back to films as a character performer assuming focal parts in outfit films. His rebound film was the multi-
starrer Kranti which was the greatest hit of the year. Showing up close by a gathering cast including Manoj Kumar, Shashi
Kapoor, Hema Malini and Shatrughan Sinha, he assumed the title part as a progressive battling for India’s freedom from
English run the show. He at that point shaped a fruitful coordinated effort with chief Subhash Ghai beginning with Vidhaata (1982), in which he
featured close by Sanjay Dutt, Sanjeev Kumar and Shammi Kapoor. Soon thereafter he featured close by Amitabh Bachchan in
Ramesh Sippy’s Shakti which was just a beneath normal grosser in the cinematic world, however won him basic praise and his eighth
what’s more, last Filmfare Award for Best Actor. In 1984, he featured in Yash Chopra’s social wrongdoing show Mashaal inverse Anil Kapoor
which fizzled in the cinematic world however his execution was widely praised. He additionally showed up close by Rishi Kapoor in Duniya
(1984) and Jeetendra in Dharm Adhikari (1986).
His second cooperation with Subhash Ghai accompanied the 1986 gathering activity film Karma. Karma denoted the primary film
which matched him inverse kindred veteran on-screen character Nutan. Three decades sooner anyway, they were combined together in an
unreleased film titled Shikwa. He acted inverse Nutan again in the 1989 film Kanoon Apna.
In 1991, Kumar featured close by kindred veteran on-screen character Raaj Kumar in Saudagar, his third and last movie with chief Subhash Ghai. This was his second film with Raaj Kumar after 19