It has been established from time immemorial that man cannot survive in all seriousness and therefore the significance of entertainment in his life.
It can be designed as a methodology either discovered or created by himself and quite often even by external forces to seek and give enjoyment, relaxation and pleasure.
Various art forms – theater, music, playing, reading and writing will come part of entertainment world.
Theater and films are thus important part of entertainment. One can be pro-actively participate in them while there are also scope for passive participation – like watching a movie and relaxing.
In Indian context, films are crucial aspect of entertainment and ever since the moving picture made its wave in the country, there’s no looking back on this front.
Taking about Hindi films, the industry called Bollywood by the original name of the city Bombay – has given a good number of good actors and actresses.
Dilip Kumar will be remembered for long. His travails on the screen has been from Tragedy King to Angry Old man but off screen he had to brave through few big controversies. To use an oft repeated analogy, his signature tune will be evident in the Indian silver screen for a very long spell. One of the greatest actors and who has been courting controversies off screen occasionally, Dilip Kumar, originally named Yusuf Khan, was born in 1922 in a Pathan family in Peshwar in the undivided India.
Aptly titled the ‘Tragedy King’ for his naturalistic emoting of a doomed lover in a number of films including in all time popular ‘Devdas’, his lifespan saw him dragged into controversies with allegations being heaped for being anti-India.
During the height of Kargil war in 1999, Shiv Sena had raised his Pakistan bogey and a controversy over Pakistani government conferring him award ‘Nishan-e-Imtiaz’ sometime back.
After holding a one-on-one meeting with the then Prime Minister Atal Behari Vajpayee, Dilip Kumar had decided to ignore the Sena supremo Bal Thackeray’s challenge and keep the Pakistan''''s highest civilian award bestowed on him. The award was given by Islamabad in 1998 for his contribution to film and to better the Indo-Pak ties.
A lover of ghazals and a very attractive voice, he was also picked up during the initial years to render his voice in a film made by Hrishikesh Mukherjee, someone who pioneered purposeful movies.
In 1940s young Yusuf was initiated to the world of films by the leading actress of those days Devika Rani, who was also the proprietor of the famous studio Bombay Talkies. Yusuf who was re-christened Dilip Kumar by a famed Hindi novelist as he made his debut in film ''''Jwar Bhatta'''' in 1944. He tasted first glimpses of success as a hero opposite singing actress Noorjehan in the film ''''Jugnu'''' (1947). This was followed by ''''Mela'''' (1948) in which he played a failed loved and then Mahboob Khan''''s ''''Andaz'''' (1949) - a love triangle opposite superstars Nargis and Raj Kapoor.
From this he never looked back and what was left for him to earn a niche for himself, he achieved in Bimal Roy’s immortal work ‘Devdas’. Alongside this, Babul (1950), Arzoo (1950), Jogan (1950), Deedar (1951), Udan Khatola (1955) all combined together to establish Dilip Kumar as refined suave actor and elevated him to a super star level. Though he a remake of onetime legendary K L Saigal acted film, Bimal Roy’s ‘Devdas’ based on Sarat Chandra Chattopadhyay’s novel made him one of the most promising star of the time. So much has been the influence of Dilip Kumar’s performace that after seeing the film all young boys and men wanted to be like ‘Devdas’ – drinking to the penury and longing for a lover who would never come again.
Both the storyline and the performance of Devdas has been so much talked about a subject in Bollywood that in the new millennium Sanjay Bhansali made a huge investment and cast Shah Rukh Khan for the lead role.
On the personal front, Dilip Kumar was linked with a number of actresses like Kamini Kaushal, Madhubala, Vyjayanti Mala Bali but he settled down only at the age of age of 44 when he married lovely young Saira Bano and created a sensation in those days by marrying an actress half his age.
Much later, however, he again created ripples by getting married a second time to Asma while still very much married to Saira. But his second marriage was a short lived one.
On the film front just when he was being written off with younger lots including Amitabh Bachchan, Shahsi Kapoor, Sanjeev Kumar and the like stealing the limelight; Dilip Kumar gave a memorable performance as a die-hard principled cop in Ramesh Sippy’s ‘Shakti’ which had Amitabh as his defiant son. The portrayal of clash of egos between father and son on the issue of work ethics, honesty and pragmatism has become atalking point in Bollywood history. Dilip Kumar bagged yet another Filmfare Award for this in 1982 while he also mad a meaty role in Manoj Kumar’s ‘Kranti’ in 1981.
Then again in 1984, he shows that he could still display histrionics in whatever role that came his way as in ‘Mashal’ penned by Javed Akhtar, he transforms from an idealistic journalist to an ‘angry old man’ lights up the screen and makes a neoclassic of the film.
He also portrayed interesting protagonist in Subhash Ghai''''s Through changing expressions and a well modulated voice in a series of successful films, Dilip Kumar won a huge fan following with youngsters trying to copy him and parents heaped ‘Dilip’ name on their children after the thespian. He was soon in the big league with masters Raj Kapoor and Dev Anand and won the then prestigious Filmfare awards for best actor for ‘Daag’ in 1953 and consecutively for Azad (1955), Devdas (1956), Naya Daur (1957) etc. His other successful film during this time were Mughal- e- Azam (1960), Madhumati and Ganga Jamuna (1961) --- all three a different story line but Dilip Kumar mesmerized the cinegoers with his performance with quite ease nevertheless.
‘Mughal-e-Azam’ in 1960 based on an episode in the life of the Mughal Prince also known as Salim pairing him opposite charming Madhubala created waves among the romantic perfomances for all time to time. The dialogues from the film are still oft heard in the parties and colleage corridors.
In the later years when the lanky and angst-ridden Amitabh Bachchan dominated the silver screen mirroring the disillusionment of the masses and growing problems like unemployment and inflation, the comparison was aptly drawn that Amitabh was many a times copying Dilip Kumar.
A similar tale is told about Shah Rukh’s performance also. Shah Rukh also had the title role to play in 2001 on ‘Devdas’ which was box office hit but ran down significantly by critics.
Entertainment is also linked to sadistic pleasure when a person man seeks pleasure in tormenting or get served by someone as his or her personal slave.
In a tale of a slave it can be said he managed to survive in the cage the whole night. As got up he is made to exercise doing sit ups and press ups etc then he fetches breakfast from the kitchen for the master or the mistress in the bed.
In today’s changing world, even wives are turning dominating persons and getting entertainment by torturing husbands and do all household chores for her. This is also entertainment.
Cartoons and animations can be also means of entertainment. But there’s a subtle message in them. Cartoons can be politically sensitive. In Indian context, cartoons were the only means of expression of freedom when Indira Gandhi proclaimed emergency and imposed media censorship.
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