THE FIRST MILESTONE FOR DILIP KUMAR ---- "ANDAZ" (1949)
Posted Mar 13th, 2009 at 06:24 AM by arjay
THE FIRST MILESTONE FOR DILIP KUMAR ---- "ANDAZ" (1949)
ANDAZ was released on March 21, 1949 at the Liberty in Bombay, and was an instant box-office hit...and now even after 60 years, it is listed among Indian Cinema's all-time hits.
ANDAZ is the first major milestone in Dilip Kumar's career. He had given good performances before Andaz...he had had hits before ANDAZ...but none gave him the star status that ANDAZ did. And more than that! The film established him as a major historionic talent. It was with this film that the sobriquet Tragedy King got attached to his name for the rest of his career. In brief, there was no looking back after ANDAZ!
For Mehboob Khan, ANDAZ was a turning point in his career. Mehboob's films proceeding ANDAZ were unadulterated romantic musicals with a quaint old-fashioned look (ANOKHI ADA, ANMOL GHARRI) and though they were huge commercial successes, Mehboob was keen on giving all his future films a modern look. Maybe it had something to do with a nation's upbeat mood in the immediate post-Independence period. Or maybe it had something to do with Mehboob's recent Hollywood visit where no less a filmmaker than Cecil B' Demille, who was also his idol, had described his early HUMAYUN as "one of the finest examples of cinema art to come out if India".
The film industry in India, say's Sanjit, was already in a state of flux. Old stars were on their way out and new faces were showing up in the trade papers every day.
New stories were being told using the latest narrative techniques (something which I see happening in private productions for TV serials in Pakistan these days!). Mehboob's script was ready and he wanted to make it in the best traditions of Hollywood. ANDAZ tells the story (by Shams Lukhnavi) of an immensely rich girl Neena (NARGIS) who lives the life of the idle rich. She befriends Dilip (Dilip Kumar) who sves her from a riding accident. Dilip misunderstands her friendship and falls passionately in love with her. This misunderstanding is further fanned when Neena asks Dilip to look after her estates after the death of her father.
Enter RAJAN, a childhood turned England-returned fiance who matches her step in her idle but larger-than-life lifestyle. In spite of the number of intense numbers Dilip croons to her, neither she nor Rajan realise he is putting into song his heartbroken torment. They continue to plan their wedding and it is only on the wedding night that Dilip reveals his love for Neena, thus sowing a suspicion in Rajan's mind that the two have had an affair.Matters come to a head and Neena shoots down Dilip. Neena is brought to trial but Rajan refuses to help her in her case until he discovers a crucial letter written by Dilip but never read. By then it's too late!
ANDAZ is said to be a TRUE story which happened in Lucknow--as also confirmed by Shams Lukhnavi but disdain that he never revealed who the real Dilip, Neena & Rajan were--of his father's ancestors. But the script by S. Ali Raza gives it a totally new dimension, imbuing it with so many unspoken insights into the idiosyncrancies of the rich, the nature of youthful bonding and the pangs of unrequited love. It is a dark moralistic tale of what happens when the permissiveness of a western lifestyle is allowed to impinge on what is considered to be Indian culture. In a sense Mehboob was merely echoing the doubts of a million parents who were apprehensive about the fate of their offsprings who had taken to an excessively western lifestyle in the immediate post-Independence era (late 40s)
Ironically, the film itself is replete with the symbols of westernised lifestyle: ballroom dancing and badminton games at the club; elaborate birthday parties with songs sung at the piano; the formal western dresses for both the sexes; the free inter-mixing of the sexes. It is as if the film advocates the very lifestyle it seeks to condemn. Mehboob also uses symbolism and metaphor in the telling of the story: the two male leads tossing a flower at each other as they verbally duel over their lady love (almost like a badminton match); Dilip appearing in Neena's mirror almost as a physical representation of her innermost feelings for him.
Other highlights of the film include its low-key high-contrast cinematography (Cameramen Faridoon Irani), the opulent sets by K.Mistry and Nausha's eternally pleasant music. The songs are as fresh as they were back in 1949. The musical highlight of the film in Mukesh breaking out of the Sehgal mould and really coming into his own as well as Lata Mangeshkar singing for Nargis.
Mehboob Khan wanted fresh faces but not inexperienced newcomers (Pakistan Private TV Production directors' thoughts currently!!!!). He signed Nargis because he had introduced her in TAQDEER and she now was a successful star (exactly like Kazim Pasha introducing Sadia Imam in ULJHAN for PTV-K and within not long time----casting her for a private production that she was a successful artiste!). Nargis suggested Raj Kapoor with whom she was starring in AAG. Dilip Kumar was recommended by Naushad who had been favourably impressed with him while working in MELA. Unfortunately, Mehboob Khan was one of the film persons who had reacted adversely to the inclusion of Dilip Kumar in the cast of MILAN. He had even confided to Hiten Chaudhry, " You have got a chance to make a film on your own but I cannot understand why you should take risk with that new hero of yours."
That was in 1945. In 1948 however, Naushad's recommendation backed by the success of MELA and SHAHEED was enough to get the role for Dilip Kumar. This time, however, Mehboob's permanent cameramen F. Irani was not too happy with the choice. " Who is this monkey?". Faridoon is supposed to have asked Mehboob when the young actor came in on the first day for the shooting. Dilip went on to do more films for Mehboob but never really got along with Faridoon who continued with his dislike for the actor.
But Dilip vindicated his selection as one of the leading stars of ANDAZ. Calling it "Dilip Kumar's greatest performance so far", FILM INDIA, informs Sanjit, said, "Dilip Kumar improves beyond recognition under Mehboob's direction. He casts off his usual mannerisms and becomes versatile in the role Dilip, the frustrated lover. The way he portrays his struggle of suppressed emotions is a fine piece of histronic art. This is easily Dilip Kumar's greatest performance so far"
ANDAZ collected a whopping seven lakhs in 28 weeks at the Liberty in Bombay, which had been inaugurated with the film.
Sanjit Narewaker...insists on taking this into aspect in my crusade for research on DILIP KUMAR and his movies----that, quote Sanjit; the film went on to become a classic but at the time of its run at the theatre the film was an ill omen for Mehboob and his stars...
ANDAZ was released on March 21, 1949 at the Liberty in Bombay, and was an instant box-office hit...and now even after 60 years, it is listed among Indian Cinema's all-time hits.
ANDAZ is the first major milestone in Dilip Kumar's career. He had given good performances before Andaz...he had had hits before ANDAZ...but none gave him the star status that ANDAZ did. And more than that! The film established him as a major historionic talent. It was with this film that the sobriquet Tragedy King got attached to his name for the rest of his career. In brief, there was no looking back after ANDAZ!
For Mehboob Khan, ANDAZ was a turning point in his career. Mehboob's films proceeding ANDAZ were unadulterated romantic musicals with a quaint old-fashioned look (ANOKHI ADA, ANMOL GHARRI) and though they were huge commercial successes, Mehboob was keen on giving all his future films a modern look. Maybe it had something to do with a nation's upbeat mood in the immediate post-Independence period. Or maybe it had something to do with Mehboob's recent Hollywood visit where no less a filmmaker than Cecil B' Demille, who was also his idol, had described his early HUMAYUN as "one of the finest examples of cinema art to come out if India".
The film industry in India, say's Sanjit, was already in a state of flux. Old stars were on their way out and new faces were showing up in the trade papers every day.
New stories were being told using the latest narrative techniques (something which I see happening in private productions for TV serials in Pakistan these days!). Mehboob's script was ready and he wanted to make it in the best traditions of Hollywood. ANDAZ tells the story (by Shams Lukhnavi) of an immensely rich girl Neena (NARGIS) who lives the life of the idle rich. She befriends Dilip (Dilip Kumar) who sves her from a riding accident. Dilip misunderstands her friendship and falls passionately in love with her. This misunderstanding is further fanned when Neena asks Dilip to look after her estates after the death of her father.
Enter RAJAN, a childhood turned England-returned fiance who matches her step in her idle but larger-than-life lifestyle. In spite of the number of intense numbers Dilip croons to her, neither she nor Rajan realise he is putting into song his heartbroken torment. They continue to plan their wedding and it is only on the wedding night that Dilip reveals his love for Neena, thus sowing a suspicion in Rajan's mind that the two have had an affair.Matters come to a head and Neena shoots down Dilip. Neena is brought to trial but Rajan refuses to help her in her case until he discovers a crucial letter written by Dilip but never read. By then it's too late!
ANDAZ is said to be a TRUE story which happened in Lucknow--as also confirmed by Shams Lukhnavi but disdain that he never revealed who the real Dilip, Neena & Rajan were--of his father's ancestors. But the script by S. Ali Raza gives it a totally new dimension, imbuing it with so many unspoken insights into the idiosyncrancies of the rich, the nature of youthful bonding and the pangs of unrequited love. It is a dark moralistic tale of what happens when the permissiveness of a western lifestyle is allowed to impinge on what is considered to be Indian culture. In a sense Mehboob was merely echoing the doubts of a million parents who were apprehensive about the fate of their offsprings who had taken to an excessively western lifestyle in the immediate post-Independence era (late 40s)
Ironically, the film itself is replete with the symbols of westernised lifestyle: ballroom dancing and badminton games at the club; elaborate birthday parties with songs sung at the piano; the formal western dresses for both the sexes; the free inter-mixing of the sexes. It is as if the film advocates the very lifestyle it seeks to condemn. Mehboob also uses symbolism and metaphor in the telling of the story: the two male leads tossing a flower at each other as they verbally duel over their lady love (almost like a badminton match); Dilip appearing in Neena's mirror almost as a physical representation of her innermost feelings for him.
Other highlights of the film include its low-key high-contrast cinematography (Cameramen Faridoon Irani), the opulent sets by K.Mistry and Nausha's eternally pleasant music. The songs are as fresh as they were back in 1949. The musical highlight of the film in Mukesh breaking out of the Sehgal mould and really coming into his own as well as Lata Mangeshkar singing for Nargis.
Mehboob Khan wanted fresh faces but not inexperienced newcomers (Pakistan Private TV Production directors' thoughts currently!!!!). He signed Nargis because he had introduced her in TAQDEER and she now was a successful star (exactly like Kazim Pasha introducing Sadia Imam in ULJHAN for PTV-K and within not long time----casting her for a private production that she was a successful artiste!). Nargis suggested Raj Kapoor with whom she was starring in AAG. Dilip Kumar was recommended by Naushad who had been favourably impressed with him while working in MELA. Unfortunately, Mehboob Khan was one of the film persons who had reacted adversely to the inclusion of Dilip Kumar in the cast of MILAN. He had even confided to Hiten Chaudhry, " You have got a chance to make a film on your own but I cannot understand why you should take risk with that new hero of yours."
That was in 1945. In 1948 however, Naushad's recommendation backed by the success of MELA and SHAHEED was enough to get the role for Dilip Kumar. This time, however, Mehboob's permanent cameramen F. Irani was not too happy with the choice. " Who is this monkey?". Faridoon is supposed to have asked Mehboob when the young actor came in on the first day for the shooting. Dilip went on to do more films for Mehboob but never really got along with Faridoon who continued with his dislike for the actor.
But Dilip vindicated his selection as one of the leading stars of ANDAZ. Calling it "Dilip Kumar's greatest performance so far", FILM INDIA, informs Sanjit, said, "Dilip Kumar improves beyond recognition under Mehboob's direction. He casts off his usual mannerisms and becomes versatile in the role Dilip, the frustrated lover. The way he portrays his struggle of suppressed emotions is a fine piece of histronic art. This is easily Dilip Kumar's greatest performance so far"
ANDAZ collected a whopping seven lakhs in 28 weeks at the Liberty in Bombay, which had been inaugurated with the film.
Sanjit Narewaker...insists on taking this into aspect in my crusade for research on DILIP KUMAR and his movies----that, quote Sanjit; the film went on to become a classic but at the time of its run at the theatre the film was an ill omen for Mehboob and his stars...
- Mehboob's mother passed away a week before the film's intended premiere which had to be delayed.
- Mehboob's younger brother died in a motorcycle accident.
- Mehboob's property at Bandra (now housing Mehboob Studios) was attached under Evacuee Ordinance and Mehboob was declared evacuee.
- Nargis lost her mother.
- Dilip Kumar was assaulted by goons at Worli.
-END
-Raju Jamil (Karachi)
Research assistance: Sanjit Narwekar, Pune ( My friend from Abudhabi days---mid 80s)
-Raju Jamil (Karachi)
Research assistance: Sanjit Narwekar, Pune ( My friend from Abudhabi days---mid 80s)
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