Great relationship with Marathi..!

 

It was the same morning two years ago with the news of the death of Dilip Kumar, who has always been revered as the university of acting. I kept getting calls from various news channels asking me to reminisce about it and while I was talking about Dilip Kumar's quality acting, the variety of characters he played, his immense popularity, I insisted on telling one more thing. That is Dilip Kumar's relationship with Marathi and I went back to many old memories. (Dilip Kumar)

I remembered that once the topic of Dilip Kumar came up while conducting a detailed interview with Sulochanadidi. With Dilip Kumar, she S. H. Acted in some films like 'Sangharsh' directed by Rawail, 'Kranti' directed by Manoj Kumar. Regarding the experience at that time, she said, Dilip Kumar never wanted to keep the morning shift. Prefer to work in shifts from 2pm to 10pm. Not only this, but if a very important event was being shot on a day, he would shoot till two o'clock in the morning. When he was once asked about this, he said, if I had done this incident tomorrow fresh, I would have felt the difference in the previous shot. Every scene in cinema has continuity from costumes to acting. If the same is not maintained, the invention of the scene is affected. If the scene is a confrontational scene, it should be completed at once.

I remembered one more thing about Dilip Kumar's Marathi relationship.

In the nineties, when Saira Banu produced a series on Hindi film songs for Doordarshan, Dilip Kumar organized a get-together for a select few of us film journalists in Mumbai at his Pali Hill bungalow. Screen photographer Peter Martis took a special initiative for it. We Maharashtrian cinejournalists felt that our luck opened up when we got the chance to go to Dilip Kumar's artistic and much-loved bungalow. The spaciousness of the bungalow, the magnificent pictures of Dilip Kumar and Saira Banu in it overwhelmed my middle-class mind. Interestingly, he insisted on speaking to us Maharashtrian cine journalists in Marathi. Another special thing is their hospitality! Dilipkumar's special feature is how to entertain the guests at his home with politeness and delicious food. This is the experience of many.

Interestingly, Dilip Kumar always had a special love for Marathi language, literature, culture, drama and films. The negative cutting of the Marathi film 'Ek Phool Char Haaf' (1991) directed by Purushottam Berde was done by Dilip Kumar. This is an important thing in the film media business. Laxmikant Berde, Priya Arun, Sulabha Deshpande, Bhavna, Sudhir Joshi are in lead roles in this dhamaal movie. Kimi Katkar is a guest star. Rajinikanth shot the film at Goregaon's Filmistan Studio. It was a very special memory, a very special experience for Purushottam Baird.

On a more special note, Chitrapathi V Shantaram and Dilip Kumar were in special attendance at the golden jubilee event of 'Ashi Hi Banwabanavi' (1988) produced by Kiran Shantaram of Rajkamal Kalamandir (Youth Wing) and directed by Sachin Pilgaonkar. I experienced this event in a grand five star hotel in Juhu and on this occasion Dilip Kumar's visit happened. This time he came as a guest of Marathi film industry. On this occasion, Dilip Kumar gave special wishes to the Marathi film industry in Marathi. Ashok Saraf and Laxmikant Berde were visibly overwhelmed by Dilip Kumar's visit and it was only natural. Once in the city of Pune, Dilip Kumar saw the film 'Ek Gaon Bara Bhangadi' (1968) directed by Ananth Ma and praised that 'this film engages us in such a way that we do not understand how time passes'. Jayshree Gadkar became particularly effective because of this. This has been specially mentioned in his biography 'Ashi Me Jayashree'. Not only this, when I heard this experience from Jayashree Gadkar in one of his meetings, I felt that he was very moved by the memory of this moment.

Marathi artist Dilip Kumar's appreciation was always something special. So Ashok Saraf felt overwhelmed while talking to news channels about Dilip Kumar. Dilip Kumar's love for Marathi theater has always been prominent. It has been in the news. Dilip Kumar was present as a special guest in some of the special screenings of Marathi theater plays such as Shakkalol, Tin Paisacha Tamasha, To Me Nahi, Ghashiram Kotwal, Ashruchinchi Jhali Phule and even watched the entire play very quietly. actually experiencing. His specialty is to come to the wing during the interval or from the stage to narrate the subtleties of the play and praise each actor.

The special thing is to make this speech in Marathi if possible and take your speech to a greater height by using exact words in Urdu while giving nice compliments, mesmerizing everyone. Ashok Saraf still remembers Dilip Kumar's hand of appreciation from his back during 'Samshaykallol'. Even the mere memory of that moment makes him shudder. That's why I do it occasionally. In the nineties, Dilip Kumar was also set to act in a Hindi film named 'O Baba Jaan' along with some Marathi actors. Satish Alekar was going to play a role in that film. Dilip Kumar had also arranged for the Marathi artists to stay in a star hotel in the suburbs of Mumbai. That film was shelved without actually going on set. But in the city of Pune, there was a lot of discussion about this whole thing. Especially once Saira Banu's tasty khichdi made for all these congregations was discussed for many days in Pune city.

Dilip Kumar's Marathi funda is multi-layered. Dilip Kumar played the role of Dilip Kumar in the film 'Mashal' (1984) directed by Yash Chopra, based on the central plot of the play 'Ashruchi Jhali Phule' written by Vasant Kanetkar. Only other contexts have changed while retaining the original theme. On the occasion of this film, Dilip Kumar and Nilu Phule came to act together.

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Dilip Kumar played a double role in the film 'Kila' (1998) produced by Eagle Films and directed by Umesh Mehra. A heroine is Rekha. Dilip Kumar is the hero of Smita Jayakar. As soon as Smita Jaykar signed the film, I did a half-page exclusive interview with Smita Jaykar about 'Ya Soneri Shanthi'. Interestingly, during the shooting of the court scene in Chitranagari, Goregaon, Smita Jayakar gave me the opportunity to actually be present on the set. University of Acting gave Dilip Kumar an extremely memorable opportunity to actually experience acting. Dilip Kumar's presence was felt throughout the set. With Rekha on one side, Smita Jaykar on the other side and many junior artists around, all eyes are on Dilip Kumar! By understanding the entire scene from director Umesh Mehra, then where exactly is the camera, how is its movement, Knowing all these small details, Dilip Kumar did a lot of rehearsals and then said, "Take karte hai", and silence spread over the entire set. Of course, Dilip Kumar could not be satisfied with one take. So each take increased and Dilipkumar being a perfectionist till he was completely satisfied. K. was not saying He was not completely satisfied.

Smita Jaykar got an opportunity to play a role with such a great actor. Dilip Kumar was given the opportunity to direct the film 'Kalinga' (1991) by its producer Sudhakar Bokade Maharashtrian. Unfortunately, the film was not completed and released. Dilipkumar's Marathi funda of various levels. Dilip Kumar never forgot that he was living in Maharashtra, Marathi was living in Mumbai and he also maintained that he needed to learn the local language. Many such filmmakers who have come to Mumbai from different parts of the country must be aware of this. Dilip Kumar is a great role model for that.

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