Book, The Man Hu Bane Cinema, deconttected Dilip Kumar’s acting method

Legends are not born, but are made, there is a saying that seems suitable for Dilip Kumar. He was an icon, which developed into an institution. In seven highly successful films, his co-star Vyantimala once commented: “The impact of the icon on each generation has been such that every successful actor in Indian cinema is one of Dilip Kumar”. Dilip Kumar is also credited as a person to present the way of acting for Indian cinema – a foundation for which the first time was determined by Contantin Stanislavsky (Russian theater practitioner) and was later popularized by American acting coach and actor Li Strasburg.

The book examines the actor’s cinematic heritage. Photo Credit: Special Arrangement

Dilip Kumar’s method acting brought a revolutionary change in the portrayal of the characters on the screen, and a lot of film acting with it. Unrelevable classics like Devdas (1955), Gunga Jamuna (1961) and Mughal-e-Azam (1960) depicts layers of emotions that he continues in the audience. Even in stimulant When loved Number one finds out that the silence mentioned by Rajkumar Salim’s character may have immense power. Dilip Kumar’s magic on screen is undisputed – an inheritance that mesmerizes countless fans.

In Mughal-e-Azam Dilip Kumar showed how silence could be a powerful acting tool. Photo Credit: Hindu Archives

He developed his method of acting as an opponent for widely followed classical acting techniques. Along with the method of Dilip Kumar, the characters he portrayed, he carried out a strong social impact. His method was inherent in a kind of cultural re -discovery that helped the character to achieve the ability to inspect specialties and events in society.

Known on screen as the ‘tragedy king’, Dilip Kumar’s commitment to his roles and his deep involvement with the characters he depicted, believed to be led to serious psychological issues, for which he was to consult a psychiatrist in England. The advice given to him was to switch to comic roles, which he had with Applomb and Pizz. In Ram and Shyam (1967) and Gopi (1970) To keep only a few names,He also demonstrated his understanding and time for comedy.

In Ram and Shyam Dilip Kumar showed his feeling of time for comedy. Photo Credit: Special Arrangement

All these facts have been occupied in more books, Man who became cinema Written by “Film Buff” Ashok Chopra. Published by Penguin Random House, the book decorated Dilip Kumar’s cinematic access and unique timelyness through the prism of 57 films. It discovers each of their cinematic characters, which are complexly grown under six categories-film-by-films, frame-by-frames. The author develops an understanding of how Dilip Kumar demonstrated the ability to innovate and improve his formidable ability.

Ashok also speaks of the actor’s ‘Visual Verbal Personality Composite’, a complex mechanism by which his film dialogues were distributed. Dilip Kumar is said to be an integrated audio and the only actor to visualize in a scene, as the end is given to the viewer, not words, but a strange modulation of the sound of these words with emotions. It was employed by the actor, especially in romantic scenes.

His films are considered a masterpiece – to be seen and studied. According to Ashok, director Ramesh Sippy before starting work on his film Sea (1985), he asked Kamal Haasan to see Dilip Kumar Ganga Jamuna. Kamal said, “There are many nuances that every actor must essentially look – to understand the meaning of subtlety,” Kamal said. , It is no surprise that Dileep is not an actor who is very copied, but his acting method is examined and studied. And Man who became cinema Helps with it.