Remembering Dilip Kumar: From 'Devdas' to 'Shakti', 8 iconic performances of India's 'ultimate method actor'

Dilip Kumar.

Just a mere mention of the name evokes a plethora of images, each of them iconic.

He was unforgettable as the lovesick Mughal prince, who redefined romance and intimacy for an entire generation, just by caressing the face of his ladylove with a feather (‘Mughal-E-Azam').


He was equally devastating as a washed-out, embittered lover, spending his last days drowning in alcohol. (‘Devdas’)

Often described as an ‘institution’ for his ability to make playing complex, layered characters look deceptively easy, Mohammed Yusuf Khan a.k.a Dilip Kumar was the first star to make method acting go mainstream. Ace filmmaker Satyajit Ray once described him as the “ultimate method actor”.

At a time when acting was associated with over-the-top antics, Dilip Kumar introduced his own brand of restrained, nuanced yet fine-tuned performances that never failed to resonate with the viewer.

Screenwriter Salim Khan who penned the superstar's autobiography, ‘Dilip Kumar: The Substance and The Shadow’, wrote, “When Dilip saab joined films in 1944, he observed that actors in films were loud and dramatic, thanks to the influence of the Parsi theatre. He was among the first to underplay a role and bring nuances to a performance: for example, his use of long pauses and deliberate silence created a very unusual impact on audiences.”

Today, the late actor (who died on July 7, 2021) would have been 99 years of age. On his birth anniversary, here’s looking back at eight of his most memorable on-screen outings.

‘Devdas’ (1955)

“Kaun kambakth hai jo bardasht karne ke liye peeta hai. Main toh peeta hoon ke bas saans le sakoon.”

This Bimal Roy directorial remains the benchmark when it comes to romantic tragedies. This was also the movie that cemented Kumar’s legacy as the ‘Tragedy King’.

This faithful adaptation of Sarat Chandra Chattopadhyay’s novel of the same name, saw Dilip Kumar step into the shoes of Devdas, a spoilt, entitled zamindar brat, who descends into a vicious cycle of melancholy and alcohol addiction following a doomed relationship with his childhood sweetheart Paro (Suchitra Sen).

Dilip Kumar was nothing short of a tour de force as the dejected lover who gradually loses himself in self-destructive tendencies in a bid to forget heartbreak. He becomes the very embodiment of pathos and despondency as he utters these heartbreaking lines, “Kaun kambakth hai jo bardasht karne ke liye peeta hai?..” ( Who says people drink to get through their woes?).

The way he sulks, broods and immerses himself further and further into self-destruction, to the point of no return, is just like watching a trainwreck … terrifying yet inevitable.

‘Mughal-e-Azam’ (1960)

This epic historical romance had Dilip Kumar and Madhubala in the role of two star-crossed lovers Prince Salim and Anarkali.

Even after 62 years, K.Asif's movie remains an enduring classic, poetry in motion, an ode to forbidden love.

Dilip Kumar was spectacular as the impulsive Mughal prince who is caught in the ultimate dilemma - duty towards his father, the ageing emperor Akbar and his love for Anarkali (Madhubala) the courtesan who is disapproved by his family. He was able to depict Salim’s arrogance, foolhardiness, and helplessness in front of his powerful, domineering father with great accuracy.

‘Andaz’ (1949)

Not for nothing is he designated as the ‘Tragedy King’ of Bollywood! Dilip Kumar came up with another spellbinding performance as Dilip, a man harbouring an unrequited passion towards a woman. Director Mehboob Khan, pulled off a casting coup of sorts as it starred three of the ruling stars of the celluloid - Dilip Kumar, Raj Kapoor, and Nargis.

‘Amar’ (1954)

At a time when leading men steered clear of ‘controversial’ roles which would taint their persona or defy the social mores, Dilip Kumar went ahead and accepted the role of Amar, a morally agnostic/ambiguous lawyer.

Although this Mehboob Khan directorial did not set the box-office on fire, it was a movie ahead of its times. The audience was introduced to a morally grey male protagonist. Amar was a suave, sophisticated, and seemingly progressive man who, in a moment of weakness, rapes a vulnerable woman who has come to him for refuge..

In a particularly memorable scene, Kumar's eyes depict an entire kaleidoscope of emotions - shock, fear and remorse as he realises that he has done something unpardonable.

‘Footpath’ (1953)

Helmed by Zia Sarhadi, this gritty social drama depicts the rise and fall of a journalist turned black marketer and extortionist Noshu. In the end, however, he turns a new leaf and gives himself up to the police. Dilip Kumar portrayed Noshu’s path to moral decay and subsequent change of heart, with great sensitivity.

‘Naya Daur’ (1957)

Dilip Kumar sank his teeth into the role of Shankar, an earnest and idealistic tongawala who launches a crusade against attempts to mechanise his village. ‘Man vs the machine’ was the running theme of this social drama helmed by B.R Chopra.

Set in post-Independence India, this movie was the perfect manifestation of Nehruvian idealism which was the leading political/social ethos back in the day.

Dilip Kumar was charming as ever as Shankar, the rustic yet street-smart tongawala who is skeptical about how beneficial the attempts to ‘modernise’ his village will really be.

‘Ram Aur Shyam’ (1967)

What’s better than one Dilip Kumar? Two Dilip Kumars!

This comedy of errors is an absolute treat as far as cinematic experiences go. Directed by Tapi Chanakya, this movie starred Dilip Kumar as twins separated at birth -Ram is a hapless and awkward fellow, Shyam is his diametrical opposite - charming and street-smart.

Dilip Kumar proved he had impeccable comic timing. In a scene where Ram is thrashed by a tantrik (exorcist) who mistakenly thinks he is Shyam possessed by an evil spirit, Kumar is pure gold!

The movie later went on to be remade several times, successfully. It gave birth to hits like ‘Seeta Aur Geeta’, ‘Chaalbaaz’, ‘Kishen Kanhaiya’, ‘Judwaa’, etc.

‘Shakti’ (1982)

This Ramesh Sippy crime drama starred Dilip Kumar and Amitabh Bachchan as a pair of father and son who are on opposite sides of the law. Kumar steps into the shoes of Ashwini Kumar, a righteous cop, and Bachchan essays the role of Vijay, his rebellious son, who in a bid to oppose his father’s unwavering integrity, has taken to a life of crime.

The movie featured two superstars who were the numero uno, in their generations and both delivered the performance of a lifetime.

While Bachchan’s ‘Angry Young Man’ is a mass of angst and unbridled rage, Kumar’s ageing cop is the perfect antithesis - restrained, yet failing to suppress the underlying vulnerability.

The last scene which has Vijay dying in the arms of his father, is nothing short of a masterpiece. Dilip Kumar is the very picture of anguish and helplessness, desperately trying to revive his dying son.