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World-famous economist, Lord Meghnad Desai writes on his film idol, Dilip Kumar, with insights into the socio-economic changes in India that mirror the actor's career.
An authentic, heartfelt and compelling narrative – straight from the horse’s mouth – that reveals for the first time numerous unknown aspects of the life and times of one of the greatest legends of all time who stands out as a symbol of secular India. Dilip Kumar (born as Yousuf Khan), who began as a diffident novice in Hindi cinema in the early 1940s, went on to attain the pinnacle of stardom within a short time. He came up with spellbinding performances in one hit film after another – in his almost six-decade-long career – on the basis of his innovative capability, determination, hard work and never-say-die attitude. In this unique volume, Dilip Kumar traces his journey right from his birth to the present. In the process, he candidly recounts his interactions and relationships with a wide variety of people not only from his family and the film fraternity but also from other walks of life, including politicians. While seeking to set the record straight, as he feels that a lot of what has been written about him so far is ‘full of distortions and misinformation’, he narrates, in graphic detail, how he got married to Saira Banu, which reads like a fairy tale! Dilip Kumar relates, matter-of-factly, the event that changed his life: his meeting with Devika Rani, the boss of Bombay Talkies, when she offered him an acting job. His first film was Jwar Bhata (1944). He details how he had to learn everything from scratch and how he had to develop his own distinct histrionics and style, which would set him apart from his contemporaries. After that, he soon soared to great heights with movies such as Jugnu, Shaheed, Mela, Andaz, Deedar, Daag and Devdas. In these movies he played the tragedian with such intensity that his psyche was adversely affected. He consulted a British psychiatrist, who advised him to switch over to comedy. The result was spectacular performances in laugh riots such as Azaad and Kohinoor, apart from a scintillating portrayal as a gritty tonga driver in Naya Daur. After a five-year break he started his ‘second innings’ with Kranti (1981), after which he appeared in a series of hits such as Vidhaata, Shakti, Mashaal, Karma, Saudagar and Qila.
This volume traces the growth of the indigenous Hindi film hero from the silent era up to Dilip Kumar. The film hero is depicted as a credible representative of the social, cultural and political milieu of his era. The author contends that the development of Hindi cinema has been largely centered round the frontal figure of the hero. In the course of the narrative, the subject matter presents a compact history of mainstream Hindi cinema by placing personalities, events and trends in specific time frames.
From Being Dismissed As A Non-Actor In His Debut Film To Creating An Aura That Is Admired By Critics And Repeatedly Studied By Actors To This Day, Dilip Kumar Has Become A Legend In His Own Lifetime. This Book Chronicles His Life.
What makes India a nation? What has held its many disparate societies with their diverse, sometimes conflicting, narratives together for more than sixty years? What has allowed India to sustain its commitment to the democratic process, given its location in a region that is largely undemocratic? In this magisterial analysis of the last five hundred years of Indian history, Meghnad Desai looks at India’s colonial past, its struggle for independence and its many contemporary conundrums, to discover answers to the questions that have confronted India-watchers for decades. Rejecting much received wisdom, including narratives fashioned by India’s ruling establishment, Meghnad Desai goes back to the beginnings of the East–West encounter at the end of the fifteenth century and tracks its impact on the cultures and politics of the present day. Through a series of ‘Counterfactual Boxes’ Meghnad Desai analyses the accepted defining moments of India’s past and suggests alternative courses that history could so easily have taken. Meghnad Desai draws on a wealth of sources to illuminate India’s journey to the twenty-first century. Whether it is an examination of British parliamentary debates on the question of India’s independence, or the liberalization of the economy after decades of licence-permit raj, or the state’s complicity in the Gujarat riots, Meghnad Desai’s original, occasionally iconoclastic, approach to seemingly settled arguments makes The Rediscovery of India a path-breaking and comprehensive account of India’s past and present.
I have always felt that Indira Gandhi is the exceptional and foremost example of the dynastic politics of independent India. She is a perfect example of dynastic rule, on one hand, she is called the 'Iron Lady', on the other hand, people pay tribute to her dictatorship for imposing emergency in the country. Where on one hand Indira Gandhi carved her name in golden letters in Indian history by dividing Pakistan into two, on the contrary, she has also endured the slogans like Sanjay ki mummy, badi nikammi for blindly loving her son like Gandhari loved Duryodhana. Nonetheless, we cannot forget that it was Indira Gandhi who gave wings to India's strength and courage by conducting the Nuclear Test; however, she was also the Prime Minister for whom the High Court issued orders to be removed from her office. In fact, Indira Gandhi is merely a symbol of dynasty politics. The point here is to remind the young people that they cannot strive for ideal politics by idolising those who have flourished through family inheritance of post or position. In today's scenario, there are numerous political parties that operate under a single family's control. Although I hold great admiration for Indira Gandhi, however, her darker side is perhaps more prominent. Hence, I believe that young aspirants who are interested in politics can learn valuable lessons from this book on what not to do!
Hindi cinema, ever since Independence, has revolved almost entirely around issues of sex and money. This may seem odd given the conservative taste of the times. But that we do not 'see' sex does not hide just how much sex there is in the cinema. As for money, a nagging theme is the impact of money - or the lack of it - on sex. Sanjay Suri argues that Hindi cinema was an unlikely offspring of the Father of the Nation - the product of Gandhi's celibacy and austerity. His heroic retreat from wealth and sexuality was written into the cinema and then elaborately filmed shot by shot. Suri draws on numerous examples - from Mother India to Do Bigha Zameen; Shree 420 to Pyaasa; Sahib, Bibi aur Ghulam to Guide; and Dilwale Dulhania Le Jayenge to Lage Raho Munnabhai - to show how cinema was made within well-defined moral fences that were built with dos and don'ts about sex and money. A Gandhian Affair is a history of India through the preoccupations of its cinema.