Na hum amitabh and dilip kumar autobiography

Autobiography of the Indian phenomenon and politician Dilip Kumar

Dilip Kumar: The Substance and the Shadow is a book about depiction filmmaker and politician Dilip Kumar that was written by honesty film journalist Udaya Tara Nayar.

The first part of justness book chronicles Kumar's and career; using first-person narrative, the life chronicles Kumar's childhood in Metropolis, British India (present-day Pakistan); authority education, his 62-year-long cinematic talented political career, and his combine marriages. The other part contains recollections from 43 of culminate collaborators and acquaintances.

It was published on 20 June 2014 by Hay House.

The given for the book occurred view Nayar in mid-2004, when operate was helping to rearrange Kumar's bookshelf. Nayar picked up tidy biography of Kumar and begin some inaccurate information in it; Kumar's wife Saira Banu non-compulsory Nayar should write an life story instead.

Dilip Kumar: The Import and the Shadow is family circle on a series of conversations between Nayar and Kumar give it some thought occurred in Bandra that vintage. Critical reviews of the paperback were generally positive; the longhand and the photographs garnered immortalize but Kumar's selectiveness was criticised.

Summary

The book's first 25-chapter flank focuses on Dilip Kumar's sentience and career; he was intelligent Yousuf Khan on 11 Dec 1922 in Peshawar, British Bharat (now Pakistan), and, having antique educated at Barnes School gift Khalsa College, moved to Bombay (now Mumbai) following the screen barricade of India in 1947.

Enthrone acting debut came in glory drama film Jwar Bhata (1944), in which he used prestige stage name "Dilip Kumar". Kumar's commercially and critically successful pictures include Andaz (1949), Tarana (1951), Aan (1952), Azaad (1955), Devdas (1955), Naya Daur (1957), Madhumati (1958), Kohinoor (1960), Mughal-e-Azam (1960), Gunga Jumna (1961), and Ram Aur Shyam (1967).

Kumar's well-publicised six-year relationship with the theatrical Madhubala, his marriages to Saira Banu in 1966 and Fuddle Rehman in 1982, and climax political career are also inclusive. The book's second part includes commentary from 43 of Kumar's collaborators and acquaintances.

Development illustrious release

In June 2004, Udaya Town Nayar, a film journalist be proof against former editor of Screen, was helping Saira Banu to reorder Banu's husband Dilip Kumar's bookshelf.

Occasionally, Nayar read Kumar's accumulation of poems, in both In plain words and Urdu. Kumar picked location a biography of himself; fiasco said the information in illustrate was mostly incorrect, though honesty author claimed to know him personally. Banu, who had again wanted Kumar to write protract autobiography, asked him to split so with enthusiasm.

She deemed his story would motivate green people "in any walk reduce speed life who have chased dreams of making it big enclose their chosen professions".^:11

Concurring with bare idea, Kumar wanted someone make ill compile his own words. Banu recommended Nayar, who was both happy and frightened because Kumar rarely publicly talked about ruler personal life and achievements.

Nayar thought Kumar's introversion was illustriousness main reason authors who compose books on him use tiara interviews with the media president information from his close friends.^:11–12 Writing an analytical column pound Scroll.in, Gautam Chintamani said past publications about Kumar are broaden about his career than surmount pre-acting and private lives.

Nayar began writing the book the tie in day.

According to Nayar, who found Kumar's marriage to Banu the most interesting part be in opposition to his life, said the "real picture began to emerge" primate the writing continued.^:12–13 The tome was titled Dilip Kumar: Ethics Substance and the Shadow, which according to Nayar was unexpressed by Kumar; the "substance" source Kumar's life as Yousuf Caravansary and the "shadow" is coronate life as Dilip Kumar, according to whom; "when we step our shadow grows larger ahead of our actual image".

The Entreat Trust of India announced position book in 2012, and Comestibles House released it on 20 June 2014 with a volume book. Its Amazon Kindle trade was released on 28 July 2014.

Critical reception

Nayar's writing met do faster critical acclaim. Deepa Gahlot concluded: "The book ...

is put in order precious addition to the Screenland bookshelf—at least it all arrives from the star himself be first the words are not recycled." Arvind Gigoo of Daily Information and Analysis commended Nayar be thankful for having "performed the role be bought an understanding Father Confessor". Madhu Jain from India Today hailed it "measured, evidently calibrated endure impossibly calm".

Mahbubar Rahman provide The Independent said Dilip Kumar: The Substance and the Shadow "exceeds all expectations of readers" and is a "lucid reminiscence" that "is intricately laced change candid observation and comments which are uniquely his own". Jawed Naqvi of Dawn said influence book is "crammed with ...

calm sentiment".Meghnad Desai praised Nayar look after doing a good job, don Saibal Chatterjee from Tehelka held the book is a "goldmine of information". In The Unconfined Press Journal, P. P. Ramachandran commented of the book's essential and deep narration, calling pass "outstanding".^[14] Raza Rumi of The Friday Times, conversely, said Nayar's writing is "mellow and quite dispassionate".

The contents and photographs were also praised.

Gigoo described interpretation book as "a captivating bookish tour de force".Asif Noorani held the photographs, though not entire present in fine quality, accessory to the book's value. Rumi spoke of Kumar's "reflective emphasis and tender voice that bring abouts it a book worth reading", saying that the book sums up the history of Asian cinema of almost the ordinal century; she further said rank "Reminiscences" part is interesting nevertheless that it needs more redaction and that the photographs build the book more attractive.

Severe. Nanda Kumar of Deccan Herald wrote that Kumar told crown stories with attention to unexcitable the tiniest details, and likened the book's opening to dignity introduction of a film. dispatch Ziya Us Salam, sharing be different thoughts, said it "sheds unexceptional light on the person type is". Another Daily News survive Analysis review, this time do without Boski Gupta, labelled it a-okay "treat for every cinema lover".

Sanjukta Sharma, in her discussion for Mint, wrote:

The pass with flying colours few chapters ... have the planning construction and visual breadth of nifty novel. He writes about emperor youth with self-deprecating honesty. Obtain the tone of the work until it reaches the period of his youth, middle fraud and late life read all but parodies.

A voice so divergent, it seems someone else took over the project entirely. Goodness last section of the album is a series of acclamation by close friends—a strange chip to have in an autobiography.

Kumar's selectiveness of giving information as regards his personal life was fall down with a somewhat mixed receiving.

The News International's Sarwat Calif gave a scathing comment, maxim the book should have bent written when Kumar was one-time and had the energy get in touch with give more attention "to character final product which suffers brutally from supervision in editing remarkable graphic design". Ali bemoaned focus some events of Kumar's seek, such as his second wedlock and his affair with Madhubala, are not explained detailly.

Gahlot felt "it has the well-being of a diary rather surpass a serious memoir".Baradwaj Rangan ostensible Dilip Kumar: The Substance streak the Shadow as "a unsymmetrical autobiography" that "sheds light malformation his early life and being, but skimps on what surprise really want to know". According to Shahabuddin Gilani of The Express Tribune, Kumar was gather together entirely open in the publication, having noted that many doings he did not speak pointer in detail.

Sangeetha Devi Dundoo make-believe it in her "Reading List" of the year in The Hindu.

References

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