Ashok Kumar: The legend

Ashok Kumar was born in 1911 at Bhagalpur in Bihar. His real name was Kumudlal Kanchilal Ganguly. Although he passed Bsc as a son of a lawyer and deputy magistrate, he practised law only for a year in Kolkata. Later, his brother-in-law S Mukharji took him to Bombay. He first started working in Bombay Talkies in engineering section without getting any payment and then with small salary. He was gathering all kinds of experience about movies in all respects.

In1935, shooting of two movies was going on under the banner of Bombay Talkies of Himangshu Roy (Jivanaiya, Achhutha Kanya). All the artists of the two movies were the same. Devika Rani, wife of Himangshu, was a glamorous heroine (1907-94) and commercial mainstay of Bombay Talkies. One day she eloped with the hero Najmul Hasan all on a sudden. Losing beautiful Laxmi, darkness descended on both Himangshu and Bombay Talkies. Now intelligent S. Mukharji became much more active than ever before. He did found Devika. He convinced Devika and insisted on her going back. Himangshu did not shove Laxmi off further. The two were associated with each other in a cinematic style. So shooting could start again.

Najmul, the hero, was absconding. Taking advantage of that moment, Mukharji bared his mind to Himangshu. To show gratitude, Himangshu could not say ‘no’. Camera test was held. German director Franz Osten and cameraperson J. Wirsching both were discontented. Himangshu was grateful, Bengali and what was more he was far-sighted. So, Ashok began his journey; he embarked upon ‘Jivan Naiya’ and also touched ‘Achhuta Kanya’.

But Devika Rani was not to be pleased so easily. Ashok was sent to the dark editorial-room. After the demise of her husband (Himangshu) in 1940, the 33-year-old heroine brought 29-year-old Ashok back to light. What did really happen! Was she waiting for the hit movie namely ‘Kangon’ (1939), acted by Ashok against Lila Chitnis (adopted from the movie of ‘Rajonigandha’ of Gajendra Mitra)?

If it was to be, then ‘Jivan Naiya’ particularly ‘Achhuta Kanya’ was far more block-busting. Sa’dat Hasan Manto, famous Urdu litterateur, wrote in his Ganje Fereste that luscious Devika and new-comer talented hero Ashok was a perfect duo. Ashok’s fans were increasing in number, especially among the college-going students. Ashok was the only ideal hero at that time. The college students followed Ashok’s style in their outfit. Many of them followed the Panjabi style of Ashok. Everywhere this song was heard ‘Tom bon ki chiria/me bonka ponchi/bon bon bolore.’ Mentionable that Ashok could sing as well. Manto informed that Ashok was a bit fidgety in his acting at the early stage of his career. Devika Rani did not like him too. I myself watched ‘Jivan Naiya’ and ‘Achhuta Kanya’ in big and small screens respectively. It also seemed to me that Ashok was rather green in his acting of the two movies. I thought out some reasons behind his jitters –

i) Devika was a well-established and attractive heroine.

ii) Devika was four years older than Ashok, wife of the owner Bombay Talkies- who eloped with a man. On the other hand, Ashok Kumar was perhaps the first graduate in Bombay Film Industry. Education, I think, makes a person not only sophisticated but also a bit timid. Manto, an intimate friend of Ashok Kumar, discussed the female timidity of Ashok with relish. Literally, Ashok was not a man of womanizing character. His good housewife Shova knew it well and also felt proud about it. With all these things together, his timidity against Devika Rani was understandable. Later (in 1943) it seemed to me that he emerged as a model of spontaneous acting. It is worth-mentioning that Ashok Kumar had no camera-complex, yet he might have a tinge of it at the very outset of his career.

 I mastered the art of stealing coins long before my admission to school. On one occasion, there was no coin under the mattress of my elder brother; moreover, I was caught red-handed. In order to distract attention, I pointed to the suddenly found full-page coloured picture of two men in Filmfare and asked my brother, ‘Dada, who are they?’

Forgetting totally the pain of losing coins, Dada introduced me to his favorite hero, ‘You see this is Dilip Kumar, the great.’ Due to my tender age, I liked the man standing beside Dilip Kumar- hair back brushed, check suit with fade ash color, cigar in hand- the cigar ash was about to fall, smile was glowing in his face. I was introduced to the gentle man while I was stealing coins. He was the first pick-pocket hero of Indian film! Later, he successfully played the role of robber and smuggler in a number of movies.

 Three elder brothers of mine, even the fourth one used to discuss movies enthusiastically. I was merely a listener of the lowest rank among them. My father was not an authoritarian type guardian like others. He used to read novels and enjoy watching cinema. Relying on it, I requested him to let me also watch cinema. However, my dad ordered me categorically, ‘Stand first in the exam, and then I will consider complying with your request’. So tough a test it was for me for watching cinema! I am also indebted to my classmates who studied with me in grade one. I could not have acquired the eligibility to watch cinema unless they had done me favor.

December, 1957. My parents were getting ready for watching matinee show. So were getting my elder brothers.

- ‘Dad, what are you going to watch today?’
- ‘Sagarika’ (that was going on at Ujala Cinema Hall)
- ‘Who are the actor and actress?’
- ‘Uttam and Suchitra’ (I was acquainted with the duo)
- ‘Brother, what are you going to watch?’
- ‘This is none of your business. Join Dad and Mom’
My immediate elder brother took pity on me. He quenched my curiosity at last, ‘Jalpori’
- ‘Who are the actor and actress?’
- ‘Ashok Kumar, Nalini Jayanta, Gitabali, Bipin Gupta...’ It gave me goose pimples. I became also eager beaver to watch Jalpori. Then, I walked all the way from West Motherbari to Cinema Palace. I really enjoyed myself of basking in that wintry sunshine. Dad gave me one taka and one ana to watch from the interclass. But I sat on the third class. It is still a mystery to me where the remaining eight ana has gone.

‘Jalpori (1952) is the only movie of the world that was screened in all ancient five cinema halls of Chittagong, at least for once. I watched the cinema every time it was screened. Though it was advertised as ‘Brand new print’, but the rill got cut at the same place every time.

Filled with humane quality, Mangal Daku (Ashok) courted arrest while returning Rajkumari (Nalini Joyanta). Rajkumari visited Mangal in jail secretly. Then with a sarcastic smile, the hero said, ‘Aiye Rajkumari, aiye. Apki dil ki morad shayed puri hoye’.

All hell broke loose when the darkness engulfed cinema hall. The audience raised a hue and cry. Then the whole scene changed.

I can still remember the plot of the movie; the songs were composed by SN Tripathi. I can even remember some dialogues. That was like the memories of first love.

I used to look for cinema advertisements even if I came across any page of daily newspaper in the dustbin. Tearing that apart, I would collect the advertisement. Once I bumped into a three-inch-column advertisement of a movie styled ‘Kismat’ (1943). That same familiar face, dressed in suit with turban and of course cigar dangling in hand. The style of holding cigar came into vogue in this subcontinent after Ashok Kumar. I collected the piece of information from Mr Manto. I watched ‘Kismat’ (in 1963-64) for the first time at Ujala Cinema Hall long after watching its advertisement. In 1979 I watched the cinema again in Orient Cinema Hall of Chowrangipara in Kolkata. This time I got the thrill of historical excitement as Kismat was screened in this cinema hall for long three years uninterrupted (1943-45).

The storyline of Kismat written by PL Shantoshi turned into a motif afterward. Losing family members, being brought up unnoticed, finally happy ending- common run of audience welcomed this storyline repeatedly. ‘Azad’ of Dilip Kumar, ‘Awara’ of Raj Kapur, ‘Lawarish’ of Amitav are some of the many examples.

Ashok Kumar was the first actor in this sub-continent who showed talent for playing the role of an anti-hero. (John Cromwell’s ‘Algiers, 1938 is the only precedent of this genre). Later, every hero of Bombay acted in anti-hero role at least for once in their career. However, the historical importance of the pioneer never sinks into oblivion.

‘Filmindia (February, 1943), the then cinemagazine came down heavily on the pretext of the negative impact of ‘Kismat’ on the younger generation. Encouraged by the excitement of adventure, a young boy of a rich family was caught red-handed by the police for stealing.

At that time, the budget for making film was rather shoestring; technical standard was not up to the mark either. Dialogue was captured from hanging microphone like stage drama. Understandably, the reign of stagy-mood in body language, typical high-pitch Jatra dialogue was natural. I first observed the exception to the common trend in ‘Kismat’. The most remarkable feature was the performance of Ashok Kumar. I watched a total of 34 movies starred by Ashok. He never threw dialogue in a loud voice as far as I can remember. Later, save Sanjib Kumar, I did not see that style in anyone else. However, Balraj Shahani could be included into the list. Ashok had the ability to give expression to excitement and tension without throwing any dialogue. Mahal is a glaring example of this kind by Ashok. To me, Ashok Kumar could be described as the perfect pioneer of natural, spontaneous acting. He could also retain the style of under-tone dialogue even in the film titled ‘Sangram’ (1950). He did not resort to the high-pitch even at the angry moment of hospital in ‘Dider’. In a drunken stupor, he became angry in ‘Bhai Bhai’ (1956) while spurring Rani (Nimmi) to dance. In the second order, he vented his vehement anger without any shout. In this respect –like others- I cannot give the credit to Mohit Lal. There was no such provision of melodrama as far as I saw the characterizations done by Mohit Lal. The high-pitch was not necessary at all there.

Dozens of actors, more skilled than Ashok Kumar might appear in Indian film. Yet, I would say that I have never seen that personality, that power of expression, physique, body language, gesture, and pronunciation in anyone else other than Ashok Kumar himself, at least among the actors. I observed the features partly in former half-hero Pirthhi Raj. Later I found excellent personality in Pakistani Santosh Kumar,-he had fine gentility, but the required manly assertiveness was non-existent in him like Uttam Kumar. Later, aristocratic personality was also found in the acting of Sanjib Kumar. However, there was something extraordinary in the personality of Ashok, particularly in his countenance.

I thought of some cinema plots, even dialogue and scenario. The role of the hero of a story was such that none other than Ashok Kumar in the whole subcontinent would fit for it; not even Dilip Kumar. (I reiterate my confession that there might appear dozens of more skilled actors than Ashok) I cannot substantiate my claim, may be I am not capable of making it clear; but I feel a great weight off my mind as I express it today.

Except Nasir Uddin Shah, Nana Patekar, Anil Kapur, Ajay Devgon, Amir Khan, Shahrukh Khan; Ashok acted with all the great heroes. For instance, Dilip Kumar (Didar: 1952), Raj Kapur (Bewada: 1952), Devanand (Tamasha: 1952), Prodip Kumar (Gomrah: 1963), Raj Kumar (Pakijah: 1971), Rajendra Kumar (Mere Meheboob: 1963), Dhormendra (Bandini: 1963), Sanjid Kumar (Tumhare Liye: 1978), Amitav (Shakti: 1982), Mithun Chakrabarti (Sowkin: 1981). I watched every single movie in big screen except Mere Meheboob. In every movie, Ashok Kumar proved his mettle. Even, in Shakti, where he acted only for a few minutes. Ashok had an image of himself.

Ashok was a quintessence of aristocratic personality. Although he led a very simple way of life, he rented Bombay Stadium for the purpose of Bharoti’s (his daughter) marriage in 1960. He harbored no prejudice in himself. He would drink moderately. He would eat bread and meatball in the house of the Muslims. He once turned up in a Muslim dominated area at a time of riot in 1948. I will now sign off this write-up after describing the reason behind my feeling of indebtedness to him.

 The photograph of actors which I bumped into first (1956) was Ashok Kumar. He is the hero of the oldest cinema that I watched so far (Jiban Naiya,Achhuta Kanya,1935). He was the first hero of cinema that I watched in my life (Jalpori, 1952). He was the first hero (Hospital, 1960) of Bangla cinema that I watched (1961/62).

Had there been no Ashok Kumar, I would not have been able to watch ‘Hospital’. My watching of Bangla cinema might have been delayed further if I had not watched ‘Hospital’. At that time, Bangla cinema had no violence, no bloodshed; it was all cool and rather goody-goody! After reading fairytales and detective books, I always looked for those elements in movies. But I watched ‘Hospital’ every time. I got introduced to Suchitra Sen when I began to watch the cinema by Ashok Kumar. I began to watch Bangla cinema when I watched Suchitra Sen. I happened to watch ‘Opur Shongshar’ because of watching Bangla cinema. So my gratefulness to Ashok Kumar knows no bound.

Given my long intercourse with cinema, I regard Asok Kumar to be an avuncular to me. I also pay my tribute and offer my gratefulness to my father who was born hundred years ago (1911-73) for handing over one taka and one ana to me at an opportune moment.

Translated by Anwar Hussain, Staff Reporter, The Independent.

Ashok Kumar: The legend

Ashok Kumar was born in 1911 at Bhagalpur in Bihar. His real name was Kumudlal Kanchilal Ganguly. Although he passed Bsc as a son of a lawyer and deputy magistrate, he practised law only for a year in Kolkata. Later, his brother-in-law S Mukharji took him to Bombay. He first started working in Bombay Talkies in engineering section without getting any payment and then with small salary. He was gathering all kinds of experience about movies in all respects. In1935, shooting of two movies was going on under the banner of Bombay Talkies of Himangshu Roy (Jivanaiya, Achhutha Kanya). All the artists of the two movies were the same. Devika Rani, wife of Himangshu, was a glamorous heroine (1907-94) and commercial mainstay of Bombay Talkies. One day she eloped with the hero Najmul Hasan all on a sudden. Losing beautiful Laxmi, darkness descended on both Himangshu and Bombay Talkies. Now intelligent S. Mukharji became much more active than ever before. He did found Devika. He convinced Devika and insisted on her going back. Himangshu did not shove Laxmi off further. The two were associated with each other in a cinematic style. So shooting could start again. Najmul, the hero, was absconding. Taking advantage of that moment, Mukharji bared his mind to Himangshu. To show gratitude, Himangshu could not say no. Camera test was held. German director Franz Osten and cameraperson J. Wirsching both were discontented. Himangshu was grateful, Bengali and what was more he was far-sighted. So, Ashok began his journey; he embarked upon Jivan Naiya and also touched Achhuta Kanya. But Devika Rani was not to be pleased so easily. Ashok was sent to the dark editorial-room. After the demise of her husband (Himangshu) in 1940, the 33-year-old heroine brought 29-year-old Ashok back to light. What did really happen! Was she waiting for the hit movie namely Kangon (1939), acted by Ashok against Lila Chitnis (adopted from the movie of Rajonigandha of Gajendra Mitra)? If it was to be, then Jivan Naiya particularly Achhuta Kanya was far more block-busting. Sadat Hasan Manto, famous Urdu litterateur, wrote in his Ganje Fereste that luscious Devika and new-comer talented hero Ashok was a perfect duo. Ashoks fans were increasing in number, especially among the college-going students. Ashok was the only ideal hero at that time. The college students followed Ashoks style in their outfit. Many of them followed the Panjabi style of Ashok. Everywhere this song was heard Tom bon ki chiria/me bonka ponchi/bon bon bolore. Mentionable that Ashok could sing as well. Manto informed that Ashok was a bit fidgety in his acting at the early stage of his career. Devika Rani did not like him too. I myself watched Jivan Naiya and Achhuta Kanya in big and small screens respectively. It also seemed to me that Ashok was rather green in his acting of the two movies. I thought out some reasons behind his jitters i) Devika was a well-established and attractive heroine. ii) Devika was four years older than Ashok, wife of the owner Bombay Talkies- who eloped with a man. On the other hand, Ashok Kumar was perhaps the first graduate in Bombay Film Industry. Education, I think, makes a person not only sophisticated but also a bit timid. Manto, an intimate friend of Ashok Kumar, discussed the female timidity of Ashok with relish. Literally, Ashok was not a man of womanizing character. His good housewife Shova knew it well and also felt proud about it. With all these things together, his timidity against Devika Rani was understandable. Later (in 1943) it seemed to me that he emerged as a model of spontaneous acting. It is worth-mentioning that Ashok Kumar had no camera-complex, yet he might have a tinge of it at the very outset of his career. I mastered the art of stealing coins long before my admission to school. On one occasion, there was no coin under the mattress of my elder brother; moreover, I was caught red-handed. In order to distract attention, I pointed to the suddenly found full-page coloured picture of two men in Filmfare and asked my brother, Dada, who are they? Forgetting totally the pain of losing coins, Dada introduced me to his favorite hero, You see this is Dilip Kumar, the great. Due to my tender age, I liked the man standing beside Dilip Kumar- hair back brushed, check suit with fade ash color, cigar in hand- the cigar ash was about to fall, smile was glowing in his face. I was introduced to the gentle man while I was stealing coins. He was the first pick-pocket hero of Indian film! Later, he successfully played the role of robber and smuggler in a number of movies. Three elder brothers of mine, even the fourth one used to discuss movies enthusiastically. I was merely a listener of the lowest rank among them. My father was not an authoritarian type guardian like others. He used to read novels and enjoy watching cinema. Relying on it, I requested him to let me also watch cinema. However, my dad ordered me categorically, Stand first in the exam, and then I will consider complying with your request. So tough a test it was for me for watching cinema! I am also indebted to my classmates who studied with me in grade one. I could not have acquired the eligibility to watch cinema unless they had done me favor. December, 1957. My parents were getting ready for watching matinee show. So were getting my elder brothers. - Dad, what are you going to watch today? - Sagarika (that was going on at Ujala Cinema Hall) - Who are the actor and actress? - Uttam and Suchitra (I was acquainted with the duo) - Brother, what are you going to watch? - This is none of your business. Join Dad and Mom My immediate elder brother took pity on me. He quenched my curiosity at last, Jalpori - Who are the actor and actress? - Ashok Kumar, Nalini Jayanta, Gitabali, Bipin Gupta... It gave me goose pimples. I became also eager beaver to watch Jalpori. Then, I walked all the way from West Motherbari to Cinema Palace. I really enjoyed myself of basking in that wintry sunshine. Dad gave me one taka and one ana to watch from the interclass. But I sat on the third class. It is still a mystery to me where the remaining eight ana has gone. Jalpori (1952) is the only movie of the world that was screened in all ancient five cinema halls of Chittagong, at least for once. I watched the cinema every time it was screened. Though it was advertised as Brand new print, but the rill got cut at the same place every time. Filled with humane quality, Mangal Daku (Ashok) courted arrest while returning Rajkumari (Nalini Joyanta). Rajkumari visited Mangal in jail secretly. Then with a sarcastic smile, the hero said, Aiye Rajkumari, aiye. Apki dil ki morad shayed puri hoye. All hell broke loose when the darkness engulfed cinema hall. The audience raised a hue and cry. Then the whole scene changed. I can still remember the plot of the movie; the songs were composed by SN Tripathi. I can even remember some dialogues. That was like the memories of first love. I used to look for cinema advertisements even if I came across any page of daily newspaper in the dustbin. Tearing that apart, I would collect the advertisement. Once I bumped into a three-inch-column advertisement of a movie styled Kismat (1943). That same familiar face, dressed in suit with turban and of course cigar dangling in hand. The style of holding cigar came into vogue in this subcontinent after Ashok Kumar. I collected the piece of information from Mr Manto. I watched Kismat (in 1963-64) for the first time at Ujala Cinema Hall long after watching its advertisement. In 1979 I watched the cinema again in Orient Cinema Hall of Chowrangipara in Kolkata. This time I got the thrill of historical excitement as Kismat was screened in this cinema hall for long three years uninterrupted (1943-45). The storyline of Kismat written by PL Shantoshi turned into a motif afterward. Losing family members, being brought up unnoticed, finally happy ending- common run of audience welcomed this storyline repeatedly. Azad of Dilip Kumar, Awara of Raj Kapur, Lawarish of Amitav are some of the many examples. Ashok Kumar was the first actor in this sub-continent who showed talent for playing the role of an anti-hero. (John Cromwells Algiers, 1938 is the only precedent of this genre). Later, every hero of Bombay acted in anti-hero role at least for once in their career. However, the historical importance of the pioneer never sinks into oblivion. Filmindia (February, 1943), the then cinemagazine came down heavily on the pretext of the negative impact of Kismat on the younger generation. Encouraged by the excitement of adventure, a young boy of a rich family was caught red-handed by the police for stealing. At that time, the budget for making film was rather shoestring; technical standard was not up to the mark either. Dialogue was captured from hanging microphone like stage drama. Understandably, the reign of stagy-mood in body language, typical high-pitch Jatra dialogue was natural. I first observed the exception to the common trend in Kismat. The most remarkable feature was the performance of Ashok Kumar. I watched a total of 34 movies starred by Ashok. He never threw dialogue in a loud voice as far as I can remember. Later, save Sanjib Kumar, I did not see that style in anyone else. However, Balraj Shahani could be included into the list. Ashok had the ability to give expression to excitement and tension without throwing any dialogue. Mahal is a glaring example of this kind by Ashok. To me, Ashok Kumar could be described as the perfect pioneer of natural, spontaneous acting. He could also retain the style of under-tone dialogue even in the film titled Sangram (1950). He did not resort to the high-pitch even at the angry moment of hospital in Dider. In a drunken stupor, he became angry in Bhai Bhai (1956) while spurring Rani (Nimmi) to dance. In the second order, he vented his vehement anger without any shout. In this respect like others- I cannot give the credit to Mohit Lal. There was no such provision of melodrama as far as I saw the characterizations done by Mohit Lal. The high-pitch was not necessary at all there. Dozens of actors, more skilled than Ashok Kumar might appear in Indian film. Yet, I would say that I have never seen that personality, that power of expression, physique, body language, gesture, and pronunciation in anyone else other than Ashok Kumar himself, at least among the actors. I observed the features partly in former half-hero Pirthhi Raj. Later I found excellent personality in Pakistani Santosh Kumar,-he had fine gentility, but the required manly assertiveness was non-existent in him like Uttam Kumar. Later, aristocratic personality was also found in the acting of Sanjib Kumar. However, there was something extraordinary in the personality of Ashok, particularly in his countenance. I thought of some cinema plots, even dialogue and scenario. The role of the hero of a story was such that none other than Ashok Kumar in the whole subcontinent would fit for it; not even Dilip Kumar. (I reiterate my confession that there might appear dozens of more skilled actors than Ashok) I cannot substantiate my claim, may be I am not capable of making it clear; but I feel a great weight off my mind as I express it today. Except Nasir Uddin Shah, Nana Patekar, Anil Kapur, Ajay Devgon, Amir Khan, Shahrukh Khan; Ashok acted with all the great heroes. For instance, Dilip Kumar (Didar: 1952), Raj Kapur (Bewada: 1952), Devanand (Tamasha: 1952), Prodip Kumar (Gomrah: 1963), Raj Kumar (Pakijah: 1971), Rajendra Kumar (Mere Meheboob: 1963), Dhormendra (Bandini: 1963), Sanjid Kumar (Tumhare Liye: 1978), Amitav (Shakti: 1982), Mithun Chakrabarti (Sowkin: 1981). I watched every single movie in big screen except Mere Meheboob. In every movie, Ashok Kumar proved his mettle. Even, in Shakti, where he acted only for a few minutes. Ashok had an image of himself. Ashok was a quintessence of aristocratic personality. Although he led a very simple way of life, he rented Bombay Stadium for the purpose of Bharotis (his daughter) marriage in 1960. He harbored no prejudice in himself. He would drink moderately. He would eat bread and meatball in the house of the Muslims. He once turned up in a Muslim dominated area at a time of riot in 1948. I will now sign off this write-up after describing the reason behind my feeling of indebtedness to him. The photograph of actors which I bumped into first (1956) was Ashok Kumar. He is the hero of the oldest cinema that I watched so far (Jiban Naiya,Achhuta Kanya,1935). He was the first hero of cinema that I watched in my life (Jalpori, 1952). He was the first hero (Hospital, 1960) of Bangla cinema that I watched (1961/62). Had there been no Ashok Kumar, I would not have been able to watch Hospital. My watching of Bangla cinema might have been delayed further if I had not watched Hospital. At that time, Bangla cinema had no violence, no bloodshed; it was all cool and rather goody-goody! After reading fairytales and detective books, I always looked for those elements in movies. But I watched Hospital every time. I got introduced to Suchitra Sen when I began to watch the cinema by Ashok Kumar. I began to watch Bangla cinema when I watched Suchitra Sen. I happened to watch Opur Shongshar because of watching Bangla cinema. So my gratefulness to Ashok Kumar knows no bound. Given my long intercourse with cinema, I regard Asok Kumar to be an avuncular to me. I also pay my tribute and offer my gratefulness to my father who was born hundred years ago (1911-73) for handing over one taka and one ana to me at an opportune moment. Translated by Anwar Hussain, Staff Reporter, The Independent.