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Tag: Mughal-E-Azam

  • Discover iconic Bollywood classics on National Cinema Day with Tata Play Binge

    Discover iconic Bollywood classics on National Cinema Day with Tata Play Binge

    Mumbai: Cinema, a mesmerizing art form, has painted our lives with endless stories, laughter, tears, heart-thumps and created unforgettable memories. National Cinema Day celebrates this love for cinema by bringing us closer to the art. In the spirit of this celebration, Tata Play Binge, the aggregator platform that is home to over 22 OTT apps, brings a meticulously curated list of Bollywood classics that embody the very essence of Indian cinema. From powerful action to heart-melting romance to moving drama, the platform is home to all and more. On this special day, join us in embracing the magic of movies and reliving iconic moments from some of Bollywood’s biggest hits that epitomises Indian cinema’s signature storytelling. These movies have been responsible for making what the world sees as Bollywood today!

    Mughal-E-Azam on Zee5

    This iconic classic was released in 1960, Mughal-e-Azam is a timeless Indian historical drama directed by K. Asif. Featuring a stellar ensemble cast including Prithviraj Kapoor, Dilip Kumar, and the beautiful Madhubala, it was  the highest-grossing film of the yesteryear that went on to grab the Filmfare Award in 1961 for ‘Best Film’ as well as the ‘National Film Awards’ for ‘Best Feature Film in Hindi.’ Mughal-e-Azam became such an iconic part of Indian cinema that it was re-released in color, allowing a new generation of viewers to experience its grandeur and timelessness. Mughal-e-Azam has single-handedly been the stepping stone of Bollywood Cinema which has not only created an audience for such movies but have also paved the way for writers and makers to explore compelling storylines.

    Sooryavansham on Sony Liv  

    Sooryavansham should be made the unofficial flag bearer of movies that people watch for guilty pleasure. Featuring the legendary Amitabh Bachchan in a dual role, the movie is an endearing Bollywood classic that exudes family-centric charm and melodrama. Notably, this iconic movie earned Amitabh Bachchan the prestigious Best Actor Award by the All India Critics Association (AICA) in the year 2000 and became the most telecasted film on television!

    Dilwale Dulhania Le Jayenge on Apple TV+

    DDLJ, short for Dilwale Dulhania Le Jayenge, is an iconic Indian cinematic masterpiece, redefined the romantic genre and solidified Shah Rukh Khan’s status as the ‘King of Romance’.  The movie was a huge blockbuster earning it the Filmfare Awards, National Film Award, Screen Awards and most recently the Star Box Office India Awards for ‘Box Office India Milestone’ in 2014. DDLJ continues to successfully run in old Mumbai theaters till date making every generation fall in love with King-Khan and have over promising expectations from love stories in general!

    Vivah on Lionsgate Play

    With the tagline journey from engagement to marraige and featuring the talented duo Shahid Kapoor and Amrita Rao, this movie is a heartwarming tribute to the institution of arranged marriage in Indian culture. The film was declared a hit and became one of the biggest commercial successes of the year, establishing Shahid as a leading actor in Bollywood. And yes, it’s the source of the memorable “Jal lijiye” meme that continues to tickle the funny bone of enthusiasts.

    Kabhi Khushi Kabhie Gham on Netflix

    Affectionately known as K3G and masterfully directed by the maestro Karan Johar, this cinematic extravaganza boasts an ensemble cast of legends including Amitabh Bachchan, Shah Rukh Khan, Kajol, Hrithik Roshan, Jaya Bachchan, and Kareena Kapoor Khan. The film bagged a Filmfare for Kajol as Best Actress while winning the cast many more awards as it broke box office records and was the second highest-grossing film in India that year. It also marked a new era of Hindi films releasing internationally, paving the path for Indian cinema to reach a global audience.

    Nayak on Disney+ Hotstar

    Directed by the visionary S. Shankar, this Indian political drama, featuring Anil Kapoor and Rani Mukerji takes audiences on a captivating journey through the tangled web of political corruption, media influence, and the moral obligations of public figures. It was one of the most expensive movies of its time. Even though it bombed at the box office, it managed to gather a cult following, primarily because of its theme and still finds an audience every time it runs on television.

    Wondering how to get the subscription of these OTT apps? We have Tata Play Binge for you. Viewers can avail the entire package of 22+ apps (Disney+ Hotstar, Apple TV+, ZEE5, SonyLIV, Hallmark Movies Now, MX Player, Lionsgate Play, Aha, VROTT, Sun NXT, ReelDrama, Chaupal, Namma Flix, Planet Marathi, manoramaMAX, Koode, Tarang Plus, Hungama Play, Eros Now, ShemarooMe, Curiosity Stream, Voot Kids, EPIC ON, Travelxp, DocuBay, and ShortsTV) and Games under one subscription, in one app, without having to subscribe or remember the password of every app. Sounds amazing? It is amazing!!

    Please Note: Netflix and Amazon Prime Video plans are available for Tata Play DTH subscribers only.

    Download the Tata Play Binge app to enjoy the best of entertainment across over 22 OTT platforms.

    Tune into Tata Play Binge where the finest classics from diverse platforms unite celebrating the enduring magic of cinema.

  • Shemaroo loads 1000+ movies & TV shows on HOOQ

    Shemaroo loads 1000+ movies & TV shows on HOOQ

    MUMBAI: Shemaroo Entertainment and video-on-demand service HOOQ have inked a partnership, which will see the addition of more than 1000 movie titles across multiple genres and languages on the OTT platform. 

     

    With a content library of over 30,000 hours, HOOQ will now distribute Shemaroo’s library that includes a mix of classics to super hit films, TV serials and fitness videos. The content catalogue includes titles like Hunterrr, The Dirty Picture, Ishqiya, Don, Kaalia, Khuda Gawah, Mughal-E-Azam, Nukkad, Shilpa’s Yoga and Bipasha’s Fit & Fabulous amongst others.

     

    Shemaroo Entertainment director Jai Maroo said, “We are excited to partner with HOOQ for Indian content. With increasing number of devices and its users, the consumption of content on these platforms will certainly see an upward swing. We believe that services like this will catalyze consumers’ shift towards premium paid services and thus will ultimately benefit content owners like us. The deal affirms our focus to deliver quality content to our consumers on a variety of media and a network of their choice.”

     

    HOOQ chief executive officer Peter Bithos added, “Partnering with Shemaroo Entertainment, one of the largest content houses in the country will no doubt strengthen our ever-growing catelogue. We aim to satisfy the entertainment needs of the Indian consumers by ensuring that they continue to enjoy the largest and best catalogue of Hollywood and Indian content for only Rs 199 per month.”

     

    “We have put the Indian customers at the heart of our design to ensure that HOOQ serves their needs given the various challenges of India and other developing countries. This is evident in the world’s first download feature for Hollywood content, where customers can download up to five of their favourite movies to watch at a later time even when they are not connected to the internet,” he added.

     

    Singtel, Sony Pictures Television and Warner Bros launched HOOQ in India earlier this year and has also inked deals with the likes of Yash Raj Films amongst others. 

  • “Women portrayal problematic in cinemas and papers”: Aamir Khan

    “Women portrayal problematic in cinemas and papers”: Aamir Khan

    NEW DELHI: Eminent stars Aamir Khan and Deepika Padukone were the highlights of the day at the final session for the first day at the 12th edition of the Hindustan Times Leadership Summit.

     
    However, Khan decided to do some plain speak at the session moderated by renowned director Karan Johar when he expressed his disappointment over the trend of buying editorial spaces to garner positive reviews for upcoming movies. He said that it would be better if the fraternity channelized its energies in making good films.

     
    The talk touched on several sensitive issues that emerged in the film fraternity in the current times including buying of editorial spaces and the rat race for soaring box office collections.

     
    Khan said he loved movies like Pyaasa and Mughal-e-Azam, the box-office collections of which remain unknown to the world.

     
    The session also touched upon more grave issues like the portrayal of women in Indian cinema.  Padukone with reference to her latest controversial posters said “it cannot be denied that men too are objectified in Indian cinema.” Khan said women portrayal are problematic in cinemas and papers.

     
    The actors also agreed that the audience has matured over time and it becomes important to cater to the evolving taste of the audience. They also touched upon the blurring lines between the mainstream and parallel cinema.

     
    Khan welcomed the competition in the industry. The veteran actor said that stiff competition would only help the industry rather than pulling it down. He said that the idea to reshape Indian cinema would require making movies which would infuse grace into the social fabric of the society.

     

  • ‘Gandi baat’, badly told

    ‘Gandi baat’, badly told

    MUMBAI: Can one say, ‘A love story is a love story’? One cannot; how the story is told makes all the difference. Mughal E Azam, Barsaat, Aradhana, Dilwale Dulhaniya Le Jayenge, Kabhie Kabhie and Hum Aapke Hain Koun..!, among others, were all love stories but each was memorable for its own reasons.

     

    At the opposite end of the spectrum is the recent crop of South Indian-style formula love stories that have been raiding the box office of late. R… Rajkumar is one of them. It is a mindless action film in the guise of a love story, and not a very good action film at that. The villain loses his credibility too many times in a period of two hours 26 minutes to be of any interest by the time the climax comes about. The villain’s superiority, ego and power are all finished long before the final fight; all that remains is finishing him physically. And the film, already bankrupt of ideas, devotes 20-25 minutes just to that. It seems never-ending.

     

     

    Producer: Sunil Lulla, Viki Rajani.
    Director: Prabhu Dheva.
    Cast: : Shahid Kapoor, Sonakshi Sinha, Sonu Sood, Ashish Vidyarthi, Mukul Dev, Asrani, Srihari, Poonam Jhawer; Charrmy Kaur and Ragini Dwivedi (both in special appearance in songs).

    Earlier named Rambo Rajkumar and later forced to withdraw Rambo from its title, it settled for a suggestive R….. Rajkumar which is explained in the film as Romeo Rajkumar; after all, the Romeo, Shahid Kapoor, falls for Sonakshi Sinha at first sight. He has dropped in to an unfamiliar town in midst of two warring groups exchanging bullets. Sonakshi is caught in this crossfire and he stretches his arm to ward off bullets aimed at her, in the process showing off his tattoo to her. (No, the tattoo does not materialise into any Manmohan Desai kind lost and found story.)

     

    Shahid loves to poke his nose into others’ business. Ashish Vidyarthi’s goons plan to kidnap truck carrying opium belonging to Sonu Sood. Shahid saves it and earns an entry into Sood’s gang. Shahid can tackle 100 goons singlehandedly, the goons being very sporting as they tend to be in all South Indian action choreography. They always attack one after the other, each waiting his turn. Sood is thoroughly impressed and Shahid is promoted to his right hand man, displacing Mukul Dev who is also a sport and, instead of hating Shahid, makes him his best friend. Shahid’s reason for staying around in the town is probably Sonakshi as he has fallen head over heels for her.

     

    Soon, Shahid has a competitor. Sood sees Sonakshi and is besotted by her. She turns out to be the orphan niece of Sonu’s enemy, Vidyarthi, but so what? They decide to bury the hatchet and become rishtedaars. Challenges are thrown and a fight sequence is in place when Shahid leaves the scene. He could have taken Sonakshi along at that very moment but he avoided doing that for the sake of taking the film into the second half and eventually to its never-ending climax. No sense ending a film at interval stage.

     

    In the absence of anything worthwhile, the second half is whiled away with songs, some action and some cell phone romance besides unsuccessfully attempting some Himmatwala, Mawali kind of funny sequences with Asrani, Poonam Jhawar, Vidyarthi etc.

     

    Prabhu Dheva is handicapped as this time he is directing an original and not a remake; he is totally at sea! The film has one item number which is popular with masses in Gandi baat… The background score is eardrum shattering cacophony. The editing department seems to have been passed over. Action is routine South brand where the hero is superhuman. Besides, every action sequence has been stretched as if to make up for the lack of content. Shahid does a tapori role he is not cut out for. Just growing stubble does not make one a tapori. Sonakshi is too large for the frame. She is unimpressive in all that is expected of her. Sood is routine while Vidyarthi, Srihari, Asrani and Poonam Jhawer pass muster. Mukul Dev makes his presence felt.

     

    R…. Rajkumar has nothing to offer to multiplex audience and, may be, three days’ worth to single screens before it ends its reign.

     

    Sweet 60

    Producer: Kavee Kumar.
    Director: Sanjay Tripathy.
    Cast: : Farooq Sheikh, Sarika, Raghubir Yadav, Satish Shah,Sharat Saxena, Tinnu Anand, Vineet Kumar, Suhasini Mulay, Zareena Wahab, Himani Shivpuri, Viju Khote, Harsh Chhaya, Mona Wasu.

    When a personal tragedy is juxtaposed with comedy, when underlying emotion in every person’s life is camouflaged with vibrant humour and still a maker comes out with an entertainer, the concept is the hero. Such is the confidence in the script that the cast is made up of half a dozen veteran 60-plus actors; in fact, casting is the mainstay of the film. Club 60 is one of those films which come as a breeze of fresh air. It joins the category of Vicky Donour, OMG Oh My God, Dirty Picture, Kahaani and Special 26 as a rare gem. In short, it is not just another run-of-the-mill movie.

     

    Farooq Shaikh, a neurosurgeon of repute in Pune and his wife, Sarika, also a doctor, are in depression and mourning having lost their only son in a shootout in a cinema hall in the US where he went to study further. To leave their son’s memories behind, the couple has moved in to the very flat they had bought for their son’s future use in Mumbai after folding up their medical practices in Pune. While Shaikh is totally shattered and even tries to commit suicide once by slashing his wrist, Sarika contains her pain and loss within herself and tries to be a support to Shaikh. While Sarika joins a local hospital to keep her mind from the tragedy, Shaikh refuses to divert his attention and prefers to wallow in his sorrows. Then, a few days into his Mumbai life, there comes in his life a storm called Raghubir Yadav.

     

    Yadav lives in the same building, a floor above Shaikh. He dresses in t-shirts bearing suggestive messages, branded sunglasses, half-cargoes and Nike shoes. He is a gaudy, loudmouthed, overenthusiastic Gujarati who believes in living his life to the fullest but also forcing it on to others. After as short ride in the lift with Yadav, Shaikh has had enough of him. He decides to keep Yadav at arm’s length and also advises Sarika to do the same. But Yadav is not easily contained. He soon invades the Shaikh household, force-lands on breakfast table and invites the couple to join Club 60. While Yadav irritates Shaikh, Sarika finds him quite amusing and does not totally reject him.

     

    Yadav wants Shaikh to come look up the club and with little help from Sarika, he manages to do so. Yadav manages to involve Shaikh in his club along with four other friends, Sharat Saxena, Satish Shah, Tinnu Anand and Vineet Kumar, who are as boisterous as Yadav. At the club, their life revolves around a tennis court where they play little, abuse and fight each other more and finally settle down for their favourite finale, breakfast followed by a fight over who pays! Everything they do is like any group of boys in teens would be doing. Shaikh is a witness to all this camaraderie but aloof.

     

    Within a generally well-thought-out script, there are two scenes, both involving Sarika that stand out for being thought provoking. One is her talk with Shaikh’s psychiatrist, Harsh Chhaya and another with Shaikh, both of which are better seen on screen. The scene with Shaikh changes his attitude, turning him from a loser to a positive man. As Shaikh comes closer to the five people in the 60 plus group, he learns that he was not the only one to have lost someone close to him. All five around him had a sad story to tell which they hid behind their boisterous bravado and loud demeanour. They did not indulge in self pity like Shaikh did.

     

    Sanjay Tripathi has written and directed this film, his debut. He has excelled on both counts. Despite dealing with two shades, tragedy and comedy, the film’s dialogue is effectively relevant. The songs, composed by Pranit Gedham, besides being well penned, take one back to the melodious 80s. Background score is effective. Performance wise, Sarika tops with Shaikh and Yadav (who could have been a little less loud) also do very well. The other four, Saxena, Shah, Anand and Kumar give a natural account of themselves. Suhasini Mulay, Zareena Wahab, Himani Shivpuri, Viju Khote, Harsh Chhaya and Mona Wasu are fair in support.

     

    Club 60 is a small budget film with still smaller budget for promotion. Its hopes rest on word-of-mouth, failing which the business will sadly go to pirated discs because, the film is an entertainer with human story and the word is bound to spread eventually.

  • Gandi baat, badly told

    Gandi baat, badly told

    MUMBAI: Can one say, ‘A love story is a love story’? One cannot; how the story is told makes all the difference. Mughal E Azam, Barsaat, Aradhana, Dilwale Dulhaniya Le Jayenge, Kabhie Kabhie and Hum Aapke Hain Koun..!, among others, were all love stories but each was memorable for its own reasons.

    At the opposite end of the spectrum is the recent crop of South Indian-style formula love stories that have been raiding the box office of late. R… Rajkumar is one of them. It is a mindless action film in the guise of a love story, and not a very good action film at that. The villain loses his credibility too many times in a period of two hours 26 minutes to be of any interest by the time the climax comes about. The villain’s superiority, ego and power are all finished long before the final fight; all that remains is finishing him physically. And the film, already bankrupt of ideas, devotes 20-25 minutes just to that. It seems never-ending.

    Earlier named Rambo Rajkumar and later forced to withdraw Rambo from its title, it settled for a suggestive R….. Rajkumar which is explained in the film as Romeo Rajkumar; after all, the Romeo, Shahid Kapoor, falls for Sonakshi Sinha at first sight. He has dropped in to an unfamiliar town in midst of two warring groups exchanging bullets. Sonakshi is caught in this crossfire and he stretches his arm to ward off bullets aimed at her, in the process showing off his tattoo to her. (No, the tattoo does not materialise into any Manmohan Desai kind lost and found story.)

    Shahid loves to poke his nose into others’ business. Ashish Vidyarthi’s goons plan to kidnap truck carrying opium belonging to Sonu Sood. Shahid saves it and earns an entry into Sood’s gang. Shahid can tackle 100 goons singlehandedly, the goons being very sporting as they tend to be in all South Indian action choreography. They always attack one after the other, each waiting his turn. Sood is thoroughly impressed and Shahid is promoted to his right hand man, displacing Mukul Dev who is also a sport and, instead of hating Shahid, makes him his best friend. Shahid’s reason for staying around in the town is probably Sonakshi as he has fallen head over heels for her.

    Producer: Sunil Lulla, Viki Rajani.
    Director: Prabhu Dheva.
    Cast: : Shahid Kapoor, Sonakshi Sinha, Sonu Sood, Ashish Vidyarthi, Mukul Dev, Asrani, Srihari, Poonam Jhawer; Charrmy Kaur and Ragini Dwivedi (both in special appearance in songs).

    Soon, Shahid has a competitor. Sood sees Sonakshi and is besotted by her. She turns out to be the orphan niece of Sonu’s enemy, Vidyarthi, but so what? They decide to bury the hatchet and become rishtedaars. Challenges are thrown and a fight sequence is in place when Shahid leaves the scene. He could have taken Sonakshi along at that very moment but he avoided doing that for the sake of taking the film into the second half and eventually to its never-ending climax. No sense ending a film at interval stage.

    In the absence of anything worthwhile, the second half is whiled away with songs, some action and some cell phone romance besides unsuccessfully attempting some Himmatwala, Mawali kind of funny sequences with Asrani, Poonam Jhawar, Vidyarthi etc.

    Prabhu Dheva is handicapped as this time he is directing an original and not a remake; he is totally at sea! The film has one item number which is popular with masses in Gandi baat… The background score is eardrum shattering cacophony. The editing department seems to have been passed over. Action is routine South brand where the hero is superhuman. Besides, every action sequence has been stretched as if to make up for the lack of content. Shahid does a tapori role he is not cut out for. Just growing stubble does not make one a tapori. Sonakshi is too large for the frame. She is unimpressive in all that is expected of her. Sood is routine while Vidyarthi, Srihari, Asrani and Poonam Jhawer pass muster. Mukul Dev makes his presence felt.

    R…. Rajkumar has nothing to offer to multiplex audience and, may be, three days’ worth to single screens before it ends its reign.

  • Big Flix joins hand with Shemaroo Entertainment

    Big Flix joins hand with Shemaroo Entertainment

    MUMBAI: Reliance Entertainment Digital’s movie-on-demand service, Big Flix, has formed a licensing agreement with one of the leading content houses of the country – Shemaroo Entertainment. The alliance will allow users of Big Flix to stream a wide range of blockbusters movies by Shemaroo Entertainment – ranging from black and white films to some of the most recent releases.

    The catalogue offers an assortment of classics to latest hits with a blend of genres in multiple languages – Hindi, Marathi and Tamil. Few of the finest Hindi classics like the iconic film Mughal-E-Azam, Raj Kapoor’s Anari, Mithun’s Disco Dancer, Rajesh Khanna’s Roti to some of the contemporary films like Amitabh Bachchan’s Black, Aamir Khan’s Sarfarosh, Vidya Balan’s Ishqiya & The Dirty Picture and so on form the part of the list.

    The Marathi catalogue will feature key titles like Aaichcha Gondhal, Abhimanyu, Joshi ki Kamble and Juiley, while Tamil titles like Balam, Ivar, Mahesh Saranya Matrum Palar and Manja Velu will the add to the variety of the Shemaroo catalogue on Big Flix.

    Commenting on the association with Shemaroo Entertainment, Big Flix business head Shreyash Sigtia said, “There is a definite demand for classic films amongst movie enthusiasts and Shemaroo Entertainment is credited to have given Indian audiences some iconic and successful titles in Bollywood for decades now. We are delighted to partner with Shemaroo Entertainment to add an array of blockbusters from every decade to the existing catalogue on Big Flix. The multi-lingual catalogue will cater perfectly to the movie enthusiasts who desire an assortment of film entertainment anytime, anywhere. Also with this alliance, Big Flix continues to tie up with leading entertainment companies, thereby acquiring internet rights of some of the best titles of the industry.”

    Shemaroo Entertainment director Jai Maroo said, “We are glad to join hands with Big Flix as the association is in line with our strategy to be one of the major content providers across countries. Our vision is to be present on all devices, any time and on any connection. Big Flix being a prominent online platform in digital space will help us cater to wider range of audience across geographies. Shemaroo has turned into a one-stop-shop for many of the platforms where we not only provide the content but also manage it.”

  • Mughal-e-Azam named greatest Bollywood film in UK poll

    Mughal-e-Azam named greatest Bollywood film in UK poll

    MUMBAI: The Madhubala and Dilip Kumar starrer, Mughal-e-Azam has been awarded the greatest Bollywood film of all time by a poll celebrating 100 years of Indian cinema in the UK. As part of the survey conducted by British Asian weekly newspaper Eastern Eye, filmmaker K Asif’s 1960s epic beat off the tough competition to bag the top spot. Sholaywas ranked second.

    It was a great moment of pride and honor for the entire family according to Akbar Asif, the son of the late filmmaker. For him, Mughal-e-Azam showed all the most impossible dreams that came true.

    The iconic film not only smashed box office records when it was first released but was also successfully coloured and re-released in 2004. Its plot of a doomed affair between Prince Salim and courtesan Anarkali captured hearts all over the world and in 2006 it became the first Bollywood film to get a release in Pakistan after a gap of 41 years.

    The results of the survey were drawn up by combining audience votes through various forms of social media, box office figures, cinematic impact and critical acclaim. The rest of the top 10 in the ‘100 Greatest Bollywood Movies List‘ include Sholay, Dilwale Dulhania Le Jayenge, Mother India, Awaara, Deewar, 3 Idiots, Kabhi Kabhie, Andaz and Maine Pyar Kiya.

    The lead stars with most movies in the top 10 are Amitabh Bachchan and Nargis, who feature in three each. The late Yash Chopra is the filmmaker with the maximum movies in the top 10 slots, two as director and one as producer.

  • Film industry wants Bharat Ratna for Dilip Kumar

    Film industry wants Bharat Ratna for Dilip Kumar

    MUMBAI: The entire film industry from Rajnikant to Kamal Hassan to our artistes like Aamir Khan, Kamal Haasan, Yash Chopra, Mamooty, Rakesh Roshan, Subhash Ghai, Chiranjeevi, Ramesh Sippy, and Mukesh Bhatt have endorsed a petition appealing that Bharat Ratna be conferred on actor Dilip Kumar. The initiative has been started by Mahesh Bhatt.

    Bhatt said in a statement, "Dilip Kumar, the icon is as old as the Indian film industry. He is the symbol of secular India and has an unmatched career record spanning from pre-independence years till the last decade."

    With a plan to involve millions of Dilip Kumar fans in the initiative, a Facebook community Dilip Kumar for Bharat Ratna has been launched. The community has till date as many as 1000 members till date with its ranks swelling by the day.

    The Facebook community supporting the petition includes names like Rajeev Khandelwal, Priyanka Chopra, Kajol, Randeep Hooda, Salma Agha, Runa Laila, Mukul Dev and Khalid Mohammad.

    Reads the web page of the community, "The people of India would like to send their fervent request to the Government of India to confer the prestigious Bharat Ratna, India‘s highest civilian honour, to the best actor in the country, Shri Dilip Kumar."

    Dilip Kumar, popularly known as ‘Tragedy King of Bollywood‘, started his acting career with Jwar Bhata in 1944 and then went on to act in classics like Andaz (1949) Deedar (1951), Aan (1952), Devdas (1955), Mughal-E-Azam (1960), Ganga Jamuna (1961) and RamAur Shyam among many others.

    In 1994, the Government of India awarded the senior actor with Dadasaheb Phalke Award. Not, only in India, Dilip Kumar is highly regarded in Pakistan too. In the year 1998, Nishan-e-Pakistan, the highest civilian award of Pakistan was conferred upon the thespian.