Dév Ānand to Amitābh
Bachchan
Generally, the media presents the Indian Cine History keeping the box office into its central point of view.
Of course, if the commercial point of view is taken into consideration, it’s necessary.
But why should there a Multiversalist Humanist, as I am, study the same from commercial point of view?
I don’t.
I never.
Instead, moreover, I refuse to do so.
Instead, I study it, as I peruse everything else too, with the point of view to its worth to humanity.
I think we human beings should peruse everything with the same point of view.
So, I think Dév Ānand and Rāj Kapoor have contributed to humanity more than our tragedy king Dilip Kumar has.
The media writes Dilip Dév Raj trio.
I write Dév Raj Dilip trio.
I keep Dilip at the third place, not because I’m communal.
I put Sāħir Ludhiyānvī at the top when I write about Indian cine lyricists.
How was it possible if I were a communal?
I put Jāvéd Akħtar after Sāħir Ludhiyānvī even, not Ānand Baxī.
How was it possible if I were a communal?
I put Dr. APJ Abdul Kalām at the top when I write about the Presidents of India, not any Hindu whosoever he may be.
How was it possible if I were a communal?
No, I’m not communal.
From a humanist point of view, Dév Ānand and Rāj Kapoor have contributed to humanity more than Dilip Kumar has.
Of course, Dilip Kumar has contributed to box office more than Dév Ānand and Rāj Kapoor have.
But to humanity, Dilip Kumar has contributed less.
Tragedy clicked at the box office, those days, instead of the highest jubilant attitude of great Dév Ānand towards life and the highest constructive attitude of great Raj Kapoor towards the same, because most of the Indians those days were sufferers.
India had gotten its independence recently.
The sufferers identified themselves with Dilip Kumar’s tragedies more than with the highest jubilant attitude of great Dév Ānand towards life and the highest constructive attitude of great Raj Kapoor towards the same.
Divine Rajendr Kumar was out of question consequently then, even irrespective of his being Jubilee Kumar.
Even Sophisticated Ashok Kumar and Raj Kumar had lost at box office to the tragedies of Dilip Kumar.
The sufferers kept identifying themselves with the tragedies of Dilip Kumar.
Yet, as India progressed, the sufferers lost their majority.
It was the reason the tragedies of Dilip Kumar started to flop ultimately.
The life survives in jubilation, elation, triumph, joyousness, delight and euphoria, not in tragedies.
It is the reason the highest jubilant attitude of great Dév Ānand towards life and the highest constructive attitude of great Raj Kapoor towards the same, survived on the tragedies of Dilip Kumar and is still surviving.
It was the reason the ever first super star Rajesh Khanna with all the highest jubilant attitude of great Dév Ānand towards life and the highest constructive attitude of great Raj Kapoor towards the same, even with the singer Kishore Kumar of Dév Ānand, soon replaced the tragedies of Dilip Kumar.
Rajesh Khanna had the great divinity of Rajendr Kumar and sophistication of Ashok Kumar and Raj Kumar too.
Dilip Kumar had no alternative to lose to Rajesh Khanna.
Yet, Rajesh Khanna too had the same loser morals of the tragedies of Dilip Kumar.
Dilip Kumar acknowledged and honoured the success of Rajesh Khanna using his singer Kishore Kumar himself in Sagina.
Rajesh Khanna was the super cocktail of the highest jubilant attitude of great Dév Ānand towards life, the highest constructive attitude of great Raj Kapoor, divinity of Rajendr Kumar and the tragedies of Dilip Kumar.
It was the mystery of the success of great Rajesh Khanna on the tragedies of Dilip Kumar.
Yet, he had the same loser ethics, the tragedies of our tragedy king Dilip Kumar had.
Amitabh Bachchan succeeded in getting rid of it too.
Hence, the ultimate defeat of great Rajesh Khanna to even greater Amitabh Bachchan.
Amitabh Bachchan as he rose taller and taller, the tallest ultimately, was never a loser even as Rajesh Khanna was.
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More audio musical blogs from DSM Satyarthi:
2. Zindagi ik safar hai suhana
4. Har Chehrā yahān chānd to har zarrā sitarā
5. Main jahan chala jaaoon, bahaar chali aaye
6. Socha tha pyar hum na karenge
Hinduism according to Ved: DSM Satyarthi 