“When Bimalda requested me to play Chandramukhi (for Devdas), I used to be in awe as a result of I might be performing with the Tragedy King. However he made it very comfy,” says Vyjayanthimala, who at 86 continues to pursue her ardour for Bharatanatyam.
The primary scene she enacted with him was easy sufficient. “The road was ‘Aur mat piyo Devdas’ (Don’t drink anymore, Devdas). I needed to say it when Devdas walked in drunk. The digital camera was to seize Devdas after which observe him and switch its give attention to me once I spoke that line with an expression of anguish and helplessness.”
She thought it might be simple. “Because the technicians introduced readiness to shoot and Bimalda checked out me to know if I used to be prepared, I realised Dilip sahab was not on the units. An assistant advised me he was taking brisk rounds of the studio to get that drained, weary look and he had instructed them to start out the digital camera when he would stagger in with beads of actual sweat on his forehead and a glance of exhaustion.” Vyjayanthimala says that was the exact second when she started to panic. “Right here was an actor who took a lot hassle to endow realism and right here was me who had not finished any preparation and was all set to face the digital camera. When it began and I noticed the unbelievable perfection of Dilip sahab’s efficiency, all I may do was helplessly converse the road: ‘Aur mat piyo, Devdas’. The helpless look on my face was what Bimalda needed.”
In ‘Madhumati’, he hears a voice and goes in search. A woman’s face emerges from the fog and he asks: “Who’re you?” She replies, “Madhumati.” The scene was sensible in the way in which it was conceived and carried out, remembers Vyjayanthimala. “Dilip sahab all the time used his voice successfully, modulating it to the state of affairs and the very best moments in ‘Madhumati’ confirmed how properly he used the feel of his smooth voice to reinforce the suspense and thriller.”
For him, she says, it was all about timing. “He stated interplay is extra vital than motion, ie, the way in which you react to the opposite character. And that the timing of any gesture – even a nod of the top – issues. I used to be in a position to do it as a result of my Bharatanatyam basis helped me emote and have fast reflexes,” she says.
Vyjayanthimala left the business, however continued to share a bond with Saira Banu. She remembers the time when she met them in 2017. “I went to Mumbai with my son Suchindra to obtain an award. Saira despatched a automobile, and I visited Dilip sahab. He had attendants round him and Saira tried to coax him awake, saying, “See who has come, Dhanno (Vyjayanthimala’s character in ‘Ganga Jamuna’) has come. He opened his eyes, it was only a flicker. Saira requested me how he appeared, and I stated he seems nearly as good as he did in ‘Madhumati’. I met them once more in 2019 however he was very quiet.”
(Consists of excerpts from Dilip Kumar: The Substance and The Shadow by Udayatara Nayar)
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