{"product_id":"dilip-kumar-substance-and-shadow-autobiography-nag841","title":"Dilip Kumar : The Substance and The Shadow (An Autobiography)","description":"\u003ch2 class=\"title is-size-3-desktop is-size-5-touch has-text-centered product-details-description-title\"\u003eBook Specification\u003c\/h2\u003e\u003ctable\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eItem Code:\u003c\/td\u003e \u003ctd\u003eNAG841\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eAuthor:\u003c\/td\u003e \u003ctd\u003e\u003ca href=\"\/book-author\/udayatara%20nayar\/\" class=\"underlined\" title=\"Udayatara Nayar\"\u003eUdayatara Nayar\u003c\/a\u003e\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003ePublisher:\u003c\/td\u003e \u003ctd\u003e\u003ca href=\"\/book-publisher\/hay%20house\/\" class=\"underlined\" title=\"Hay House\"\u003eHay House\u003c\/a\u003e\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eLanguage:\u003c\/td\u003e \u003ctd\u003eEnglish\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eEdition:\u003c\/td\u003e \u003ctd\u003e2021\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eISBN:\u003c\/td\u003e \u003ctd\u003e9789384544959\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003ePages:\u003c\/td\u003e \u003ctd\u003e456 (Throughout Color and B\/W Illustrations)\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eCover:\u003c\/td\u003e \u003ctd\u003ePaperback\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eOther Details\u003c\/td\u003e \u003ctd rel=\"product-dimensions\"\u003e9.5 inch X 6 inch\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eWeight\u003c\/td\u003e \u003ctd rel=\"product-weight\"\u003e690 gm\u003c\/td\u003e \u003c\/tr\u003e \u003c\/table\u003e\u003cbr\u003e\u003ch2 class=\"title is-size-3-desktop is-size-5-touch has-text-centered product-details-description-title\"\u003eBook Description\u003c\/h2\u003e\u003cdiv class=\"product-details-description\" style=\"max-height: 63rem; overflow-y: auto;\"\u003e\n\u003ccenter\u003e \u003cb\u003eAbout The Book\u003c\/b\u003e\n\u003c\/center\u003e \u003cp\u003e Dilip Kumar (born as Yousuf Khan), who began as a diffident novice in Hindi cinema in the early 1940s, went on to attain the pinnacle of stardom within a short time. He came up with spellbinding performances in one hit film after another – in his almost six-decade-long career-say-die attitude. His imitators are legion, but it is the original that has stood the test to time.\u003c\/p\u003e \u003cp\u003e In this unique volume, Dilip Kumar traces his journey right from his birth to the present. In the process, he candidly recounts his interactions and relationships with a wide variety of people not only from his family and the film fraternity but also from other walks of life, including politicians. While seeking to set the record straight, as he feels that a lot of what has been written about him so far is ‘full of distortions and misinformation’, he narrates, in graphic detail, how he got married to Saira Banu, which reads like a fairy tale!\u003c\/p\u003e \u003cp\u003e Dilip Kumar relates, matter-of-factly, the event that changed his life: his meeting with Devika Rani, the boss of Bombay Talkies, when she offered him an acting job. His first film was Jawar Bhata (1944). He details how he had to learn everything from scratch and how he had to develop his own distinct histrionics and style, which would set him apart from his contemporaries.\u003c\/p\u003e \u003cp\u003e After that, he soon soared to great heights with movies such as Jugnu, Shaheed, Mela, Andaz Deedar, Daag and Devadas. In these movies he played the tragedian with such intensity that is psyche was adversely affected. He consulted a British psychiatrist, who advised him to switch over to comedy. The result was spectacular performances in laugh riots such as Azad and Kohinoor, apart from a scintillating portrayal as a gritty tonga driver in Naya Daur. He then opted for a judicious mix of serious and light-hearted roles in film such as Gunga Jumna, Leader, Dil Diya Dard Liya, Ram aur Shyam, Aadmi, Sunghursh, Gopi, Sagina and Bairaag.\u003c\/p\u003e \u003cp\u003e He then took a five-year break from films and began his productive ‘second innings’ with Kranti (1981), after which he appeared in a series of hits such as Vidhaata, Shakti, Mashaal, Karma, Saudagar and Qila.\u003c\/p\u003e \u003cp\u003e He has many prestigious awards to his credit. He bagged the Filmfare Best Actor eight times, a record.\u003c\/p\u003e \u003cp\u003e He is also the recipient of the Padma Bhushan, the Dadasaheb Phalke Award and the Nishan-e-Imtiaz (Pakistan’s highest civilian award). He has also served innumerable philanthropic and social cause in his own unobtrusive manner.\u003c\/p\u003e \u003cp\u003e This long-awaited autobiography brings out the real Dilip Kumar, who was not only a superlative actor but also a connoisseur of the arts, a voracious reader of literary works in Urdu, Persian and English, a highly gifted multilingual orator, an excellent mimic and a superb dancer!\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003ccenter\u003e \u003cb\u003eForeword\u003c\/b\u003e\n\u003c\/center\u003e \u003cp\u003e It Is With Feelings of Excitement And Joy That I Pen This foreword to my husband's autobiography, narrated by him, after years of persuasion by me, to my close friend Udayatara Nayar. It has always been an arduous task to prevail upon him to talk about himself, his life and his achievements. I understand it is neither proper nor right for me to extol the virtues of the book you are holding in your hands although I am tempted to do so, the primary reason being my widely known admiration for my husband and the ardent pride with which I have always hung on to every word he has uttered to me or to anyone in my presence over the decades we have spent together as a couple. Such is the magic of his command over words and language, be it English or Urdu, and I have no doubt I am not alone when I say this.\u003c\/p\u003e \u003cp\u003e When a shy 22-year-old son of a Pathan fruit merchant was selected by the diva of Indian cinema, Devika Rani, to star in her Bombay Talkies' production [war Bhata (released in 1944), it led to a small change of name for the young man. Yousuf Khan became Dilip Kumar.\u003c\/p\u003e \u003cp\u003e It was the beginning of the arrival of a new legend in Indian cinema and Hindi cinema's first definitive actor was born. Dilip Kumar almost single-handedly redefined histrionics in one screen portrayal after another - from Shaheed (1948), Andaz (1949), Devdas (1955), Naya Daur (1957), Gunga lumna (1961) to Azaad (1955), Kohinoor (1960) and Mughal-e-Azam (1960) - and from Ram Aur Shyam (1967), Gopi (1970), Kranti (1981) to Shakti (1982), Mashaal (1984) and Saudagar (1991). Dilip Sahab has, in his illustrious career, refined acting to an art form of exalted brilliance. Down the decades every actor of calibre has held him in high respect as the reference point in acting. He went to no school of acting but created his own method of emoting long before 'method acting' came to be known in India or abroad.\u003c\/p\u003e \u003cp\u003e From the wolf-whistling frontbencher to the most serious critic of cinema, Dilip Sahabs varied range of histrionics has aroused spontaneous admiration while he has been considered the epitome of fine acting for generations of actors who looked up to him for inspiration. His understated elegance and, Mashallah, voice modulation have become role models for all of us actors over the years.\u003c\/p\u003e \u003cp\u003e Few among his countless followers know that Dilip Sahab has always been a voracious reader. Whether it is novels, plays or biographies, his love of classic literature has been foremost. The classics of Urdu, Persian and English literature adorn the bookshelves of our home. When he's done with the library bookshelves, we have to be ready to offer him a pick of the thousands of books tucked away carefully in our huge store rooms. Down the years and all through the lifetime I have spent with him, the reading lamp that burns bright by his armchair has shone through the dark hours of the night to the wee hours of the early morning. Be it at home in Mumbai, * or a remote daak bungalow in Dachigam in Jammu and Kashmir, where it would be no surprise to find a hairy bear from the wilderness snoozing on our verandah, or in Kulu-Manali (in Himachal Pradesh), in Switzerland or in any part of the world, when he reads, he is like a child engrossed in his favourite game, unwilling to put it away until time and again I plead with him to rest. If not the biographies or classics or master plot plays by great writers such as Eugene O'Neill, Joseph Conrad, Fyodor Dostoyevsky and Tennessee Williams, he is sure to be engrossed in the writing of a script or a scene that waits to be picturized the next day morning.\u003c\/p\u003e \u003cp\u003e He took up one film at a time and that was his absolute commitment and focus. I remember once he was writing and discussing scenes with producer-director Subhash Ghai in the freezing cold weather of Kulu till very late into the night during the outdoor shooting of Saudagar and, after he sent Subhash away to rest in his room, he continued to examine the scene passionately. At about 4:30 a.m. Dilip Sahab had a bright idea and he did not hesitate to wake up Subhash from his slumber to exchange this new brainwave! Then both of them were like busy bees working on the scenes until they were happy with what they finalized and, mind you, they diligently started the morning outdoor schedule bang on time!\u003c\/p\u003e \u003cp\u003e With the completion of his autobiography my happiness is as though a dream has come true. The first section of this volume, set\u003c\/p\u003e \u003cp\u003e \"In this book, we have used Mumbai and Bombay interchangeably as also Madras\/Chennai, Calcutta\/Kolkata and Poona\/Pune.\u003c\/p\u003e \u003cp\u003e against varying backdrops, will make you part of his journey from the rugged mountain-hemmed North West Frontier Province in British India to hilly Deolali in Nasik district of Maharashtra to glamorous Bombay to traditional Madras to sophisticated London. The poignant as well the mirthful experiences he narrates will give you an insight into the making of the legend called Dilip Kumar who, as the title symbolizes, is the shadow while the substance is a simple, child -like, trusting and genial man called Yousuf Khan.\u003c\/p\u003e \u003cp\u003e Indeed, what I can and would love to share in this unconventional foreword are the unseen and unknown facets of the man and actor I have been lucky enough to know and love deeply from the age of twelve when I first set eyes on him.\u003c\/p\u003e \u003cp\u003e I want the world that is full of his admirers to be acquainted, through incidents and episodes in the book, with Dilip Sahabs innate simplicity, straightforwardness and immeasurable goodness of heart.\u003c\/p\u003e \u003cp\u003e I started my life as an admiring fan, and fortunate am I to marry him and see the different aspects and qualities of this great human being who was not like any of the people I had met and spoken to during my extensive travelling almost all over the world with my mother Naseem Banuji from the age of seven onwards. Such a man as Dilip Kumar Sahab, I would say, walks rarely on this earth.\u003c\/p\u003e \u003cp\u003e We are all aware of his brilliance as an actor and an intellectual but, his persona transcends everything - lands, religions and castes. His is the unspoilt, innocent, untainted smile of a babe in arms - his eyes have the purity and honesty of crystal-clear running water in a brook. His stern refusal to see the negative side (flip side) of anyone, or any situation, has always worried me as also his preference to turn a blind eye to the flaws in people he chooses to like and trust. He would rather focus on the positive qualities and plus points in people and tide over the negative side because he is convinced that he has yet to see a faultless, infallible and perfect human being. From my very first meeting with him as a shy girl, I knew he was different\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003ccenter\u003e \u003cb\u003eIntroduction\u003c\/b\u003e\n\u003c\/center\u003e \u003cp\u003e I have consciously never oversold or overexposed myself to the audience. When I look back I feel it was quite risky to be starring in one film when other actors were busy with two or three films on the floors simultaneously. I determinedly decided to work in only one film at a time. It was simply my confidence in the subjects I chose and the hard work I was ready to put into them.\u003c\/p\u003e \u003cp\u003e It Was A Sultry Afternoon In Mumbai’s Midsummer. The year was 2004.\u003c\/p\u003e \u003cp\u003e I was helping Saira Banu rearrange the books on the bookshelf in her bedroom when Dilip Sahab picked up a book written by an author who claimed to have known him as no one else did. 'This is supposed to be my biography and it is full of distortions and misinformation: he told Saira. 'Why don't you write the story of your life yourself?' Saira queried, gladly seizing the opportunity to pursue her continuous effort to pin him down to write his autobiography.\u003c\/p\u003e \u003cp\u003e Saira has always maintained that the inspiring journey of a simple youth named Yousuf Khan, son of a well-to-do fruit merchant and the story of his flight to hitherto unparalleled heights of fame and success as Dilip Kumar, who became India's first ever superstar and one of the world's greatest actors, had to be recounted. The real story, she was sure, would enthuse and motivate all young aspirants in any walk of life who have chased dreams of making it big in their chosen professions.\u003c\/p\u003e \u003cp\u003e After a moment's silence, Dilip Sahab spoke, turning to both of us as we waited to hear his reply.\u003c\/p\u003e \u003cp\u003e 'All right, I will narrate my story. It has to be compiled by someone who is enlightened and ready to put in the hard work that goes into anything I do and it should be someone who knows us really well: he said.\u003c\/p\u003e \u003cp\u003e I was listening and continuing to arrange the large collection of fiction and poetry works in English and Urdu, which had been read by Dilip Sahab seriously and meticulously, with pencil lines under sentences that piqued him and notes jotted in green ink in the margins in his elegant handwriting.\u003c\/p\u003e \u003cp\u003e 'She is right here', Saira pointed out, looking at me. Dilip Sahab too looked at me and laughed gently, seeing the disbelief on my face.\u003c\/p\u003e \u003cp\u003e 'When do we start?' he asked me and I could hear my heart thumping away with mixed feelings of happiness and fright. Can this be reality or is it a dream, I asked myself since I was not in the fray of renowned writers who were pursuing Dilip Sahab to tell the story of his life to them.\u003c\/p\u003e \u003cp\u003e Being an extremely private person, he was not always comfortable talking about himself and his unequalled achievements. He had understandably not encouraged anyone to explore his personal life for a book. As a result, some of the books that were written by people who claimed to know him and by writers who culled excerpts from published interviews and gathered dubious information from 'close friends' of Dilip Sahab and Saira did not tell the real story.\u003c\/p\u003e \u003cp\u003e Saira was gleefully hugging Dilip Sahab and exhorting him: 'Let us start today, now, after lunch Jaan, before you change your mind: 'Don't neglect your job's demands for this. I have chosen you because you are capable of painstaking work and you can follow my thoughts and expressions accurately. Also, I am assured you will not misquote me. We will do it at my pace and don't hesitate to tell me if it gets boring: Dilip Sahab joked.\u003c\/p\u003e \u003cp\u003e Saira, the perfectionist that she is, arranged for high-class tape recorders and writing pads to take notes if the recorders failed. She suggested to Dilip Sahab that it would be a good idea to sit on the lawns in her garden and talk to me, knowing him and his impatience in case his work was interrupted or disturbed. Anywhere else in the house, she knew the phones would ring incessantly. More importantly, Saira knew her husband's love for nature and open spaces. She knew how he disliked talking about himself and how disinclined he was to do an autobiography because that meant, in his words, the profuse use of capital I, which he abhorred. And now that he had agreed, she wanted to make sure he did not lose interest on any account.\u003c\/p\u003e \u003cp\u003e It was not the easiest assignment of my life for sure. The mood had to be created every day and that was something only Saira could do. The gentle prodding to get him to talk about the leading ladies was again something only Saira could do. Even the untold story of how he decided to marry Saira in late 1966, who was the country's most sought after and highest paid actress at that time, and the charming sequence of the dignified Dilip Kumar style courtship that preceded his proposal to Saira to be his wife had to be gently coaxed out of him. Needless to say, his account of the love story is one of the best chapters in this book.\u003c\/p\u003e \u003cp\u003e Week after week I sat with him, sometimes in the shade of the large mango tree in the garden, sometimes in the drawing room, sometimes at the Otters Club (a sports institution in Bandra, Bombay) on the lawn facing the sea from where he loved to watch the sun go down, leaving behind a trail of gold and vermillion in the sky. The tape recorder accompanied us wherever we went and, quite often with his permission, a video camera, too, followed us unobtrusively.\u003c\/p\u003e \u003cp\u003e As the recordings continued, the real picture began to emerge. I began to see the unfolding of his saga like the scenes in a movie. While he narrated his story in his soft voice, I noticed how much he enjoyed the recapitulation of his childhood years in Peshawar and Deolali. I could equally feel the pain in his heart when he talked about his elder brother Ayub Khan's brilliance and his chronic ill health, which cut short a promising life.\u003c\/p\u003e \u003cp\u003e His was simply not just the amazing story of the young graduate Yousuf Khan, who excelled in school and college sports, seriously searching for a job in British-ruled India and hesitatingly accepting the job of an actor from the premier film studio of Bombay, Bombay Talkies. It was also not just about Yousuf Khan's unrelenting hard work, which propelled his rise to superstardom as Dilip Kumar and his occupying the pedestal as the icon of acting in Indian cinema for more than seven decades. I also learnt, more interestingly, how he set an example by the management skills he evolved by instinct and native intelligence to manage his career and create his USP.\u003c\/p\u003e \u003cp\u003e In the early 1940s, when Dilip Sahab started his career, the concept of management had not arrived in India as far as actors were concerned. Actors, as professionals in their own right, had no need to acquire management skills or even understand the concept of management.\u003c\/p\u003e \u003cp\u003e \u003c\/p\u003e \u003ccenter\u003e \u003cb\u003eContents \u003c\/b\u003e\n\u003c\/center\u003e \u003cp\u003e \u003c\/p\u003e \u003ctable width=\"100%\"\u003e \u003ctbody\u003e \u003ctr\u003e \u003ctd width=\"20%\"\u003e \u003c\/td\u003e \u003ctd width=\"70%\"\u003e Foreword\u003c\/td\u003e \u003ctd width=\"10%\"\u003e 11\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Introduction: A Dream Come True\u003c\/td\u003e \u003ctd\u003e 23\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Chapter 1\u003c\/td\u003e \u003ctd\u003e Birth\u003c\/td\u003e \u003ctd\u003e 35\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Chapter 2\u003c\/td\u003e \u003ctd\u003e The Matriarch and Her Brood\u003c\/td\u003e \u003ctd\u003e 44\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Chapter 3\u003c\/td\u003e \u003ctd\u003e Escapades and Adventures\u003c\/td\u003e \u003ctd\u003e 54\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Chapter 4\u003c\/td\u003e \u003ctd\u003e Off to Bombay: A New Chapter Begins\u003c\/td\u003e \u003ctd\u003e 65\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Chapter 5\u003c\/td\u003e \u003ctd\u003e The Growing Up Years\u003c\/td\u003e \u003ctd\u003e 72\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Chapter 6\u003c\/td\u003e \u003ctd\u003e The Poona Interlude\u003c\/td\u003e \u003ctd\u003e 88\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Chapter 7\u003c\/td\u003e \u003ctd\u003e The Return of the Prodigal\u003c\/td\u003e \u003ctd\u003e 12\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Chapter 8\u003c\/td\u003e \u003ctd\u003e The Turning Point\u003c\/td\u003e \u003ctd\u003e 108\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Chapter 9\u003c\/td\u003e \u003ctd\u003e Lights, Camera, Action!\u003c\/td\u003e \u003ctd\u003e 116\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Chapter 10\u003c\/td\u003e \u003ctd\u003e New Aspirations, New Experiences\u003c\/td\u003e \u003ctd\u003e 128\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Chapter 11\u003c\/td\u003e \u003ctd\u003e Between the Personal and the Professional\u003c\/td\u003e \u003ctd\u003e 138\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Chapter 12\u003c\/td\u003e \u003ctd\u003e Reel Life versus Real Life\u003c\/td\u003e \u003ctd\u003e 150\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Chapter 13\u003c\/td\u003e \u003ctd\u003e Madhubala\u003c\/td\u003e \u003ctd\u003e 166\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Chapter 14\u003c\/td\u003e \u003ctd\u003e Devdas, Naya Daur and Beyond\u003c\/td\u003e \u003ctd\u003e 172\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Chapter 15\u003c\/td\u003e \u003ctd\u003e On the Domestic Front\u003c\/td\u003e \u003ctd\u003e 188\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Chapter 16\u003c\/td\u003e \u003ctd\u003e The Travails of Film Making: Gunga Jumna and After\u003c\/td\u003e \u003ctd\u003e 194\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Chapter 17\u003c\/td\u003e \u003ctd\u003e The Woman in My Life\u003c\/td\u003e \u003ctd\u003e 206\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Chapter 18\u003c\/td\u003e \u003ctd\u003e The Big Day\u003c\/td\u003e \u003ctd\u003e 221\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Chapter 19\u003c\/td\u003e \u003ctd\u003e Celebrations Galore\u003c\/td\u003e \u003ctd\u003e 230\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Chapter 20\u003c\/td\u003e \u003ctd\u003e Colleagues and Friends\u003c\/td\u003e \u003ctd\u003e 239\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Chapter 21\u003c\/td\u003e \u003ctd\u003e Taking Care of Saira\u003c\/td\u003e \u003ctd\u003e 248\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Chapter 22\u003c\/td\u003e \u003ctd\u003e The Husband-Wife Team\u003c\/td\u003e \u003ctd\u003e 262\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Chapter 23\u003c\/td\u003e \u003ctd\u003e A New Role: Taking Up Noble Causes\u003c\/td\u003e \u003ctd\u003e 272\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Chapter 24\u003c\/td\u003e \u003ctd\u003e 'The Second Innings'\u003c\/td\u003e \u003ctd\u003e 291\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e Chapter 25\u003c\/td\u003e \u003ctd\u003e Family Matters\u003c\/td\u003e \u003ctd\u003e 307\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Filmography and Awards\u003c\/td\u003e \u003ctd\u003e 319\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Acknowledgements\u003c\/td\u003e \u003ctd\u003e 338\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Reminiscences\u003c\/td\u003e \u003ctd\u003e \u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Raihan Ahmed\u003c\/td\u003e \u003ctd\u003e 341\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Shabana Azmi\u003c\/td\u003e \u003ctd\u003e 342\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e V Babasaheb\u003c\/td\u003e \u003ctd\u003e 344\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Amitabh Bachchan\u003c\/td\u003e \u003ctd\u003e 346\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Jaya Bachchan\u003c\/td\u003e \u003ctd\u003e 349\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Moin Beg\u003c\/td\u003e \u003ctd\u003e 351\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Mahesh Bhatt\u003c\/td\u003e \u003ctd\u003e 353\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Chandrashekhar\u003c\/td\u003e \u003ctd\u003e 355\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Yash Chopra\u003c\/td\u003e \u003ctd\u003e 357\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Farida Dadi\u003c\/td\u003e \u003ctd\u003e 360\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Dharmendra\u003c\/td\u003e \u003ctd\u003e 363\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Sitara Devi\u003c\/td\u003e \u003ctd\u003e 366\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e M. Asif Farooqui\u003c\/td\u003e \u003ctd\u003e 369\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Subhash Ghai\u003c\/td\u003e \u003ctd\u003e 373\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Dr Shrikant Gokhale\u003c\/td\u003e \u003ctd\u003e 375\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Kamal Haasan\u003c\/td\u003e \u003ctd\u003e 378\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Farida Talal\u003c\/td\u003e \u003ctd\u003e 380\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Anil Kapoor\u003c\/td\u003e \u003ctd\u003e 382\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Rishi Kapoor\u003c\/td\u003e \u003ctd\u003e 385\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Aamir Khan\u003c\/td\u003e \u003ctd\u003e 389\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Ayub Khan\u003c\/td\u003e \u003ctd\u003e 392\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Salim Khan\u003c\/td\u003e \u003ctd\u003e 396\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Manoj Kumar\u003c\/td\u003e \u003ctd\u003e 398\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e HemaMalini\u003c\/td\u003e \u003ctd\u003e 401\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Mumtaz\u003c\/td\u003e \u003ctd\u003e 403\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Lata Mangeshkar\u003c\/td\u003e \u003ctd\u003e 405\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Ram Mukherjee\u003c\/td\u003e \u003ctd\u003e 408\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Nanda\u003c\/td\u003e \u003ctd\u003e 411\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Nimmi\u003c\/td\u003e \u003ctd\u003e 413\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Bakul Patel\u003c\/td\u003e \u003ctd\u003e 416\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Pyarelal (personal dhobi)\u003c\/td\u003e \u003ctd\u003e 418\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Veera Rao\u003c\/td\u003e \u003ctd\u003e 419\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Waheeda Rehman\u003c\/td\u003e \u003ctd\u003e 421\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Harish Salve\u003c\/td\u003e \u003ctd\u003e 423\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Sayesha\u003c\/td\u003e \u003ctd\u003e 427\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Shaheen\u003c\/td\u003e \u003ctd\u003e 429\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Salim Sharifee\u003c\/td\u003e \u003ctd\u003e 432\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Dr R. C. Sharma\u003c\/td\u003e \u003ctd\u003e 433\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Ramesh Sippy\u003c\/td\u003e \u003ctd\u003e 435\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Sharmila Tagore\u003c\/td\u003e \u003ctd\u003e 438\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Mani Talati\u003c\/td\u003e \u003ctd\u003e 441\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Vyjayantimala\u003c\/td\u003e \u003ctd\u003e 443\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Zoha\u003c\/td\u003e \u003ctd\u003e 446\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd\u003e \u003c\/td\u003e \u003ctd\u003e Index\u003c\/td\u003e \u003ctd\u003e 447\u003c\/td\u003e \u003c\/tr\u003e \u003c\/tbody\u003e \u003c\/table\u003e \u003cbr\u003e \u003ccenter\u003e\u003cb\u003e\u003cu\u003e\u003cfont size=\"5\" color=\"red\"\u003eSample Pages\u003c\/font\u003e\u003c\/u\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nag841b.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nag841c.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nag841d.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nag841e.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nag841f.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nag841g.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nag841h.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nag841i.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nag841j.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nag841k.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nag841l.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nag841m.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nag841n.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nag841o.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nag841p.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nag841q.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nag841r.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nag841s.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nag841t.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e \u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2016\/nag841u.jpg\"\u003e\u003c\/center\u003e\n\u003cbr\u003e\n\u003c\/div\u003e","brand":"Occultnthings","offers":[{"title":"Default Title","offer_id":44648851931437,"sku":"NAG841","price":37.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2094\/2117\/products\/nag841.jpg?v=1677950578","url":"https:\/\/occultnthings.com\/products\/dilip-kumar-substance-and-shadow-autobiography-nag841","provider":"Occult-N-Things","version":"1.0","type":"link"}