Mahomed Bagh Club on Sunday paid homage to its oldest lifetime member Iqbal Ahmad Khan who passed away last month at the age of 82. The man was known for his charismatic persona and was a popular face in Lucknow’s social circuit, a symbol of the city’s secular heritage.
Born in landed family of Shahjahanpur, he was the younger child of Yameen Khan and Phundan Begum who shifted to Lucknow when he was a teenager. In Lucknow, Iqbal attended St Francis’ College, La Martiniere College and Lucknow University. He was a cycling champion and held a record not broken till date.
“He was the soul of our club without whom any party or function was incomplete,” said Col Jyotirmoy Ghosal (retd), secretary of MB Club.
“Daddy’s contribution to the society can never be forgotten as a man who could go out of his way to help others even strangers at times,”said Khan’s daughter Iffatara.
Khan has left behind his wife Asmatara Farida Begum, his sons Yusuf and Murad Khan, daughter Iffatara Khan and his elder sister Rabia Durrani. “His memories will be cherished by anyone who has ever come across his magnificent personality, he was a hero. An inspiration for many who were awestruck with his elegance,” said Nusrat Durrani, his nephew.
The Tribute ceremony was held at Chairman Lawn inside MB Club, “The lawn is not usually used and this symbolises Iqbal bhai’s contribution to the club”, added Iqbal’s cousin.
source: http://www.timesofindia.indiatimes.com / Times of India / Home> Chennai News> Lucknow News / by Mirah Zamin / TNN / February 13th, 2017
The indelible Madhubala led a tumultuous life albeit with great elegance.
She was the flawless beauty. A woman of resolve and uncanny character. Her mystique and charisma attracted the West to our showbiz shores. More than Raj Kapoor, Dilip Kumar and Dev Anand, the cogs in Hollywood wanted to know who she was, so when Hollywood director Frank Capra visited Bombay, all that he wanted to do was meet her. She was the veritable Indian beauty, our answer to Marylin Monroe. But unlike her Hollywood equivalent, she evoked awe and respect in the Hindi film industry. Her sex-appeal was preceded by her tehzeeb. Unlike Marylin who was chided for being the blonde, she was considered a professional par excellence. As the story goes, she was so dedicated that she obsessed about punctuality. In the late ’40s, she reported on the sets of her film a good hour-and-a-half before time. This after she had braved torrential rain, floods and a trip in the local trains. Her then director Kidar Sharma was pleasantly shocked. She continued to display the same commitment even when she was a top-billed star.
Beauty with a heart
She was the most exquisite woman celluloid ever witnessed. Her beauty had the power to mend broken hearts. Dilip Kumar was nursing heartbreak in 1950 but when he met she on the set of Tarana, it was her fluttering smile that stole his heart. The list of her suitors just went on and on.
Prem Nath who was good friends with Dilip Kumar, also vied for her affections. So much so that, his friendship with Dilip apparently went kaput. Despite the flooding interest of men, she never found what she was looking for – true love. But that didn’t change her intrinsic warmth. She was known to be compulsive about lending a helping hand. She was known to give away a purse full of 100 rupee notes to the less fortunate on her sets. She would even greet trespassing paparazzi with her famous melancholic smile.
Sweet poison She was the most sought after actress in B-town. She could do comedy, tragedy and romance with consummate ease. But for all the talent in the world, her initial foray as leading lady wasn’t well-received. Barring Mahal (1949) and Tarana (1951) all her initial movies failed at the box-office.
She was called ‘box-office poison’ and was relegated to films like Lal Dupatta, Singaar and Desh Sewa. But as resolute as she was she bounced back with films like Badal, Sangdil, Mr & Mrs 55 and Howrah Bridge. By the time Mughal-E-Azam hit screens in 1960, she was at the top of her game. Her last film to release was Jwala in 1971 with Sunil Dutt.
With the world at her feet, she could’ve had anything she fancied. But her ambitions were modest. The sole reason she worked in films was because she was the breadwinner of her huge family. In the late ’40s, when she first featured as a lead actress, Suraiya was the top heroine.
Call her a beauty with brains because she made sure a dozen producers hired her thanks to her more lucrative deals. She used to sign films at one fifth the price that her contemporaries were charging. The modest remunerations changed into fat pay cheques when she became a star.
Right through her life, she lived in the shadow of her father Ataullah Khan. He’s known to have controlled what movies she worked in, whom she met and what places she could visit. It was his alleged domination that lead to the unfortunate end of her much-talked about love affair with Dilip Kumar. She had her moments of belligerence, when she attended the premiere of Insaniyat (1955) on Dilip’s arm. But eventually the friction led to a public split, what with Dilip having a showdown in court. The trauma of it all broke her already fragile heart.
Yes, the most beautiful Indian woman in the world born on Valentine’s Day, February 14, suffered from a ventricular spetal defect, a hole in the heart. Nonetheless, she was able to ward off depression and anguish and tie the knot with Kishore Kumar. But she was slated for a tragic end. Her health deteriorated. Even though Kishore did his best, he couldn’t save the inevitable. She faded to an ailing heart.
source: http://www.filmfare.com / FilmFare.com / Home> Features / by Rachit Gupta, Features Editor / Monday – November 11th, 2013
Dilip Kumar takes part at a special broadcast of BBC Indian Service during his visit to London in April 1953.
Born to a dry fruit merchant in December 11,1922, Yusuf Khan started his career as a manager at Bombay Army Canteen. But fate had other plans for him. A chance encounter with Devika Rani of Bombay Talkies landed this shy and debonair young man in Tinsel Town.
Of this Ashok Raj in his book Hero wrote: The Silent Era to Dilip Kumar says: “Devika Rani had gone out for shopping to a local market. At one fruit shop, she looked keenly at the young man engrossed at selling his merchandise. It was by mere chance that the shy shopkeeper had only replaced his father that day. Devika Rani found this young man with a sensitive face and expressive eyes quite unusual. She gave him her visiting card and asked him to meet her at the studio.”
Bombay Talkies not only changed his destiny but also his name — Yusuf Khan became Dilip Kumar and made his debut in Tinsel Town with Jwar Bhata (1944).
It has been 70 long years since Yusuf was ‘spotted’ and today he is considered as the ‘first modern Indian actor’ who freed himself from the theatrical mannerisms and developed a more natural and distinctive style, which stressed on silent pauses and hand gestures and films like Andaz, Jogan, Daag, Baabul, Aan, Daag, Foot Path, Madhumati, Devdas, Naya Daur and Ganga Jumna stand testimony to his versatility.
source: http://www.mumbaimirror.com / Mumbai Mirror / Home> Entertainment> Bollywood / by Mumbai Mirror / October 19th, 2013