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Daily Times July 8, 2021 In my humble assessment, Dilip Kumar’s acting career spans three phases. First span is when he was young hero in Black and White days. Second phase was when he was taken as a hero but by then he had converted from youthful looks to mature looks but his roles mostly remained romantic ones. Films were made in colour by then. Third phase was when he did some character roles. I constructed my earlier article on his personal struggle and movies up to 1956; Jugnu, Footpath, Andaz, Tarana, ‘Sangdil’ etc. Earlier he acted in Jwar Bhaata directed by Amiya Chakarvarti, Pratima, Milan directed by Nitin Bose, Ghar Ki Izzat, Shaheed directed by Ramesh Sehgal, Mela directed by SU Sunny, Anokha Pyar (1948), Nadiya Kei Paar directed by Kishore Sahu and Shabnam directed by B Mitra. ....
Punjabi literature is a-flood with babaism. It is a slave to tradition. Whose tradition is it after all? It’s a tradition of babas’ own. To me, a writer affirming patriarchal values and promoting those in his writings, is a manifestation of babaism in Punjabi literature. We all know that our society is drenched in patriarchal culture. Yet, I hardly hear of any gatherings organised by Punjabi writers to discuss the subject. There are ample opportunities meanwhile to read and discuss Punjabi classical poets. We should also look at present day issues and present day writings. The truth is, except for the works of some ....