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Manoj Kumar, born Harikrishan Giri Goswami, embarked on his cinematic journey with aspirations of emulating his idol, Dilip Kumar, adopting his screen name from Dilip Kumar’s film, Shabnam. In his early years, he achieved success in films like Haryali aur Raasta and Dr. Vidya, and the cult classic, Woh Kaun Thi in 1964. However, he was primarily recognized as a “chocolate-boy” hero, admired for his good looks but not particularly for his acting prowess. He played the passive hero opposite popular heroines of the time, yet his career trajectory dramatically altered with the film Shaheed. Shaheed's impact on Manoj Kumar was profound. Taking on the role of Bhagat Singh and portraying the struggles and sacrifices of the revolutionary, sparked a deep sense of patriotism within him, and ignited a powerful connection to Indian identity. This role marked a significant turning point in his career, enabling him to immerse himself completely in his character and shed the self-consciousness that had previously characterized his performances. Shaheed serendipitously led Manoj Kumar to discover his true calling. Despite his subsequent roles in romances like Himalay ki Godmen, Do Badan, and the thriller Gumnaam, which saw Mehmood garnering significant acclaim, Shaheed set the stage for Manoj Kumar's directorial debut. Lal Bahadur Shastri, then the Prime Minister, impressed by Shaheed, urged Manoj Kumar to create a film that would champion his slogan of Jai Jawan Jai Kisan (Hail the Soldier, Hail the Farmer). Manoj Kumar responded by directing Upkar (1967). Upkar may not have possessed the same raw intensity as Shaheed, but it effectively conveyed a story that celebrated both the soldier and the farmer, skillfully blending songs, dramatic tension, and a fervent sense of Indian pride. This formula resonated deeply with audiences, echoing the impact of Shaheed. Manoj Kumar, drawing inspiration from Shaheed, replicated the emotions of a pre-independence narrative within the context of the Indo-Pak war. He demonstrated a keen understanding of the power of music, enriching Upkar with stirring songs that transcended social and emotional boundaries, reaching even those who rarely frequented cinema halls. The patriotic fervor evoked by the song Mere desh ki dharti sona ugle, ugle heere moti (My country's land yields gold, yields diamonds and pearls) played a pivotal role in the film's immense success. As a director, Manoj Kumar displayed genuine conviction in his portrayal of patriotic themes, undoubtedly because of his personal investment in them. Having experienced the trauma of Partition as a child, crossing the newly formed border into India, he felt a deep sense of gratitude and responsibility to his adopted homeland. His directorial talent shone through when Upkar won the Filmfare Award for Best Director and the National Award as the second-best film of the year. However, the rise of Rajesh Khanna in the 1970s presented a formidable challenge. Khanna's charisma and captivating screen presence threatened to overshadow Manoj Kumar's career. Undeterred, Manoj Kumar returned to the theme that had previously propelled him to new heights: patriotism. Recognizing the enduring power of patriotism on screen, he embarked on a series of directorial ventures, beginning with Purab aur Paschim, that solidified his reputation as “Mr Bharat.”
While contemporary viewers might find certain aspects of Purab aur Paschim politically insensitive, the film effectively tapped into a mass desire for national pride. The movie showcased India's heritage and culture, while criticizing the perceived superficiality of the West. Manoj Kumar, as both hero and director, left no opportunity untouched to evoke a strong sense of patriotism. The film achieved box office success when the westernized heroine, played by Saira Banu, embraces Indian culture by donning a sari, bindi and revering her Indian soulmate. Set in London, the film further resonated with audiences by criticizing Indians who prioritize success and acceptance in the West, at the expense of their homeland. Its screenings in the UK also generated significant revenue. “Mr Bharat”, also known as Manoj Kumar, had established himself as a permanent fixture in the Indian film industry. Roti, Kapada aur Makaan followed, addressing themes that reflected readily identifiable issues within the country. Despite accusations of excessive dramatization, Manoj Kumar’s filmmaking can be interpreted as a sincere attempt to awaken public consciousness. To prevent his films from becoming preachy or politically contentious, he strategically incorporated elements of fun and romance, creating a balanced blend of entertainment and social commentary. Kranti further cemented Manoj Kumar's status as India's most patriotic director. This multi-starrer, brimming with both passion and bravery, allowed Manoj Kumar to fulfill his ambition of sharing the screen with his idol, Dilip Kumar. Kranti became another box-office hit, surpassing many of his previous successes. Manoj Kumar also evolved as an actor. He moved away from the “chocolate-boy” image. He embraced more mature roles instead of romancing heroines much younger than himself. This transformation was evident in films such as Sanyaasi and Be-Imaan, where he fully embodied his characters. His portrayal in Be-Imaan was particularly recognized, earning him the Best Actor award. The nation he celebrated on screen, honored him not only as “Mr Bharat” but also as Manoj Kumar, the actor.
In recent decades, Manoj Kumar and his work have been largely forgotten, except for the recurring play of the song from Upkar on Republic Day and Independence Day. However, given the current narrative of the country, Manoj Kumar’s Bharat films might be revived and re-screened. By looking past the dramatic portrayals and over-the-top elements, we might see relevant details which could inspire a filmmaker to create films that highlight problems and offer solutions. Audiences could potentially realize that films can showcase real-world issues. Then they can realize that social and political narratives don’t need to be disguised with propaganda. Should such a revival occur, Bharat, also known as Manoj Kumar, would render a valuable service to us and honor his memory. Sathya Saran, the author of a variety of books and a columnist, is the Consulting Editor with Penguin Random House.