Mein Baby 💓
Der Schulstress hat bald ein Ende! 🙏🏻😍 Aber dafür kommen morgen direkt noch 3 Fächer dran... Zum einen schreiben wir Französisch Arbeit 🤐, dann noch eine Präsentation in Englisch 😯 und auch noch eine in Musik.🤷🏻♀️
Wirklich gut gelernt? 🤔 Najaaa... 😁
Sagen wir mal ich habe mein Bestes gegeben 🙈
Heute hatte Caboom frei und auch morgen darf er sich ausruhen. Am Mittwoch kommt dann eeeeendlich der Schmied und dann kann ich auch wieder ordentlich reiten. ☺️ Jetzt muss ich aber nochmal ziemlich pauken 🙄
Aber am Freitag beginnen dann endlich die Ferieeeen 😍 und ich habe morgen in 1 Woche Geburtstag 🎂🙈 Ich hoffe ihr habt einen entspannteren Abend als ich.😉
👑👑👑👑👑👑👑👑👑👑👑👑👑 Happy Birthday to my little sister, my superstar, the Brandy to Darkchild, one of my all time favorite voices, @itsladymonroe ! God truly blessed me when he connected us both. You’ve been nothing short of amazing & each day working w/ you & knowing you personally has been a joy. There’s nothing but great things in store for your life & to know that you haven’t even reached your prime yet is pretty scary 🤦🏽♂️. I’m beyond proud of you & the woman you’re becoming. Thank you for choosing little ol’ me. Because of you, I’ve not only become a better producer but a better man also. Being your big brother means a lot to me. I love you & like I always say, “You’re the greatest” & I mean that. Happy Birthday, I wish you many many many more ❤️👑🔒 PS: Y’all not ready for what’s about to go down 😳🤦🏽♂️😉 #goat#desmonroe#atl#superstar#brooklynparkproductionsandpromotions
Dilip Kumar’s acting was as much about acting as it was about not acting at all. While he was an undisputed king of the understatement, his feisty performances were equally remarkable. If the Mashaal’s epic Sudha scene in which he explodes like a loose cannon is a specimen of the fiery brand of the art, his subdued, silent performance in the Andaz scene when Nargis introduces him to Raj Kapoor for the first time is a lesson in understatement. He hardly speaks a word but his eyes speak about his emotions—hatred, jealousy, displeasure—unmistakably. And there are scores of other scenes from Deedar, Amar, Aan, Mughal-e-Azam and many other movies that are a testimony to what a champion performer he was.
Kumar’s penchant for literature and languages enriched his acting enormously and as he kept growing, so did his intellect and craft. He was a polyglot and perhaps no other Indian actor could tame a language the way he did. Ganga Jamuna and Sagina Mahato (Bengali film) are two wonderful examples of how comfortable he could be even with languages that were alien to him.
While his absolute control over his art was to a great degree because of his hard work and commitment and research, it can safely be put down to his fluidity of diction and thought, the intellectual depth and his command over the spoken word.
As a practitioner of method acting, he trained and rehearsed religiously to bring out those express performances that earned him ’The Ultimate Method Actor’ sobriquet, coming from no less a cine-doyen than Satyajit Ray.
Dilip Kumar will always be remembered as an epoch-maker, a milestone that divides Indian cinema into two eras: before Dilip Kumar and after Dilip Kumar.
It was under Bimal Roy’s watchful eye that Dilip Kumar mastered the art of understatement, allowing his eyes and the air around him do the talking. Devdas and Madhumati are ample evidence to how it worked. “To me, it was an education to work with him,” says the thespian about the legendary director, “The question in Devdas quite often was of trying not to do rather than doing.” And, of course, directors like Mehboob Khan and Nitin Bose under whom he gave some of his best performances, moulded him too during his formative years.
With one spectacular performance after another, Kumar started writing Indian cinema’s grammar book of acting. In one single scene, he could paint a thousand shades of melancholy—something that won him the epithet, Tragedy King. While he was the reigning maudlin monarch, it wasn’t just the tragedy that he had mastered. He could give brilliant comic, leisurely performances as well, as is evident in Kohinoor, Azad and Leader. If actors were chameleons, very few could change colours like he could. Very few actors could bring alive the complexity of the characters he played with such effortlessness.
His temporary shift from a tragedian to happy go lucky characters came about as a result of his getting deep underneath the skin of the characters he played. So deep that it started taking toll on him psychologically!