Mehmood (29 September 1932 – 23 July 2004), the legendary actor, producer, director, and comedian, was a force to be reckoned with in the golden era of Indian cinema. With his impeccable comic timing and versatile acting skills, he carved a niche for himself that remains unparalleled. Beyond his rib-tickling performances, Mehmood delved into social themes through his films, leaving an indelible mark on Indian cinema. Mehmood received 25 nominations for the Filmfare Awards, 19 for “Best Performance in a Comic Role,” and 6 nominations for “Best Supporting Actor.”
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Son of a famous dancer and actor of the 40s and 50s and Mumtaz Ali, he started his career as a child in “Kismat Kismat (1942).” As an adult, he started as a small-time actor in films like Do Bigha Zameen (1953), CID (1956), and Pyaasa (1957). Slowly, he started getting recognition and bigger roles in films like “Parvarish (1958), Qaidi No. 911 (1959), and Chhoti Behen (1959), for which he received his first Filmfare nomination as Supporting Actor. He then starred in films like Mian Biwi Razi (1960), Manzil (1960), Shriman Satyawadi (1960), Sasural (1961), Rakhi (1962), Dil Tera Deewana (1962), Hamrahi (1963), Ghar Basake Dekho (1963), Godaan (1963), Kahin Pyaar Na Ho Jaaye (1963), Bharosa (1963),, Zindagi (1964), Beti Bete (1964), Chitralekha (1964), Sanjh Aur Savera (1964), and Johar-Mehmood in Goa (1965).
There is no looking back from there; he becomes the go-to comedian for filmmakers; roles were written for him; people started making special songs for him; and special songs were made for him. Mehmood’s contribution to Indian cinema spans over four decades, where he enthralled audiences with his inimitable style. His performances were not just comedic; they were a masterclass in the art of making people laugh. Whether it was his iconic role as dance teacher in “Padosan (1968),” his endearing portrayal of a Hydrabadi in “Gumnaam (1965),” or the master storyteller of “Pyar Kiye e Ja (1966), he was always memorable.
Some of his memorable roles came in Do Dil (1965), Gumnaam (1965), Kaajal (1965), Pyar Kiye Jaa (1966), Patthar ke Sanam (1966), Mehrban (1966), Ankhen (1968), Neel Kamal (1968), Do Kaliyan (1968), Izzat (1968), Meri Bhabhi (1969), Waris (1970), Humjoli (1970), Paras (1970), Johar Mehmood in Hong Kong (1971), Naya Zamana (1971), Mere Apne (1971), Lootmaar (1980), Man Pasand (1980), Khud-daar (1982), Faisla (1982), and many more.
Mehmood had a unique ability to connect with viewers through his characters. Apart from being a prolific actor, Mehmood was a trailblazing producer and director. He started his career as a producer with Chhote Nawab (1961) and as a director with “Bhoot Bangla” in 1965. He then went on to make films like “Sadhu Aur Shaitaan (1968),” “Padosan (1968), “Bombay to Goa (1972),” “Kunwara Baap (1974),” “Ginny Aur Johnny (1976),” “Ek Baap Chhe Bete (1978),” “Janta Hawaldar (1979),” and “Dushman Duniya Ka (1976).
He also gave R.D. Burman and Amitabh Bacchan their big breaks in “Chhote Nawab (1961)” and “Bombay To Goa (1971),” respectively. Mehmood was not just about comedy; he was an artist with a social conscience. His film ‘Kuwara Baap’ touched upon the issue of adoption and societal stigmas, shedding light on the importance of acceptance and love. This film, in particular, stands as a testament to Mehmood’s commitment to addressing pertinent social issues through the medium of cinema.
Released in 1974, ‘Kuwara Baap’ was a groundbreaking film ahead of its time. Mehmood’s portrayal of a single father navigating societal norms struck a chord with audiences. The film’s poignant narrative, combined with Mehmood’s exceptional performance, made it a memorable cinematic experience.
Mehmood married Meena Kumari’s younger sister, Madhu; famous singer Lucky Ali and the child actor of Kunwara Baap, Macky Ali, are his sons. Mehmood, fondly called Bhai Jan, died on July 23, 2004, after a long illness.
Mehmood Bhai Jan’s influence on Indian cinema continues to reverberate through the work of actors and filmmakers who drew inspiration from his genius.
