There’s a song sequence in Manmohan Desai’s 1981 blockbuster Naseeb in which Amitabh Bachchan, who plays a star-struck waiter with three names (John Jaani Janardhan), welcomes industry heavyweights to a party celebrating the success of Desai’s Dharm Veer (1977). At one point, John accidently backs into a heroine (Simi Garewal). Horrified at his audacity, John falls at the feet of the “hero” accompanying the lady, profusely apologising and singing “Heroine se takraya, hero ko gussa aaya…”.
As it turns out, the “hero” is none other than Dharmendra, who picks up the waiter and affectionately pats his cheek. In that room full of superstars like Raj Kapoor, Amitabh Bachchan, and Rajesh Khanna, Dharmendra was by far the most handsome man. The camera worshipped this Punjabi version of a Greek God.
This charismatic and unassuming star charmed Indian men, women, and children of three generations, earning the epithets of ‘He–Man’, ‘Garam Dharam’, and ‘Dharam Pajee’ at different stages of his career. The quintessential hero straddled genres of comedy, tragedy, drama, romance, action, musical, fantasy, historical drama, thriller, and noir with ease. Although he made his debut as a hero in Arjun Hingorani’s Dil Bhi Tera Hum Bhi Tere (1960), by all accounts, Dharmendra was a protégé of the great director Bimal Roy. After all, it was Roy, along with Guru Dutt, who had spotted the young man at an all-India talent contest organised by Filmfare. (In a strange twist of fate, Dharmendra replaced Guru Dutt as the lead in Dutt’s last production Baharen Phir Bhi Aayengi, which was finally released in 1966).
Bimal Roy’s writer Nabendu Ghosh wrote an excellent part for young Dharam for Roy’s 1963 release Bandini — that of a prison doctor who falls in love with a prisoner (played by Nutan). In a film led by senior actors Ashok Kumar and Nutan, Dharmendra’s earnest performance stands out as a testimony to his undeniable talent.
Another film from Dharmendra’s repertoire worth revisiting is Chetan Anand’s Haqeeqat (1964).Widely hailed as one of India’s finest war films, Haqeeqat, based on the battle of Rezang La battle during the 1962 India-China war, starred Dharmendra as the brave Captain Bahadur Singh who leads his troops in adverse weather conditions.
Solo hit to cameo
The 1960s proved to be an interesting phase of Dharmendra’s career. His wholesome looks helped him slip into bhadralok (Bengali for genteel) characters in films directed by Bimal Roy’s heir Hrishikesh Mukherjee. (In the 70s, this trend continued in the films of Gulzar as well as the third luminary of the middle-of-the-road cinema camp, Basu Chatterjee). What is remarkable is that during this same phase, Dharmendra was acting in roles which were diametrically opposite to that of a bhadralok gent. In Mohan Kumar’s 1965 release Aayee Milan Ki Bela, Dharmendra made an unconventional career choice by playing the antagonist. This role earned him a Best Supporting Actor nomination (Filmfare). Rajendra Kumar and Saira Banu played the lead actors in this hit film.
Taking off from where Ramesh Saigal’s 1961 film Shola aur Shabnam left, director Mohan Segal exploited Dharmendra’s vulnerable, rough-around-the-edges persona in Devar (1966). Dharmendra plays the naive Shankar, who gets a marriage proposal from his childhood sweetheart Madhumati (Sharmila Tagore) but is manipulated into marrying another woman by his wicked friend Suresh (Deven Verma). He is forced to play devar (brother-in-law) to his beloved who stays unaware of the deceit till the end. The lilting Mukesh melodies Bahaaron nay mera chaman loot kar and Aaya hai mujhe phir yaad woh zaalim were picturised on Dharam. The music is given by Roshan and lyrics by Anand Bakshi.
The year 1966 also saw the release of Hrishikesh Mukherjee’s film Anupama. Dharamendra plays an idealistic writer/teacher called Ashok, who falls in love with Uma (Sharmila Tagore) and supports her even as her own father continues to shun her. Young Dharam cut a dashing figure in a kurta-pyjama, arms folded across his chest, in the song Ya dil ki suno duniya walon (reminiscent of Guru Dutt in Pyaasa).
It was OP Ralhan’s Phool Aur Patthar, released in the same year as Devar and Anupama, which gave Dharmendra the solo hero hit that he badly needed. He plays a thief, Shaka, who is forced to give up his bad ways when a young widow Shanti (Meena Kumari) comes into his life. The film fully exploited his rugged looks, and his shirtless scene set the bar high for heroes who followed. He also received a Filmfare award nomination in the category of Best Actor.
Hrishikesh Mukherjee bookended the 1960s with Satyakam (1969), in which he directed Dharmendra in his career-defining role as Satyapriya, an impossibly honest engineer who suffers greatly, thanks to his steadfast refusal to be part of a corrupt system. Dharmendra delivered a finely calibrated performance. Sharmila Tagore played his companion Ranjana.
By the early 1970s, Dharmendra’s popularity among the audience had soared. Hrishikesh Mukherjee took advantage of Dharam’s stardom in Guddi (1971). Jaya Bhaduri (now Bachchan) plays a young girl who is so devoted to film actor Dharmendra that she turns down an attractive marriage proposal. A wise uncle played by Utpal Dutt realises that the young girl’s obsession could subside if she meets the actor in real life. Dharmendra (who plays himself) agrees to help break the young girl’s illusion. Written by Gulzar, this is perhaps one of the finest performances by an actor in a meta role in cinema.
The next Filmfare acting award nomination that Dharmendra received was for Raj Khosla’s dacoit thriller Mera Gaon Mera Desh (1971), which gave Vinod Khanna a big break as Daku Jabbar Singh. The dacoit’s keep Laxmi Chhaya is shown to be so besotted with Dharam’s character (who rejects her advances) that she teases him in the dacoit’s den with the memorable song Maar diya jaye ki chhod diya jai. The music is by Laxmikant Pyarelal and Anand Bakshi.
Dharmendra did a cameo in Asit Sen’s Khamoshi (1969), which was well received. He reunited with Waheeda Rehman in Rajinder Singh Bedi’s 1973 release Phagun (1973), where Waheeda and he play a loving couple torn apart by class differences. A taunt about his being unable to afford a decent saree for his wife on the festive occasion of Holi is the last straw that breaks the marriage. Dharmendra made the audience shed copious tears with his sensitive performance in this melodrama. Jaya ‘Guddi’ Bhaduri plays his daughter who is reunited with him at the end of the film.
Also read: Dharmendra’s era judged deeds. Today, the Meat Police judges Ranbir Kapoor’s diet
Rise of a superstar
By the mid-70s, the diffident young man of Phool aur Patthar had matured into a superstar who could carry a film on his shoulders. Nasir Hussain’s masala entertainer Yaadon Ki Baraat (1973) had Dharmendra in a rare heroine-less role, playing a tough guy who turns to mush when he discovers his long–lost younger brothers singing their family song at a show in a hotel. His entry scene, where he jumps from a bridge and onto a goods train passing below, is whistle-worthy even today.
Music played a very important part in establishing Dharmendra’s career as a leading romantic hero during the swinging 70s. Kishore Kumar sang in a special voice for Dharam — that of a virile young man. Pal pal dil ke paas from Vijay Anand’s Blackmail (1973) — music by Kalyanji-Anandji and Rajendra Krishen — is on all Kishore playlists.
With his wholesome looks and earnest expressions, Dharmendra fitted perfectly into the mould of the classic romantic hero of Hindi cinema. His pairing with each heroine was different and fresh. His first film with the effervescent Tanuja was Chand Aur Sooraj (1965), which had some great music by Salil Choudhary (Baag main kali khili ). The duo went on to act in Raj Khosla’s romantic drama Do Chor (1973) in which they play two golden-hearted thieves. The film had the RD Burman-Majrooh Sultanpuri hits Kaali palak teri gori and Chahe raho door, chahe raho paas.
After Anupama and Satyakam, Sharmila and Dharam returned to the silver screen as the charming, newly married couple Parimal and Surekha in Hrishikesh Mukherjee’s rib-tickling comedy Chupke Chupke (1975). Parimal’s alter ego, driver Pyaremohan Illahabadi, insists on speaking only in chaste Hindi in the presence of Surekha’s Jeejaji (brother-in- law) played by Om Prakash, irritating Jeejajee to no end. Dialogues are by Gulzar.
While 1975 was a great year for the rising superstar Amitabh Bachchan who had three hits in the same year — Deewar, Sholay, and Chupke Chupke — it was Dharmendra who got top billing in Ramesh Sippy’s blockbuster Sholay. The Jai-Veeru bromance was the pivot around which the plot of the film revolves. Dharmendra’s comic timing was impeccable. Fifty years after it was first released, Sholay has tremendous repeat value, thanks to Dharmendra’s scenes. The water tank scene (“When I death, police coming”), the temple scene where he tries to fool Basanti (Hema Malini) as the ‘voice of God’, and the scene where he teaches Basanti how to shoot a gun are some worthy examples. The chemistry between Hema and Dharam was off the charts by this time.
Real-life couple Dharam and Hema acted in a number of hit films including Naya Zamana (1971), Seeta Aur Geeta (1972), Raja Jani (1972), Jugnu (1973), Dost (1974), Pratigya (1975), Charas (1976), Dream Girl (1977), and Alibaba aur Chalis Chor (1980). Dharmendra once mentioned in an interview that Salim Javed did a great job writing his role as Raka in Ramesh Sippy’s Seeta aur Geeta. Street performer Raka is in fact a refined version of the ruffian Shaka of Phool aur Patthar. In Phool aur Patthar, Meena Kumari played a widow who seeks Raka’s protection whereas in Seeta aur Geeta, it is the meek Seeta played by Hema Malini in a remarkable double role, whom Raka takes under his wing. Perhaps rescuing the damsel-in-distress on screen came naturally to the real-life Jat boy who was conditioned from birth to protect his woman. The fact that he was very emotional by nature helped embellish Dharmendra’s performances in such roles.
In Dulal Guha’s revenge drama Pratiggya ( 1975), Dharmendra plays a fake cop who woos leading lady Hema by dancing with gay abandon in the song Main jatt yamla pagla. His hook step has since been copied by many heroes including Salman Khan. Ramanand Sagar had given Dharmendra one of the biggest hits of his career, Aankhen (1968), a spy thriller set in Beirut. Sagar worked with Dharmendra once again in the smuggling caper Charas (1976), shot in Rome and Malta. The film is remembered for its songs picturised on Dharam and Hema — Aaja teri yaad aayi, which was shot at scenic locations, including Venice, and also Kal ki haseen mulaqat ke liye (music by Laxmikant Pyarelal and Anand Bakshi).
My personal favourite films of the real-life couple Dharam and Hema are Kinara (1977) directed by Gulzar (which had the conversational song Ek hi khwab sung by Bhupendra and Hema Malini) and Basu Chatterjee’s Dillagi (1978). Dillagi was based on the Bengali short story Kalidasa O Chemistry. Dharmendra plays a sweet-tempered Sanskrit professor Swarnkamal, who falls for his stern colleague Phoolrenu (Hema Malini). Phoolrenu, the professor of Chemistry who is nicknamed ‘carbon dioxide’ by students, thoroughly disapproves of Swarnkamal teaching erotic literature of Kalidasa to his young girl students.The two actors also acted in a different love story in Kamal Amrohi’s Razia Sultan (1983) — while Hema is a princess crowned as ruler amidst royal coups and strife, Dharam plays her father’s devoted Abyssinian slave-turned-commander Yaqut.
Zeenat Aman, who had made a place for herself as the Westernised leading lady in the 70s, made an interesting and fresh on-screen pair with Dharmendra. The hero’s chutzpah was on full display in Dharamveer (1976), where he was mostly dressed in a gladiator’s tunic and Roman sandals. Zeenat and Dharam returned to the screen as a romantic couple in Krishna Shah’s Indo-American production Shalimar (1978). An undercover cop masquerading as a jewel thief, Dharmendra oozes charm in every scene of the film, right from the opening scene where he lounges in the manager’s chair at a night club with his feet on the desk, newsboy cap pulled low over his eyes, even as Aruna Irani teaches students inside how to dance to “One, Two, Cha-cha cha”.
The 1980s saw Dharmendra switch to action-packed roles which were very successful in smaller cities and towns. During this decade, the future MP from Bikaner acted in some memorable films which were set in Rajasthan, such as Vijay Anand’s Rajput (1982). Two more Dharmendra films set in the desert state were impressive — JP Dutta’s Ghulami (1985) and Batwara (1989). Dutta’s directorial debut Ghulami had an ensemble cast led by Dharmendra, who plays Ranjit Singh Choudhary, the son of a peasant who rebels against the discriminatory and cruel caste-based practices observed by upper-caste overlords.
By the late 90s, Dharmendra started playing the occasional supporting role such as that of Kajol’s uncle in the Salman Khan-starrer Pyaar Kiya To Darna Kya (1998). After a brief lull, the versatile actor returned to the screen in 2007 in Sriram Raghavan’s noir/suspense thriller Johnny Gaddaar, which was the debut film of Neil Nitin Mukesh. Dharam plays Seshadri, the senior member of a gang that runs a gambling club. He had two more releases that year — Anurag Basu’s Life in a Metro… and Anil Sharma’s intense sports drama Apne, in which Sunny and Bobby acted as Dharmendra’s sons. Father and sons also acted in the comedy Yamla Pagla Deewana (2011), which was directed by Samir Karnik.
Viewers recently saw Dharmendra act as the ageing patriarch of a Punjabi business family in Karan Johar’s Rocky Rani ki Prem Kahani (2023). The character that he played in the movie had traces of his own personality — Dharam, a self-proclaimed disciple of Dilip Kumar, occasionally wrote Urdu poetry. Sriram Raghavan’s Ikkis (2025) would be the last commercial release of this versatile leading man whose guileless charm will always be remembered fondly.
Nirupama Kotru is a senior civil servant. Views are personal.
(Edited by Aamaan Alam Khan)