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Priya Dutt Remembers Father Sunil Dutt On Birth Anniversary: 'To Infinity And Beyond'

Priya Dutt Remembers Father Sunil Dutt On Birth Anniversary: 'To Infinity And Beyond'

News18a day ago

Published By :
Chirag Sehgal
IANS
Last Updated:
Sanjay Dutt's sister goes on to express deep gratitude for the strength and values her parents instilled in her, acknowledging their lasting influence on her life.
On the birth anniversary of legendary actor and politician Sunil Dutt, his daughter Priya Dutt took a moment to remember him with love and gratitude. Taking to Instagram, she shared a heartfelt tribute that reflected the deep bond they shared. Priya Dutt paid an emotional tribute to her parents, Nargis and Sunil Dutt, both of whom were born in the month of June—her mother on June 1 and her father on June 6. She expresses that June holds deep sentimental value for her because of their birthdays. While she thinks about them every day, she feels especially joyful during this particular week.
Sanjay Dutt's sister goes on to express deep gratitude for the strength and values her parents instilled in her, acknowledging their lasting influence on her life. Sharing their photo, she wrote, 'June holds a special place in my heart. My mom was born on 1st and dad on 6th of this month, and although I think of them every single day, I gleam differently with joy this week. I'm grateful beyond words for the strength and values they've given me. Here's to all the love, laughter, and memories that always will be. To infinity and beyond."
Sunil Dutt passed away on May 25, 2005, at the age of 75, following a heart attack at his Mumbai residence. A towering presence in Indian cinema, Dutt gained prominence in the 1950s and went on to star in over 100 films, delivering memorable performances in timeless classics like 'Mother India," 'Mujhe Jeene Do," and 'Reshma Aur Shera." In addition to his celebrated film career, Dutt also left a lasting impact in the realm of public service, serving as a Member of Parliament and holding the portfolio of Minister for Youth Affairs and Sports in the Indian government.
Marking the 20th death anniversary of her father, Priya Dutt had earlier honored his lasting legacy and the enduring impact he continues to have.
In an emotional tribute, Priya Dutt shared that her father, Sunil Dutt, despite his remarkable achievements in cinema and public service, never desired any recognition in the form of statues or memorials. She fondly remembered him as the backbone of their family, someone who led by example and deeply valued humility, gratitude, compassion, and love.
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From the India Today archives (2011)
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In the post-Partition era, when he first burst on the Indian art scene, Husain became a much celebrated symbol patronised by the Nehruvian state looking to create modernist role models. Yet, that very celebrity made him and his works vulnerable to be hijacked, misrepresented and reviled three decades later by a semi-literate cabal claiming to represent the collective voice of a largely silent Hindu majority. In fact, the torrid love affair between Husain and 'modern secular' India and their eventual dismaying disengagement makes for a civilisational sociologist Veena Das remarks, this "impossible love" had an inherent fragility because the idol, the image and the word are all strongly contested entities. It is also further complicated by the illicit intimacy between history and the 'perception of history' in post-colonial imaginations. The tantalising and tragic relationship-between a nation's notion of the self and Husain's visualisation of it in his art practice-became the vexed terrain over which competing political alignments fought their proxy wars for a good two decades before it eventually led to Husain's self-imposed exile from India in 2006. Four years later, he accepted Qatari nationality, spending his time between Dubai, London and Husain was educated in the streets of Indore, a madrassa in Baroda, the Indore School of Arts and very briefly the J.J. School of Arts, Mumbai. He was an immensely talented and intelligent man with an enormous curiosity about the world who learnt effortlessly from life and people. He arrived in what was then Bombay in the early 1930s, penniless but bursting with enthusiasm and energy, traits that he retained all through his first started out by walking the streets of Bombay offering to paint portraits of people who could afford to pay him Rs 25. There were not too many commissions but some of these early portraits still survive. In 2008 in London, I saw a portrait Husain had done of Lord Ghulam Noon's elder brother in a Bhendi Bazaar sweet shop. Soon, he moved to painting cinema hoardings, first for V. Shantaram's Prabhat Studios and later for New perched high on bamboo scaffolding, Husain learnt to be able to concentrate amid the noise and chaos of the street below. He used to paint 40 foot hoardings for four annas a foot under the blazing sun in Mumbai for many years. From painting hoardings, he progressed to designing toys and painting children's furniture for Rs 300 a month. "But even at that time I knew I would be an artist one day," he used to say, adding, "there was a time when I painted furniture by day and my own art by night. I painted non-stop." Cinema held a life-long fascination for Husain and decades later, he went on to make several much-talked about films. Of these Through the Eyes of a Painter (1967) won the Golden Bear at the Berlin Film Festival but the most well-known is Gaja Gamini (2000) that featured Madhuri Dixit as his muse. In 2004 he made the semi-autobiographical Meenaxi: A Tale of Three Cities with Tabu in the lead role which ran into trouble with Muslim life started to change radically around the time of Independence. Francis Newton Souza (1924-2002), the prodigious enfant terrible of Indian art, spotted Husain's talent by chance and immediately included him in his Progressive Artists Group (PAG) in 1947. Husain's work was noticed right from that first showing and with the encouragement of Rudi von Leyden, the German Jewish art critic, he held his first one-man show in Mumbai in 1950. With prices ranging from Rs 50 to Rs 300, the exhibition sold out. 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The next year he painted the more enigmatic 'Between the Spider and the Lamp'. This painting, considered by cognoscenti to be his best of all time, features five women reminiscent of ancient Indian sculpture with an oil lamp hanging from the top of canvas and some unintelligible words in a script that looks like ancient Brahmi, Magadhi or some long forgotten dialect. From the hand of one woman, painted as if frozen in a mudra, hangs a large spider by its thread. Some critics have suggested the women were the pancha kanyas (Ahalya, Kunti, Draupadi, Tara, Mandodari) of Hindu mythology. When this painting was shown, despite the ripples it created, no one came forth to buy it for Rs 800. It now hangs at the National Gallery of Modern Art, New Delhi, on loan from the Husain became a living icon of Hindu-Muslim, gangajamni culture, his art acquired a quintessentially Indian form and content while being global in its relevance and appeal. 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Srivastava struck a deal for 124 Husain paintings for Rs 100 crore; not for love of art but as good investment. Indian art was appreciating at a higher rate than most stocks and brand Husain was now Husain Inc. After his emigration from India, Sheikha Mozah of Qatar was his last great all his fame and wealth, Husain was personally untouched by both. He could be as comfortable in a dhaba as in a five-star hotel relishing an expensive meal. He stopped wearing footwear as a tribute to the Hindi poet Gajanan Madhav Muktibodh in 1974 and he used to walk barefoot into the most exclusive and august gatherings as well as clubs the world epic saga is ever perfect. And Husain had more than his share of controversies and brickbats. However, it is in posterity that Husain's art and persona will get a truer reckoning. Perhaps the best tribute the Indian state could give would be to set up a museum devoted to the life and art of this most talented son of the to India Today Magazine

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