Career
Rajendra Kumar made his debut in the 1950 film Jogan in which he starred opposite Dilip Kumar and Nargis. He then shot to fame in the film Mother India in 1957 in which he played Nargis's son. His first major success as a romantic leading man was in Amit Saxenas's musical Goonj Uthi Shehnai (1959), co-starring Ameeta.
The 1960s saw Kumar rise. There were times when he had six or seven films running in their silver jubilee weeks at the same time. He became known as "Jubilee Kumar".
He had many successful films including Dhool Ka Phool (1959), Dil Ek Mandir(1963), Mere Mehboob (1963), Sangam (1964), Arzoo (1965), Pyar Ka Sagar, Gehra Daag', Suraj (1966) and Talash. He received the Filmfare Nomination for Best Actor for Dil Ek Mandir (1963), Ayee Milan Ki Bela (1964), Arzoo (1965), and as Best Supporting Actor for Sangam (1964).
From 1972 onwards, he faced competition from Rajesh Khanna. He was offered a role in the film Saajan Bina Suhaagan opposite Nutan. He then switched to character roles in the late 1970s and 1980s.
He also starred in a number of Punjabi films like Teri meri ek jindari.
In 1981 Rajendra introduced his son Kumar Gaurav in the film Love Story which he produced, directed and also starred in. The film was declared a blockbuster. Rajendra produced several other films starring his son. In 1986 he produced Naam with his son and his son's brother-in-law Sanjay Dutt in leading roles. The 1993 film Phool he again acted alongside him.
Rajendra appeared in only a few films after this and his last film appearance was a minor role in Deepa Mehta's film Earth in 1998.
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Famous quotes containing the word career:
“In time your relatives will come to accept the idea that a career is as important to you as your family. Of course, in time the polar ice cap will melt.”
—Barbara Dale (b. 1940)
“What exacerbates the strain in the working class is the absence of money to pay for services they need, economic insecurity, poor daycare, and lack of dignity and boredom in each partner’s job. What exacerbates it in upper-middle class is the instability of paid help and the enormous demands of the career system in which both partners become willing believers. But the tug between traditional and egalitarian models of marriage runs from top to bottom of the class ladder.”
—Arlie Hochschild (20th century)
“He was at a starting point which makes many a man’s career a fine subject for betting, if there were any gentlemen given to that amusement who could appreciate the complicated probabilities of an arduous purpose, with all the possible thwartings and furtherings of circumstance, all the niceties of inward balance, by which a man swings and makes his point or else is carried headlong.”
—George Eliot [Mary Ann (or Marian)