Mumbai: On April 4, 2025, the curtains fell on an extraordinary chapter of Indian cinema as Manoj Kumar, the legendary actor, director, and screenwriter fondly known as “Bharat Kumar,” passed away at the age of 87. He breathed his last at Mumbai’s Kokilaben Dhirubhai Ambani Hospital at 3:30 AM, succumbing to cardiogenic shock triggered by an acute myocardial infarction—a severe heart attack—compounded by decompensated liver cirrhosis, a battle he had fought quietly in his final months. His son, Kunal Goswami, spoke of his father’s peaceful departure, a grace he attributed to divine kindness after a prolonged illness that saw him admitted to the hospital since February 21, 2025. Manoj Kumar’s cremation is set for April 5 at Pawan Hans, marking the end of a journey that spanned decades and left an indelible mark on the soul of Indian storytelling.
Born Harikrishan Giri Goswami on July 24, 1937, in Abbottabad—then part of British India’s North-West Frontier Province, now in Pakistan—Manoj’s early life was shaped by the tumult of Partition. At age 10, he and his family fled to Delhi, carrying little but resilience and dreams. Inspired by the silver screen charisma of Dilip Kumar, he adopted the name “Manoj Kumar” after his idol’s character in Shabnam (1949), a nod to the cinematic legacy he would one day inherit and expand. A Bachelor of Arts graduate from Hindu College, Delhi, he arrived in Bombay in 1956 with two ambitions: to become a hero and to earn enough to support his family. What he achieved far surpassed those modest goals.
Manoj Kumar’s cinematic odyssey began with an unassuming debut as a 90-year-old beggar in Fashion (1957), a role that barely hinted at the stardom to come. His breakthrough arrived in 1962 with Hariyali Aur Rasta, opposite Mala Sinha, a romantic hit that showcased his charm and depth. But it was Shaheed (1965), a stirring portrayal of revolutionary Bhagat Singh, that catapulted him into the national consciousness. The film’s success coincided with a request from Prime Minister Lal Bahadur Shastri to weave the slogan “Jai Jawan Jai Kisan” into a story—a call Manoj answered with Upkar (1967). Playing both a soldier and a farmer, he won his first Filmfare Best Director Award, cementing his reputation as a patriot onscreen and off. The film’s anthem, “Mere Desh Ki Dharti,” became a timeless ode to India’s spirit, echoing through generations.
The 1960s and ’70s were Manoj Kumar’s golden era, a period when he reigned as one of Bollywood’s top actors, appearing on Box Office India’s “Top Actors” list eight times (1967–1969, 1972–1976). Films like Woh Kaun Thi? (1964), Purab Aur Paschim (1970), and Roti Kapda Aur Makaan (1974) showcased his versatility—spanning ghostly mysteries, cultural pride, and social realism—while his signature hand-over-face gesture became a cultural hallmark, later parodied but always revered. His magnum opus, Kranti (1981), directed with Dilip Kumar in the lead, was a grand tribute to India’s freedom struggle, a box-office triumph that solidified his legacy as a filmmaker who married entertainment with purpose.
Nicknamed “Bharat Kumar” for his unwavering focus on patriotic themes, Manoj infused his films with a rare sincerity. He wasn’t just an actor; he was a storyteller who wore multiple hats—writer, director, editor—crafting narratives that stirred national pride and tackled societal issues. His collaborations with stalwarts like Prem Nath, Pran, and Hema Malini, alongside friendships with icons like Raj Kapoor and Dharmendra, painted a picture of a man deeply embedded in Bollywood’s fabric. Yet, he remained selective, starring in just 35 films compared to the hundreds his peers churned out, a testament to his belief in quality over quantity.
The accolades followed: a National Film Award, seven Filmfare Awards, the Padma Shri in 1992, and the Dadasaheb Phalke Award in 2015, India’s highest cinematic honor. Prime Minister Narendra Modi mourned his loss, calling him “an icon of Indian cinema” whose works “ignited a spirit of national pride and will continue to inspire generations.” Hema Malini, his Kranti co-star, recalled his gentlemanly demeanor, noting how he “never touched the heroine in romantic scenes,” a mark of respect rooted in his devotion to his wife, Shashi Goswami, whom he married in 1967. Together, they raised two sons, Vishal and Kunal, the latter stepping into his father’s directorial shoes with Jai Hind (1999).
Manoj Kumar’s later years saw a retreat from the spotlight. After Maidan-E-Jung (1995), he stepped away from acting, his final directorial effort being Jai Hind. Health challenges, including a debilitating back problem, sidelined his ambitions, though his mind remained sharp, brimming with untold stories. His influence endured—Akshay Kumar cited Purab Aur Paschim as a touchstone of Indian identity in Namastey London (2007), while younger audiences turned his patriotic clips into viral memes, a modern tribute to his timeless appeal.
Beyond the screen, Manoj was a man of quiet dignity. He once shared how his father’s letter, handed to him as he left for Bombay, shaped his life: “My blood can never commit blunders, only mistakes.” Mistakes he made—some films faltered post-Kranti—but blunders, never. He lived simply, driven by love for his craft and country, not greed. His passing marks the end of an era, as filmmaker Madhur Bhandarkar noted, but his cinematic legacy—woven into India’s cultural tapestry—ensures that Bharat Kumar will forever remain a beacon of patriotism and artistry.
Manoj Kumar is survived by his wife, Shashi, sons Vishal and Kunal, and a nation that will hum “Mere Desh Ki Dharti” in his honor. As he once said, “I give credit for my success to my parents.” Today, India credits its pride to him. Om Shanti.
