'At parties and premieres, Meena openly showered affection towards Dharam. Sometimes she would even take his hand and the next day it would be in print.'
'On one occasion, mischievously almost, she recited a love couplet from Ghalib, which left no doubt in the audience's mind about Dharmendra's position in her heart.'
Among the many people who had a special place in Dharmendra's life was Meena Kumari.
According to Rajiv M Vijayakar's biography, Dharmendra: A Biography: Not Just a He-Man, the two had a relationship that benefitted both: 'In his case, it was more of a qualitative gain as an actor, and for her, he was perhaps the solace she needed through that traumatic phase of her life.'
An excerpt from the book:
The first unfortunate involvement that happened in Dharmendra's life was that with Meena Kumari.
Most of the industry believes -- and perhaps, rightly so -- that it was the star-crossed actress, bereft of enough love and affection in real life, who took a fancy to the strapping young man she had come to know since the time they began shooting for Purnima.
This film was followed rapidly by Main Bhi Ladki Hoon (which was released first), Kaajal (not opposite each other) and Phool Aur Patthar, with which Dharmendra, on a quick ascent, zoomed into the top echelons.
Three more films followed, Chandan Ka Palna, Majhli Didi and Baharon Ki Manzil, but all of those bombed.
It was Purnima that was launched first, and like with so many top heroines whom he worked with for the first time, the new young actor asked a friend, 'What is she like?'
Meena Kumari's biographer states that Dharmendra was 'petrified at the prospect of facing her in front of the camera.'
The actor was quite intimidated by the man's reply that she could outclass him with a mere glance, a twitch of the lips or a 'dialogue'.
The friend advised him to touch her feet when they first met.
As a result, the biography goes on, Dharmendra approached her with the utmost respect, humility and willingness to learn.
The young actor had claimed to be her ardent fan and worshipper. He would watch her movies and dream that if he became an actor he would do a film with her.
When they were introduced at Chandivali Studios, Dharmendra was 'thrilled, happy and gratified' that she was warm, friendly and encouraging towards him.
The touching her feet part has no confirmation, but the book insists that she did say, 'The boy will rise. He is not a routine entry.'
And that's when we come to the relevant part: At that point in time she needed a stable and devoted man to care for her.
And young Dharmendra was the right man in the right place at the right time.
We would rather not, thus, give credence to the theory that Dharmendra used Kumari to move up the starry ladder and then discarded her.
Let us examine things step by step: Firstly, none of their films, but for Main Bhi Ladki Hoon produced by AVM Productions, was a big filmmaker's project.
O P Ralhan (Phool Aur Patthar) had given hits but was no mighty filmmaker.
Hrishikesh Mukherjee, who directed Majhli Didi, arguably the pair's biggest flop, was no one to take casting suggestions from any star, senior (like Meena Kumari) or junior (like Dharmendra).
Dharmendra, as we have seen, had a very promising box office track record (best described as 'upwardly mobile' in contemporary lexicon) that had already given him an edge over contemporaries and some seniors, so we must say that the idea that Dharmendra used Meena Kumari for career advancement does not hold water.
As for their coincidental biggest hit together, Phool Aur Patthar, it was Dharmendra's work and physique (strictly in that order) that zoomed his status way up when the film was loved.
Meena Kumari's star position, at worst, was unaffected, and at best, it helped her get her last few films as a leading lady before shifting to character roles in 1968.
An anonymous source has stated that initially the relationship was only about work, but with an extra contribution from Meena Kumari's side.
She would instill confidence in Dharmendra by correcting him, making him practice his shots, explaining things so that he could understand his work better and overcome his weaknesses -- and all this especially in her spare time, even for films in which she was not his heroine.
It is said that by 'grooming and correcting weak points,' the actress, deprived of love, wanted to engage his attention, as she was too much of a reputed name to make a pass openly.
This way, she would get to spend time with him, without making her real intentions known to anyone, including him.
Almost a daily visitor at her house at Juhu's Janki Kutir, they would open a bottle and spend hours together.
But, contrary to popular perception, Dharmendra managed to restrict her alcohol consumption when he was there with her.
He was everything she needed and wanted -- loving, honest and caringly reliable. But when he would leave, she would go berserk with the bottle.
At parties and premieres, Meena openly showered affection towards Dharam. Sometimes she would even take his hand and the next day it would be in print.
On one occasion, mischievously almost, she recited a love couplet from Ghalib, which left no doubt in the audience's mind about Dharmendra's position in her heart.
Once, returning from Delhi after the premiere of Kaajal, when he arrived at the airport, the authorities noticed his inebriated state and refused to let him in the plane. '
'But I must get back to Bombay. I must, Meena is waiting for me,' he is said to have told them.
This statement and incident were faithfully reported in the papers the following day.
Kumari's biographer also notes how she had once gone on a picnic with many friends including Dharmendra.
When he was somehow placed in a different car while returning, the actress became hysterical.
She wanted to know why he was not sitting beside her, whether he had run away, or if something had possibly happened to him.
Despite all assurances, she stopped the car, went out and actually sat down cross-legged in the middle of the road, and began repeating, 'Where is my Dharam?'
Other rumours, of drinking incidents and fights, also abounded in this phase.
Kumari's biographer admits that Dharmendra was among the very few men who were genuinely good to her.
Each time he went to see her, he would come out of her room crying.
'I can't help it,' would be his honest reply when asked the reason by Meena Kumari's sister.
Though the popular view is that Dharam and the actress had been intimate for three years, industry insiders say that it was no more than six months.
A younger and married Dharmendra had nothing to offer in terms of the love and security Kumari craved.
Suffice to say then that at that point in time, both Dharmendra and Meena Kumari benefitted, albeit in different ways, from each other's companionship.
In his case, it was more of a qualitative gain as an actor, and for her, he was perhaps the solace she needed through that traumatic phase of her life.
The actress, even after she stopped seeing Dharmendra, thus had great regard for him: As he was her protégé and pupil.
She had helped him, and she took legitimate pride when he finally made it.
Dharam himself has openly accepted the debt he owes to her for making him what he is today
Published from Dharmendra: A Biography: Not Just a He-Man, by Rajiv M Vijayakar, with special permission of the publishers, Rupa Publications India.
Photographs curated by Satish Bodas/Rediff