The Gentleman Star Shashi Kapoor - Bridging Parallel and Mainstream Cinema with Grace

The Eternal Charm of Shashi Kapoor 

            In the constellation of Hindi cinema's brightest stars, Shashi Kapoor gleams with a unique radiance. A consummate actor, devoted family man, producer of parallel cinema, and cultural ambassador, Shashi Kapoor embodied grace both on and off-screen. Neither solely a matinee idol nor just an artistic rebel, he comfortably straddled the two worlds of escapist commercial cinema and socially conscious storytelling. With his disarming smile, impeccable manners, and dignified presence, Kapoor earned the epithet of the “gentleman star” - a rare breed in the turbulent tides of Bollywood stardom.

            This chapter explores the life and legacy of Shashi Kapoor, tracing his evolution from a child actor in his father’s theatre company to a leading man in mainstream hits and a visionary producer of art films. His story is as much about fame and family as it is about choices guided by conscience, ideals, and love.

Early Life: The Roots of Artistry 

            Born on March 18, 1938, in Calcutta (now Kolkata), Balbir Raj Kapoor was the youngest son of legendary theatre and film personality Prithviraj Kapoor. The Kapoor family had already carved out a dynastic presence in Indian entertainment. Shashi’s elder brothers, Raj Kapoor and Shammi Kapoor, had established themselves as towering figures in Indian cinema.

            Growing up in the shadow of his illustrious family, Shashi Kapoor imbibed the world of drama and discipline early. He was exposed to performance through “Prithvi Theatres”, a traveling theatre company founded by his father. Kapoor would not just act in plays but also assist backstage - learning humility, technical finesse, and the importance of ensemble work. These formative experiences instilled in him a lifelong respect for theatre and teamwork.

            His schooling took place at Don Bosco High School in Matunga, Bombay, but academic interest took a backseat to his passion for performing arts. Encouraged by his father and inspired by his elder brothers, he ventured into cinema at a young age.

From Child Star to Lead Actor

            Shashi Kapoor’s entry into films was not just a matter of privilege - it was backed by raw talent. As a child artist, he appeared in films like “Aag” (1948) and “Awaara” (1951), playing the younger versions of Raj Kapoor’s characters. These early performances, especially in “Awaara”, left a lasting impression on viewers and hinted at the charisma he would later bring to the screen as a lead.

            His debut as a leading man came with “Dharmputra” (1961), directed by Yash Chopra under the B.R. Chopra banner. Though the film was socially relevant and ahead of its time in dealing with communal tension, it failed commercially. However, Kapoor’s striking good looks, polished diction, and emotive acting began to garner attention.

The Mainstream Flourish: A Hero with Style and Substance 

            The 1960s and 70s were a golden era for Shashi Kapoor in terms of mainstream success. He starred in a string of commercially successful films, becoming one of the most bankable stars of the era.

Key films during this period include:

·         Jab Jab Phool Khile (1965).   His breakthrough role opposite Nanda in this romantic drama made him a household name. His portrayal of a Kashmiri boatman won hearts and elevated his romantic hero status.

 ·         Waqt (1965).  An ensemble cast film that redefined Bollywood’s multi-starrer format. Kapoor’s performance held its own amid industry heavyweights.

·         Sharmilee (1971).   With Raakhee in a double role, this romantic thriller showcased Kapoor’s charm and acting range.

 ·         Deewaar (1975).   As the honest, principled police officer Ravi, opposite Amitabh Bachchan’s angry Vijay, Kapoor immortalized the iconic line: "Mere paas maa hai." This film became a turning point in Hindi cinema and consolidated Kapoor’s position as a mainstream stalwart.

·         Kabhi Kabhie (1976) and Trishul (1978).   As part of the Yash Chopra-Amitabh Bachchan era, Kapoor delivered powerful performances that balanced intensity with sensitivity.

            He was often paired with popular heroines like Sharmila Tagore, Raakhee, Hema Malini, and Zeenat Aman, creating a gallery of iconic on-screen couples.

            Kapoor’s commercial cinema was distinguished by the dignity and decency he brought to his roles. He was rarely the ‘macho’ hero. Instead, he radiated compassion, intellect, and civility - making him a preferred actor for progressive and emotional roles. 

Parallel Pursuits: The Art House Producer and Actor

            While he enjoyed immense popularity in commercial cinema, Kapoor’s heart yearned for meaningful stories. His exposure to theatre and his marriage to English actress Jennifer Kendal deepened his artistic sensibilities. In the late 1970s and 80s, Kapoor became one of the few mainstream actors who actively supported the burgeoning “parallel cinema” movement.

            He founded “Film-Valas”, a production house committed to serious cinema. Notable productions include:

·         Junoon (1978).   Directed by Shyam Benegal, this period drama set during the 1857 rebellion explored obsession, colonialism, and honor. It won the National Film Award for Best Feature Film in Hindi.

 ·         Kalyug (1981).   A modern-day retelling of the Mahabharata, it starred Kapoor as Karan in a corporate war context. This was another collaboration with Benegal.

 ·         36 Chowringhee Lane (1981).   Directed by Aparna Sen and featuring his wife Jennifer in the lead, this film was a poignant portrayal of loneliness and colonial hangover. Kapoor did not act in it but backed it as a producer.

·         Vijeta (1982).   A coming-of-age tale of a young man joining the Air Force, the film was visually rich and emotionally stirring.

 ·         Utsav (1984).   A bold period piece on sensuality and human desires, it reflected Kapoor’s fearless approach to storytelling.

          His art house productions were critically acclaimed, winning national and international accolades, though they seldom achieved box office success. Yet Kapoor remained unfazed, driven by conviction rather than commerce.

             He also worked in several international co-productions, especially with Merchant-Ivory, like “The Householder” (1963), “Shakespeare Wallah” (1965), “Heat and Dust” (1983), and “In Custody” (1993). His fluency in English, deep understanding of theatre, and understated acting style made him a sought-after presence in global art cinema.

 The Theatre Legacy: Prithvi Lives On

             One of Kapoor’s most enduring contributions to Indian cultural life is the revival of “Prithvi Theatre”. After the decline of his father’s traveling troupe, Shashi and Jennifer dreamt of a permanent space for high-quality theatre in Bombay. This dream materialized in 1978 when Prithvi Theatre was inaugurated.

            More than a venue, Prithvi became a movement. It nurtured generations of playwrights, actors, and directors, and continues to be a cultural landmark in Mumbai. Kapoor's vision ensured that theatre remained accessible, contemporary, and inclusive.

 A Love Beyond the Screen: Jennifer Kendal and Family

             Shashi Kapoor’s personal life was as graceful as his screen presence. In 1956, during a Prithvi Theatres tour in Calcutta, he met Jennifer Kendal, daughter of British theatre legends Geoffrey and Laura Kendal. Despite initial resistance from her parents, the couple married in 1958. It was a union based on shared values, love for theatre, and mutual respect.

             Jennifer was not just Kapoor’s partner in life but also a collaborator in art. She acted alongside him in “Shakespeare Wallah”, “Bombay Talkie”, and “Junoon”, and helped establish Prithvi Theatre. Her sudden death in 1984 from cancer shattered Kapoor emotionally.

             Together, they had three children - Kunal Kapoor, Karan Kapoor, and Sanjana Kapoor. Kunal dabbled in acting and later ran an ad production house; Karan acted in a few films but shifted to photography in the UK; Sanjana inherited the theatre mantle and ran Prithvi Theatre for many years, championing experimental productions and youth participation.

            Kapoor was deeply devoted to his family. After Jennifer’s death, he never remarried, devoting himself to his children and legacy work.

 Health Issues and Final Years

             In the late 1990s and 2000s, Kapoor began withdrawing from public life. He battled a series of health complications, including a prolonged struggle with a degenerative condition that affected his mobility. His last major film appearance was in “Side Streets” (1998), though he was seen briefly in “Jinnah” (1998) and later honored in tributes.

             He suffered from liver cirrhosis and age-related ailments, and over the years grew reclusive. Yet, he remained mentally sharp and engaged with art through readings, limited appearances at Prithvi, and meetings with friends from his theatre and film circle.

             On December 4, 2017, Shashi Kapoor passed away at the age of 79 at Kokilaben Dhirubhai Ambani Hospital in Mumbai. The nation mourned the loss of a gentleman star. He was given a state funeral, and his death marked the end of an era that blended elegance, talent, and integrity.

 Awards and Recognition

 Shashi Kapoor received numerous accolades for his work in cinema and theatre, including:

 ·         National Film Award for Best Actor in “New Delhi Times” (1986)

 ·         Dadasaheb Phalke Award -  India’s highest film honor in 2015, recognizing lifetime achievement.

 ·         Padma Bhushan -  In 2011, the Government of India honored him with this civilian award.

 ·         Filmfare Lifetime Achievement Award - 2010

 ·      Several international awards for his roles in Merchant-Ivory films and for his contribution to Indo-British cultural exchange.

 Legacy: The Gentleman Who Walked Many Worlds

             Shashi Kapoor's legacy cannot be defined solely by box office numbers or awards. It lies in the dignity with which he carried himself, the bridges he built between art and commerce, India and the West, and theatre and cinema.

 He was:

 

·         The matinee idol who wasn't afraid to age or step aside.

·         The producer who put principle above profit.

·         The actor who spoke less and listened more.

·         The husband who remained loyal beyond death.

·         The father who nurtured independence in his children.

 

Amitabh Bachchan, his most frequent co-star, said at Kapoor’s funeral:

"He was not just a co-star, he was a brother, a mentor, and a friend who showed us how to live a graceful life in the limelight."

 

Director Shyam Benegal remarked:

"He was the only star who never behaved like one - because he never forgot he was an actor first."

 Conclusion: A Life Well Lived

             In the kaleidoscopic history of Indian cinema, Shashi Kapoor represents a rare harmony - of glamour and grit, romance and realism, ambition and humility. Whether in the snow-laden locales of “Jab Jab Phool Khile”, the searing confrontations of “Deewaar”, or the intimate corridors of Prithvi Theatre, Kapoor left his mark with quiet brilliance.

             He was a bridge - not just between worlds, but between ideals and images. And in doing so, Shashi Kapoor did not just act in stories - he lived one worth telling for generations.

 

From Wrestling Ring to Ramayan - The Muscle and Morality of Dara Singh

Early Life: Roots in the Punjab Soil 

            Born as Deedar Singh Randhawa on 19 November 1928 in Dharmuchak village, Amritsar district of Punjab, Dara Singh belonged to a humble Jat Sikh farming family. His childhood, shaped by the rustic discipline of agrarian life, laid the foundation for his formidable physique and mental resilience.

             As a young boy, he stood tall and sturdy, drawing attention from wrestling enthusiasts in local akhadas. His relentless pursuit of physical perfection led him into the traditional Indian style of wrestling - kushti. Mud arenas, rigorous training, oil massages, and a vegetarian, high-protein diet formed the early chapters of his life.

 

“Even as a boy, Dara had the gait of a lion,” said a fellow wrestler from his akhada days.

The Rise of a Champion: Wrestling Glory

            Dara Singh's formal wrestling career took off in the 1940s. He traveled through Malaysia, Singapore, Canada, and the USA, battling international opponents and never losing a single bout in his prime.

            His career reached a zenith in 1954, when he was crowned Rustam-e-Hind, the ultimate Indian wrestling title. In 1968, he won the World Wrestling Championship by defeating Lou Thesz, a celebrated American grappler.

 

“Dara Singh is not just a wrestler, he is India’s pride,” wrote a British sports columnist during his tour of London in the 60s.

            His match against the 200-kg Australian wrestler King Kong is legendary. The victory, though athletic, was received as a symbolic triumph of Indian might over colonial grandeur.

Into the Limelight: Dara Singh in Hindi Cinema

            The magnetic pull of cinema soon found its way to Dara Singh. His debut film Sangdil (1952) went unnoticed, but by the late 1950s, he had found his niche in action and adventure films. 

·         Blockbusters like:

Ø  Faulad (1963)

Ø  Rustom-E-Baghdad (1963)

Ø  Hercules (1964)

Ø  Boxer (1965)

 

cemented his image as an action hero with honor.

             In many of these films, he was paired with Mumtaz, creating one of the most iconic screen duos of the 60s. Their films - Aandhi Aur Toofan, Tarzan Comes to Delhi, Rakhwala - were massive hits, especially in smaller towns and rural belts.

 

“The Dara Singh-Mumtaz films were the original mass entertainers - before the term ‘masala’ was even coined,” recalled film historian Ravi Vasudevan.

            Dara Singh’s presence wasn’t just muscle; it was moral muscle. He often played the protector, the redeemer, or the mythological warrior - never a rogue, never a villain.

Hanuman on Earth: Myth, Morality, and Stardom

            Dara Singh’s most iconic role came not in a film but in a television serial - Ramanand Sagar’s Ramayan (1987–88). As Hanuman, he transcended acting.

            With his athletic body, piercing eyes, and devotional demeanor, Dara Singh’s Hanuman became synonymous with divinity. His screen presence during the Sanjeevani Booti sequence brought tears to millions.

·         Dara Singh, in a Doordarshan interview.

“I never acted Hanuman. I lived him,”

            Children sought his blessings in real life. Housewives applied tilak to his on-screen image. Posters of Dara Singh as Hanuman adorned temples.

·         Ramanand Sagar once famously said:

“There can never be another Hanuman like Dara Singh. His soul was in the role.”

            His portrayal was so iconic that he reprised Hanuman in other serials like Luv Kush, Mahabharat, and Hanuman - The Immortal, becoming the most celebrated mythological figure on Indian television.

A Family Man and Spiritual Disciple 

            Behind the legendary physique and screen divinity was a deeply disciplined and humble family man. Dara Singh was married twice, with his second wife Surjit Kaur being his lifelong companion.

He had six children, the most prominent being Vindu Dara Singh, who followed his father’s footsteps into acting and later won Bigg Boss Season 3.

“He was God at home too,” said Vindu Dara Singh. “He taught us truth, discipline, and simplicity.”

            Dara Singh was a vegetarian, non-smoker, and teetotaler. His daily routine included yoga, walking, and prayer, right into his eighties. His autobiography Meri Atmakatha  reveals a deeply spiritual man who believed that strength came from moral discipline.

Service Beyond Cinema: Dara Singh in Politics

            In 2003, Dara Singh entered the Rajya Sabha, nominated by the BJP. Though not politically aggressive, he was widely respected across party lines for his clean image and nationalist fervor.

            He used his position to advocate for traditional Indian sports, rural development, and cultural education. His speeches were rare but meaningful - always emphasizing Indian heritage and self-reliance.

“Dara Singh brought dignity to politics,” said fellow parliamentarian Sushma Swaraj.

Final Years and Health Struggles

            In his later years, Dara Singh suffered from neurological issues and heart ailments. On 7 July 2012, he was admitted to Kokilaben Dhirubhai Ambani Hospital in Mumbai following a severe heart attack.

            Despite efforts, his condition deteriorated. On 12 July 2012, India lost its Hanuman. He passed away peacefully, surrounded by family.

            His body was taken for cremation at Pawan Hans crematorium in Mumbai with state honors.

 

Prime Minister Dr. Manmohan Singh said:

“Dara Singh was the symbol of Indian strength and virtue.”

Legacy: A Muscle That Held Morality

            Dara Singh’s legacy lives on - not just in the wrestling arena or cinema but in collective national memory. He is seen as:

 

·         The face of Indian strength

·         The soul of cinematic virtue

·         The epitome of mythological devotion

            His statue at Madame Tussauds, his feature in school textbooks, and his timeless presence in Ramayan reruns are reminders of a man who played Hanuman and lived like one.

In Their Words: Testimonials

 

·         Amitabh Bachchan

“He was my childhood idol. The first superhero I ever knew.”

 

·         Vindu Dara Singh

“He taught me to bow only to truth. He never raised his voice - his silence was his power.”

 

·         Ramanand Sagar

“Dara Singh was born to play Hanuman. Even gods must have smiled watching him perform.”

Conclusion: Immortality in Indian Hearts

            Dara Singh was more than a wrestler or actor. He was India's gentle giant, a symbol of masculine righteousness, and a cultural guardian. Whether in the wrestling pit, onscreen battlefield, or spiritual heart of Indian households, he stood firm - like the ashoka tree of Ramayan: unmoved, virtuous, and eternally rooted.

            His story is not just that of an actor or athlete - it is the story of a nation’s idea of what a man should be.

Ashok Kumar (Dadamuni) - The Gentleman Pioneer of Hindi Cinema’s First Golden Era

    Ashok Kumar, affectionately known as Dadamuni, was a towering figure in the annals of Hindi cinema. While Rajesh Khanna is widely celebrated as India’s first mass-market “superstar,” it was Ashok Kumar who, decades earlier, laid the foundation for star-driven cinema in India. In the 1940s, at a time when the film industry was still in its formative years, Ashok Kumar became the first screen icon whose name alone could draw audiences to theatres across the country. His long and illustrious career, spanning over six decades, not only witnessed but actively shaped the growth of Indian cinema from its black-and-white roots to the era of colour and television. Born Kumudlal Ganguly on 13 October 1911 in Bhagalpur, Bihar, his journey from lab assistant to pioneering actor marked the beginning of star culture in Indian films.

The Ganguly Roots: A Family of Talents

    Kumudlal Ganguly was born into an educated Bengali family that valued the arts and intellect. His father, Kunjlal Ganguly, was a respected lawyer, while his mother, Gouri Devi, came from a well-cultured background. Though far from the world of cinema in Bhagalpur, the family’s leanings towards music, literature, and drama eventually manifested across generations. 

     He had three siblings, including Kishore Kumar, the eccentric and iconic playback singer and actor, and Anup Kumar, also a character actor in Hindi films. The Ganguly household would go on to become a mini film dynasty, with the next generations - Amit Kumar (Kishore’s son) and later Shobha De’s family - keeping the artistic flame alive.

From Science Lab to Studio Floor: The Reluctant Actor

    Ashok Kumar never intended to become an actor. He studied at Presidency College, Calcutta, and went on to train as a laboratory technician at Bombay’s Bombay Talkies Studio. It was here, amidst the chemicals and film stock, that destiny intervened.

    In 1936, Devika Rani, the reigning queen of Indian cinema and the owner of Bombay Talkies, had a fall-out with the male lead of the film Jeevan Naiya. In a hurried decision, she pulled the shy and untrained Ashok Kumar out of the lab and cast him opposite her.

    He was reluctant, even resistant, but with Devika Rani’s mentorship, he performed. The film marked the beginning of a stellar career. He later acknowledged, “I didn’t enter films out of passion or ambition. I simply had no choice.” Yet, the camera loved him, and the audience responded to his sincerity and naturalism.

The Breakthrough: Achhut Kanya (1936) and the Rise of a Star 

    It was Achhut Kanya  (1936), also opposite Devika Rani, that truly established Ashok Kumar’s name. A path-breaking film dealing with untouchability and inter-caste love, it became a critical and commercial success. The chemistry between the leads, especially Ashok Kumar’s soft-spoken, restrained performance, struck a chord with Indian audiences who had till then been used to theatrical, exaggerated styles. 

    Ashok Kumar ushered in a new style of acting - understated, expressive, and human. He did not "perform" as much as he "became" the character.

    This naturalistic approach would become his signature, setting him apart in a sea of stylized acting.

The First Superstar of Hindi Cinema in Pre-Independence

    By the 1940s, Ashok Kumar had become the most bankable star in the country. His biggest breakthrough came with Kismet  (1943), directed by Gyan Mukherjee. It was a revolutionary film for its time - it featured an anti-hero, long before the trope became popular. Ashok Kumar played a pickpocket and a morally grey character with aplomb. Kismet ran for over three years at Kolkata’s Roxy Theatre, a record at the time, and made Ashok Kumar the first “superstar in Pre-Independence” in the sense the word is used today. 

    His style - leaning on pauses, expressive eyes, and conversational delivery - redefined the grammar of Hindi cinema acting. He did not shout to be heard; he whispered and made people lean in. In his humility and restraint, audiences found relatability.

    His work in this era included iconic films such as:

• Bandhan (1940)
•  Jhoola (1941)
• Mahal (1949) - the film that launched Madhubala as a star
• Sangram (1950)
• Samadhi (1950)

 As actress Shabana Azmi once remarked, "Ashok Kumar's strength was that he made you believe he was someone you could know. He brought dignity to every role he played."

Experimentation and Evolution: From Lead Hero to Character Actor 

    As the 1950s and 1960s rolled in, Ashok Kumar gracefully aged out of romantic leads and embraced mature roles with remarkable ease. He wasn’t insecure about losing stardom - he adapted. 

    In Parineeta (1953), Chalti Ka Naam Gaadi (1958, with brothers Kishore and Anup), Aashirwad (1968), and Jewel Thief  (1967), he played fathers, mentors, judges, and occasionally villains. His range expanded while his aura only grew stronger.

    His performance in Aashirwad as a principled man jailed unjustly remains one of his finest. The film’s rap song "Rail Gaadi" sung by Kumar himself became a children’s classic, and he won the National Film Award for Best Actor.

    In Victoria No. 203  (1972), a crime comedy, he played a cunning crook with delightful ease. His comic timing, despite his age, matched his gravitas. He proved that he could still carry a film without the trappings of youth.

The Gentleman Persona: On and Off Screen

    Ashok Kumar was never involved in industry scandals or controversies. He was known for his dignity, calm temperament, and mentorship of young actors. He kept a low profile, never chasing awards or headlines. His persona as a “Dadamuni”,  the gentle Bengali man, was real and rooted in his cultural upbringing.

    Director Bimal Roy often said, "Ashok Kumar could say more in silence than others in a monologue." His grace and discipline influenced a generation of actors, from Dilip Kumar to Amitabh Bachchan. 

    Amitabh, whose own father Harivansh Rai Bachchan was close to the Gangulys, once wrote, "To watch Ashok Kumar act was to witness poetry without rhyme - just pure rhythm."

Marriage and Family Life

    Ashok Kumar married Shobha Devi from a distinguished Bengali family. Their marriage was stable and harmonious, and the couple had four children. One of his daughters, Preeti Ganguly, followed her father into films and became known for comic roles, especially in the 1970s and 80s. Another daughter, Rupa Ganguly (not to be confused with the actress of the same name, the Mahabharat fame), stayed away from films but was an active force in cultural circles.

    He was deeply devoted to his family and stayed grounded despite his fame. He was also a passionate painter and homeopath, practicing both in his spare time. Few know that he treated several of his co-stars with homeopathic remedies.

Television Era: The New Dadamuni

    In the 1980s and 90s, Ashok Kumar found a new identity on television. As the narrator and host of the serial Hum Log (1984), India’s first soap opera, he was reintroduced to an entire generation as Dadamuni. His concluding monologues at the end of each episode became iconic. Addressing the audience directly, he would give moral and philosophical takeaways with warmth and wisdom.

    For many middle-class homes in India, Ashok Kumar became not just a screen icon but a family elder, the voice of reason, and a symbol of decency. Even as he aged, his voice carried authority and affection.

Final Years and Health

    In his later years, Ashok Kumar led a quiet life in Mumbai’s Chembur. He continued to act in select projects but preferred gardening, painting, and spending time with his grandchildren.

    He suffered from lung ailments due to smoking, and his health declined in the late 1990s. Despite this, he remained mentally sharp and continued reading and mentoring younger actors.

    He passed away peacefully on 10 December 2001 at the age of 90.

Legacy: The Actor’s Actor

    Ashok Kumar received numerous accolades in his lifetime:

•  Dadasaheb Phalke Award in 1988
• Padma Bhushan in 1999
• Multiple Filmfare Lifetime Achievement Awards
• National Award for Aashirwad

    He remains a touchstone for naturalistic acting in Indian cinema. Unlike many stars who burn out, Ashok Kumar glided through decades with consistency, reinvention, and humility.

Director Hrishikesh Mukherjee summed it best: "If there is one actor in Indian cinema who never acted, it was Ashok Kumar. He simply lived his roles."

Testimonials and Tributes

• Kishore Kumar, his younger brother, once said, "Dada was my inspiration, my anchor. Without him, I’d never have stepped into the industry."

• Dev Anand called him "the most disciplined actor I ever worked with."

• Lata Mangeshkar, who saw him from the early days, said, "Ashok Kumar was an institution. His presence elevated any scene, and his voice had the power to calm or command."

• Amitabh Bachchan tweeted after his death: "Dadamuni is gone. The film world has lost its conscience. I have lost my childhood hero."

 Conclusion: The First and the Finest

    Ashok Kumar was not just a star - he was a transition. From the silent era to television, he was the bridge between generations, styles, and sensibilities. He brought realism to Hindi films when theatre still dictated performance. He adapted with time, stayed relevant, and did it all without noise or arrogance.

    In the temple of Hindi cinema, Ashok Kumar’s legacy is not in marble statues or extravagant biopics - it is in the calm, enduring dignity of his performances and the fondness with which generations remember him.

    He didn’t act to become a legend - he became a legend by simply being real.