Hindi cinema simply cannot be complete without mentioning the unforgettable characters. Sometimes a character makes such an impression on you that it becomes synonymous to the actors name.Â Shahrukh Khan becomes Raj/Rahul, Amitabh Bachchan becomes Vijay and Amjad Khan becomes Gabbar Singh.
These characters have carved a separate niche for themselves in the industry with their idiosyncrasies. Certain characters in Bollywood are unforgettable because the actors portraying the roles have given some superlative performance. A true actor never acts, but is one of the characters. Every human being has hundreds of separate people living under his skin. The onus lies on the writer to give them their separate names, identities, personalities and to have them relate to other characters.
A man with a smile, a heart like an ocean filled with honesty and loyalty, courage to fight back from disasters, a love that melts every existing being- The story of such a character becomes an instant success and is loved by all. We Indians give utmost importance to the feelings and emotions and we love to see a character which is an inspiration power house, good or bad but teaches us to make choices in life that matter to us the most, fighting to get the best out of the worse, urging to gain the pain and strive for the penultimate success, displaying his love and trust for the person he cares about more than his life. Such a character just strikes the perfect chord with its audience.
Then there are characters which one loves to hate. The youth get inspired by the way a certain character looks ( John Abraham who played Kabir in Dhoom made stubble a rage among boys), dresses up and talks. Movies and characters continue to inspire the aam junta till today.
Some of the unforgettable characters…..
Gabbar Singh in Sholay (1975)
Babu Moshai in Anand (1971)
Raj and Simran of Dilwale Dulhania Le Jayenge(1995)
Amar and Prem in Andaaz Apna Apna(1994)
Ishaan Awasthi in Taare Zameen Par(2007)
“Once the curtain is raised, the actor is ceases to belong to himself. He belongs to his character, to his author, to his public. He must do the impossible to identify himself with the first, not to betray the second, and not to disappoint the third.” — Sarah Bernhardt
HONY borrows from long-standing journalistic and documentary practices. For example, the British social documentary movement, which started in the 1930s.Read More >
Facing sexual advances and intimidation, the struggle of these women in a male-dominated public space is relentless and yet remains unnoticed.Read More >
Mani Ratnam shows that escapist cinema and outdated gender norms needn’t be synonymous.Read More >
The relationship between the leads played by Rituparna Sengupta and Prosenjit Chatterjee exposes the crux of the gender politics in patriarchal marriages.Read More >
Tickets in those days were just ‘dus annas’ which gradually rose to two and a half rupees in the ’70s, a shopkeeper nearby told me.Read More >