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Roles with a difference
                                                            When it was no longer imperative to
                                                            prove his worth at the box-office, Amitabh
                                                            Bachchan could pick roles that seemed
                                                            interesting or different to him. As a result,
                                                            age did not stop his quest for continuing
                                                            relevance and for filmmakers who knew
                                                            they could not compete in the commercial
                                                            race, could still hope to work with a
                                                            superstar. It was like the early years of his
         played Iqbal, a coolie with the badge              career, when he weighed potential success
         number 786, is remembered as the film              against a challenging role and chose the
         that almost got him killed in a freak on-set       latter.
         accident. His legions of fans, stunned by the
         incident, prayed for his recovery. The film        11 Anand (1971):
         was completed, and released to blockbuster
         success. Not one of Bachchan’s best, but one
         of a handful of mainstream Bollywood films
         in which the main characters were Muslim
         and it was not a clichéd social drama.


         10 Shakti (1982):








                                                            This Hrishikesh Mukherjee gem was before
                                                            he became the Angry Young Man. In the
                                                            sweetly melancholy film he was the solemn
                                                            Babumoshai to Rajesh Khanna’s exuberant
         It would have been difficult for any               patient, Anand, dying of a terminal
         filmmaker to beat his own success record           illness. This film and the director’s 1973
         after a film like Sholay, but Ramesh Sippy         Namak Haram in which he starred again
         paired up with Salim-Javed again for a             with Rajesh Khanna, was like a symbolic
         powerful drama in which an upstanding              passing of the baton from one superstar to
         police officer (Dilip Kumar) is up against         the next. It was clear that this tall, brooding
         his embittered son, who grew up believing          actor was destined for greatness.
         his father had left him to die. He throws
         in his lot with the gangster who saved             12 Parwana (1971):
         him, and hates his father. Rakhee, his love        An almost-forgotten film by Jyoti Swaroop
         interest in many films, played his mother,         was a slow-burn thriller about an artist
         thus effectively ending her career as a            who is unable to bear rejection from the
         romantic lead.                                     woman (Yogeeta Bali) he loves, and plots an


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