With Haider, Bharadwaj and Peer bring us face to face with a history that is far from resolved. I have met and interviewed quite a lot of them, and I have come to realise that besides being a fabulous actor, Khan was also an extremely intelligent man. These conscious decisions to do films that explore various facets of his personality and prowess is what sets Khan apart from his contemporaries, most of whom have become extremely comfortable in compartments. He gravitated towards fringe characters because the mainstream cinema of the early 2000s was mediocre and forgettable. This beautiful, despair-ridden world is shot with wonderful sensitivity by Pankaj Kumar. It's no wonder, then, that Haider's end is different from Hamlet's. Here, instead of answering the call of the azaan in the morning, men and women follow the directives of a crackdown. Set in Kashmir, in 1995, Haider borrows some central conflicts from Hamlet. It feels more natural because he is not trying to make you laugh, but his natural reaction – one we have driven our mothers up the wall often enough to be at the receiving end of – is relatable and hence, extremely funny. Pulses beat to the rhythm of army boots in the snow and bullet rounds being fired. It is surprising that in a film like Life in a…Metro, Khan is the light-hearted one. Intent upon exacting revenge for his father, Haider unwittingly finds himself being targeted by the different political forces tussling for power in Kashmir. Khan’s depiction of forlorn Mr Fernandes, who seems to have surrendered to monotony, makes even despondency seem beautiful. Shahid tries valiantly but struggles with the complexity of Haider's character, particularly as it descends into madness (or at least pretends to do so). That character, the ambiguous manifestation of Haider’s father’s spirit (Bhardwaj’s cinematic device for Hamlet’s father’s ghost) holds … Luck doesn't favour the brave here. Considering how Bharadwaj is able to extract performance out of his less starry cast, you have to wonder whether the stars are simply incapable of responding to the script and direction or too self-satisfied to do so. Even when he jovially participates in AIB videos for movie promotions, there is a sense of honesty in his performance that makes it believable and bearable.”. 2007 changed our perception of Khan. His most memorable scene in The Namesake remains that deftly-directed phone call that Ashok shares with Ashima, moments before he passes away. After a string of assorted films, he delivered quite a bipolar year in 2007, with the jackassery of Monty in Life in a…Metro on one hand, and the sombre pathos of Ashok in The Namesake in the other. Even though he debuted in 1988 in Salaam Bombay!, it was only after Haasil and Maqbool released in 2003 that Khan was noticed. Irrfan Khan (Page 1 of 4) # 1. The actor was 53. “I have seen every Irrfan Khan film, but when I sit down to think about him, it will always be his character Roohdar’s entry sequence in Haider that comes to mind. Khan made us giggle with a sly smile, a crisp retort or an eye roll (sometimes, even his bored glare was hilariously timed), his expressions coloured with a strong sense of arrogance and condescension. But somehow it did not work out,” he says. After some smashing performances in Slumdog Millionaire, Mumbai Meri Jaan, Billu, New York and Saat Khoon Maaf, he knocked it out of the park with Paan Singh Tomar in 2012 and the globally-lauded The Lunchbox in 2013. Goodbye, Roohdaar: The Towering Cinematic Presence of Irrfan Khan. Tabu looks stunning but is playing a character that she's played so many times that there is a sense of practiced ease about her performance. Firstpost - All Rights Reserved. Movie: Saheb Biwi Aur Gangster Returns Star: Irrfan Khan Tags: Comedy Religion & … While there's more intelligence and skill in even the flawed second half of Haider than one usually sees in Bollywood films, the film is a victim to The Curse of the Second Half. Add to this Ghazala and Haider's rather erotically charged relationship, and you have a not-so-happy family. Irrfan Khan has made it clear to Vishal Bhardwaj that his name, face and presence must not be used to promote Haider. Khan was perfect as Rana in Piku, the confused third party in an outrageous bowel-obsessed triangle. He simply stands at his door, unable to take those final steps. Here despair leaves branches bare and frustration frays the edges of window sills and the wooden furniture in homes. They convince audiences to buy tickets. He’s survived by his wife, Sutapa Sikdar and two sons, Babil and Ayan. Sign up for a weekly curated briefing of the most important strategic affairs stories from across the world. Known for his effortless performances and versatile roles, Irrfan died due to colon infection. Even in mainstream outings, he preferred darker shades, because they were the only roles written with any scope to perform. Still, even if your patience is being tried by the time Haider draws to a close, Haider is a moving film that tells the story of not just a character or a family, but of Kashmir itself. While Piku might not have been the most mainstream of films itself, it was a sign that the times were changing. I struggle to describe it, but the apt way to put it would be “Punjabi-motherly”. Also, after a point, it feels as though Bharadwaj was at a loss as to how he should end the story he'd set out to tell. Also, Piku was Khan’s first outing as a mainstream lead and love interest, the older man with a crackling chemistry with Deepika Padukone. As a director, Bharadwaj is able to draw out fantastic performances from non-actors and little-known professionals. ... the entry level for first class cricket in India. It seems to be more calculated than spontaneous. Now Peer has no trouble walking in. In fact, as you can guess from the tense, drawn faces in the crowds, luck hasn't been around these parts for a long time. Maqbool, after Throne of Blood, will definitely be the best screen adaptation of Macbeth till date. Stars are the damnedest things. I personally believe that the decision to do this film steered him away from becoming a Nana Patekar – an actor defined only by his intensity in dramatic roles, while his versatility remains ignored. Photo-Prem is a funny, quintessential take on what we leave behind for memories but quickly loses potential with half-baked writing and slow pace. We will therefore not get to see Irrfan in any publicity of the film. Shahid Kapoor, Shraddha Kapoor, Tabu and Kay Kay Menon pull out all their theatrical stops, but they're not powerful enough to hold the second half together. To wind it up and tie up loose ends, the violence goes into fifth gear and you start wondering whether this is Game of Thrones set in Kashmir, instead of Hamlet. Haider Release Year - 2014 # 1. Haider Ali Zaidi, Bharatpur Superintendent of Police, was a childhood friend of Irrfan. With Shahid Kapoor, Tabu, Shraddha Kapoor, Kay Kay Menon. He takes a potentially complex role and flattens the dynamism out of it with a half-hearted performance. I wrote that for Irrfan Khan’s last cover story before he was detected with cancer. Shraddha Kapoor asks him whether he is a doctor. He appears in the second half of the film as the mysterious Roohdar, a separatist group member yet people cannot forget his entry scene or the impactful performance. Till then, all his film choices had been dark, complex, and grimy. He astutely selected scripts, always paid attention to his role, and however short it might be, he was very conscious of its impact — something even his mainstream International roles are proof of. Take Inferno, for example. Now Peer has no trouble walking in. They're what make producers cough up the cash to make a film. Irrfan Khan, the Bolllywood actor famous for films such as Haider, Qissa, Paan Singh Tomar, The Namesake and Life of Pi passed away at Mumbai’s Kokilaben Hospital on Wednesday. If the Provost was bone-dry humour, on the other side of the spectrum is the motherly agitation, used to full glory in Piku and Life in a…Metro. Bangla for Bengal: Can secularism trump regional linguistic pride. The stranger — Irrfan Khan, who plays the mysterious Roohdar and has what can only be described as a rock star's entry — laughingly observes that sustained army presence has messed with people's heads so much that … Actor Irrfan Khan, who was last seen in ‘Angrezi Medium’, passed away today at a hospital in Mumbai, where he was admitted for colon infection. Irrfan Khan will be seen playing a cameo in Shahid Kapoor- Shraddha Kapoor starrer Haider soon. After Piku, he appeared in powerful roles in Talvar, Jazbaa and Madaari in 2016 and changed track completely with the hilarious – and very lovable – Hindi Medium and Qarib Qarib Singlle in 2017. He was the drama school graduate – intense, powerful and dramatic. Haider's anger at Ghazala and Khurram is sharpened when Haider is told his father disappeared because Khurram wanted him out of the way so that he could marry Ghazala. In Life in a…Metro, he was fresh and funny, human and connectable. From the old man in charge of unmarked graves, whose face is etched with wrinkles deepened by misery, to the gravediggers and other minor characters, the casting is pitch perfect. After interval, Haider relies upon star power and ironically, this is what brings the film down. Songs are crafted to match the tempo set by gravedigger's shovels. Watch popular content from the following creators: (@minibollywoodtown), kris (@lewkwarm), user9537675373080(@user9537675373080), Diya(@bollyview_with_diya), Irrfan KhAn(@irrfankhan_official) . The beauty of Haider lies in the way the script weaves all these details into the storytelling, particularly in the first half of the film. Find Haider Irrfan Khan Latest News, Videos & Pictures on Haider Irrfan Khan and see latest updates, news, information from NDTV.COM. We had not seen a vulnerable middle-class Khan before The Namesake – a regular man beset by regular problems. Arnesh Ghose 6 min. IRRFAN KHAN (JANUARY 7, 1967 – APRIL 29, 2020) Sahabzade Irfan Ali Khan seriously nurtured desire to be a cricketing hero. The stranger — Irrfan Khan, who plays the mysterious Roohdar and has what can only be described as a rock star's entry — laughingly observes that sustained army presence has messed with people's heads so much that they now need permission to enter their own homes. Indian actor Irrfan Khan poses during the photocall for the film 'The song of Scorpions' at the 70th Locarno International Film Festival in Locarno, Switzerland, on Aug. 9, 2017. This Irrfan Khan movie tells the tale of an unforeseen mix-up that leads to a series of endearing exchanges between an out-of-sorts housewife (played by Nimrat Kaur), and a dejected widower (played by Irrfan Khan). read. Khan delivers a sidesplitting combination of frustration and helplessness, which is Patekar-ish, but less OTT. It may ultimately leave you dissatisfied and heartbroken, but just for the first half, Haider is worth watching again and again. From then on, the movie descends into the depths of Haider's thirst for vengeance. It almost felt like he wanted to prove that he could go beyond the underbelly. Life of Pi. Consequently, his Kashmir is a place full of secrets, covered as it is with blankets of snow. In 2015, he delivered yet another fantastic pair of polar opposite performances in Qissa and Piku – the brooding and grisly Umber Singh in one, and the rascally, rakish Rana Chaudhary in the other. That mischievous, dimpled smile. There are people you never wish to write obits for. Post-interval, the film is nowhere near as taut and gripping as it was in the first half, and this is largely because the actors aren't able to live up to the roles they're playing. The real story of Haider is not in the lives of these main characters, but in the nameless others who together create the most poignant and realistic portrait of Kashmir that Hindi cinema has seen so far. In her new Instagram entry, film critic and journalist Bhawana Somaaya shared a still of late actor Irrfan Khan and Tabu. Reels have been written about Irrfan’s celebrated roles – his stoic loneliness in The Lunchbox, his conflicted parenthood in Qissa and The Namesake, his gritty elegance as Paan Singh Tomar, his ghoulish intrigue in Haider, his principled villainy of Haasil and Maqbool, his effeminate sinisterness in 7 Khoon Maaf, his dignified buffoonery in Hindi Medium and Life in a…Metro and Qarib … Peer plays an everyman who has been so terribly traumatised by the Indian Army that he has lost the confidence to walk into his own home. Since his debut, Khan had always played characters that were fringe elements, stirring only in the dark and behind shadows. It's a powerful film about lives that have been unravelled and twisted out of shape by the political turmoil that has dogged Kashmir for decades, and the actors that are supposed to be Haider's greatest strength add almost nothing to it. From Salaam Bombay to Angrezi Medium, his last film, Khan always made sure he left a mark with each Friday. I rewatch Haider sometimes only to fangirl over his rockstar-like introduction in the film. His hooded, heavy eyes, till then utilized for their menacing qualities to theatrical perfection, shone in this film with the small joys of life, marriage, secretive middle-class romance and later, loneliness and pain. One actor who does leave an impression is Narendra Jha, whose portrayal of Hilaal will have you wondering if Haider should actually have been titled "Hilaal" (or "Haider's Dad"), and where the hell Jha has been all these years. I suppose, in the end, the whole of life becomes an act of letting go, but what always hurts the most … Irrfan Khan's childhood friend Haider Ali Zaidi recalls their memories. Khan was able to infuse his character of the Provost with his personal brand of humour that everyone at home has come to fall in love with. He lived life on his terms. With The Namesake, Khan flaunted his ability to be soft, sad, weak and vulnerable. Shraddha as the journalist Arshiya provides evidence of her limited acting range. She's wide-eyed, pretty, mostly unmemorable and her attempt at pretending to be crazed with grief makes you feel relieved that hers is a small role. Haider, Vishal Bharadwaj's adaptation of William Shakespeare's play Hamlet, is an example of this. When he deals with Amitabh Bachchan’s Bhashkor Banerjee, he is almost matronly – a common comedy archetype in Indian and western cinema. 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