Asrani
Born into a Sindhi family on New Year’s day in 1941, Govardhan Asrani trained under Sahitya Kalbhai Thakkar in Jaipur and shifted to Bombay in the early 1960s to try his luck in films. He joined the Film and Television Institute of India (FTII) in Pune in 1966 but as he was to crack the Bombay film industry, he became a teacher and and ended up coaching the likes of Shatrughan Sinha, Shabana Azmi and Jaya Bhaduri.
Mere ApneCinemaazi
It was Hrishikesh Mukherjee who cast Asrani in Satyakam (1969) and with Gulzar’s Mere Apne (1971), Asrani became a known face.
One of the busiest comedians in the 1970s where he featured over 100 films, Asrani became a constant feature in films of Rajesh Khanna and later Amitabh Bachchan.
Aaj Ki Taaza KhabarCinemaazi
In a decade peppered with memorable performances in films such as Bawarchi (1972), Abhimaan (1973), Namak Haraam (1973), Chupke Chupke (1975), Chhoti Si Baat (1976), and Baalika Badhu (1977), Asrani tickled the audiences funny bone the best in Aaj Ki Tazaa Khabar (1973) and the classic Sholay (1975).
Asrani was amongst the first comedians to graduate from the classical supporting comic acts in the 1970s to the 1980s’ near-parallel comedy track in the 1980s that had little to do with the film’s central narrative.
Kader Khan
The man who gave some of the greatest one-liners to leading men such as Amitabh Bachchan and Govinda, Kader Khan started as a screenwriter and later villain before cementing his reputation as a great Hindi film comedian.
Kanoon Apna ApnaCinemaazi
Born in Kabul, Afghanistan, Khan grew up in Bombay in near penury and went on to graduate in Cilvil Engineer.
While his stint as a professor at the M. H. Saboo Siddik College of Engineering, Khan wrote and acted in a play that caught Dilip Kumar’s eye and the thespian signed him as a writer.
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Khan became one of the most sought after screen writers of the 1970s. Beginning with Roti (1974), Khan became the only one besides Amitabh Bachchan to work for both Prakash Mehra and Manmohan Desai.
Amar Akbar Anthony (1977)Cinemaazi
Although Khan wrote many of Bachchan’s funniest lines in films such as Amar Akbar Anthony (1977), Suhaag (1979), Mr. Natwarlal(1979), Do Aur Do Paanch (1980) and Satte Pe Satta (1982), it was only in the 1980 that the comedian within Khan came to fore with films such as Himmatwala (1983)
Baap Numbari Beta Dus NumbariCinemaazi
Although Kader Khan was one of the most prolific writers in the 1980s, he later often expressed his sadness at somewhere being responsible for crudeness in comedy of the era.
In the 1991, Khan won his only Filmfare for Best Comedian in Baap Numbari, Beta Dus Numbari (1991).
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Khan regularly featured with Govinda and together they delivered the 1990s’ biggest hits such as Aankhen (1993), Coolie No. 1 (1996), Saajan Chale Sasural (1997) and Dulhe Raja (1999). Khan also enjoyed a great onscreen pairing with Akshay Kumar in films like Main Khiladi Tu Anar (1994) and Mr. and Mrs. Khiladi (1997).
Paresh Rawal
One of the most versatile actors in Hindi cinema since the 1980s, Paresh Rawal is amongst the last of the ‘complete’ actors. Rawal made his debut with Arjun (1985) and with the success of Naam (1986) became one of the most sought after baddies. Rawal continued to be a major character artist and villains through the late 1980s and with Andaz Apna Apna forayed into comedy.
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Rawal’s comic turn in the mid-1990s also saw him pack in noteworthy performances in Mohra (1994), Krantiveer (1994), Mr. & Mrs. Khiladi (1997) and Chachi 420 (1997).
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His characters stood out because of the nuances he bestowed upon them along with a strong regional identity.
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The success of Hera Pheri (2000) transformed Rawal into a box office colossus was not limited by genres or themes.
Rawal’s large-hearted Maharashtrian landlord Baburao Ganpatrao Apte, who along with his two tenants Raju (Akshay Kumar) and Shyam (Sunil Shetty) gets embroiled in a big conspiracy, is rated as one of outstanding comic performances.
Post-Hera Pheri, Rawal excelled in Hungama (2003), Deewane Huye Paagal (2005) and Welcome (2007).
Text: Gautam Chintamani.
