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The last Khan standing — Irrfan Khan

In spite of his obvious acting talents, Irrfan may never get his due in Bollywood, where the other Khans rule the roost with their box office appeal.

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When asked what he thought of actor Irrfan Khan, filmmaker Danny Boyle compared him to an athlete who could execute the same move perfectly over and over. “It’s fascinating to watch,” he said.

Boyle hadn’t watched Paan Singh Tomar then, a movie which has Irrfan playing an athlete who can execute the same move perfectly over and over. And it is bloody fascinating to watch the actor at work. In Tigmanshu Dhulia’s biopic, Irrfan plays a sportsman who represents India at the steeplechase event at the Asian Games. Later, he is forced to turn into one of the most dreaded dacoits in the Chambal Valley, or as he likes to call himself — baaghi (revolutionary).

Paan Singh Tomar released three weeks ago to very positive reviews and a scant but impressed first day audience.  Soon word spread, and the film managed to sustain itself, grossing around Rs15 crore so far. It’s a measly sum when compared to the first day figures of some Bollywood biggies, but respectable given that the production budget was less than Rs5 crore, and the promotional campaign negligible. The film, in fact, is being jokingly referred to as one even its producers didn’t seem to have much faith in.

Which is not surprising, given that Paan Singh Tomar didn’t have what you call a “bankable” star in the lead. Irrfan may share his last name with our biggest superstars, but he doesn’t share the box office prowess of Shah Rukh, Salman or Aamir. Or even Akshay Kumar, or Hrithik Roshan. All Irrfan can boast of, at the end of the day, is an acting talent that remains unparalleled in contemporary Hindi cinema.

Irrfan first came to prominence with another Dhulia film — Haasil (2003). His portrayal of the uncouth gunda indulging in college politics made him a popular anti-hero.  Later, his understated performance in Vishal Bhardwaj’s Maqbool (2004) stunned audiences, with the actor making his presence felt despite having Naseeruddin Shah, Om Puri, Pankaj Kapur and Tabu as co-stars.

His performance as the awkward middle-aged man looking for brides in Life In A Metro (2007) was among the film’s most memorable tracks (his drunken outburst in the film was brilliant). In Bhardwaj’s 7 Khoon Maaf (2011), Irrfan gave the film’s standout performance as a poet who enjoyed sadomasochism in bed.

Mira Nair, among the first filmmakers to have recognised his talent (she watched him in a play in Delhi and coaxed him to come down to Mumbai for a role in Salaam Bombay in 1988; his scenes were later edited out of the film), cast him in her adaptation of The Namesake (2007). He also played the most important role after Angelina Jolie in Michael Winterbottom’s A Mighty Heart (2007). Soon, offers started pouring in from the West, among them a part in the popular television show, In Treatment. This year, Irrfan will be seen in two major Hollywood films, one being Marc Webb’s The Amazing Spider-Man and the other, Ang Lee’s Life Of Pi.

But why should these impressive accomplishments — and the humongous talent Irrfan possesses — matter in Bollywood? Does Irrfan share the massive following of the Khan trinity? Surely, he’s not good at slapstick like Akshay is (although, even in a mindless caper like Thank You, Irrfan stood out). No sir. Irrfan is not popular.

Not among audiences. But, more importantly, not among our filmmakers either. Unless a Bhardwaj or a Dhulia gives Irrfan a role he can really sink his teeth into — the kind that requires serious acting chops and not just a willingness to market the film like life depended on it — Irrfan will probably be left twiddling his thumbs, or have to opt for lesser films. Paan Singh Tomar is remarkable not only because Dhulia narrates a captivating story entertainingly, but also because it’s the rare Hindi film that gets its casting right.

As you watch Irrfan age from 20 to 50 in a span of two hours, you are held mesmerised by his ability to get under the skin of the character and live it on screen like only he can; you are convinced no one else could have played Tomar better. Chances are, another filmmaker would have opted for a ‘star’ instead, undervaluing the character and the film along the way.

Irrfan, then, is probably better off in Hollywood. The obvious perks include a fatter pay cheque (he got paid a few lakhs for Paan Singh Tomar), and a global audience to cater to. But more importantly, Irrfan’s acting will be valued there. Hollywood loves its stars, just like we do. But it knows how to celebrate sheer talent too. A Gary Oldman gets an opportunity to share a platform with bigger stars like George Clooney and Brad Pitt at the Oscars, for example, even if he might lose out in the end. In India, an actor like Irrfan is bound to lose a lot more. Like Tomar did.

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