Few actors understand cinematic chaos as well as Paresh Rawal, who remains the undisputed master of situational comedy in Hindi cinema. Long before the internet dictated the language of humour, the actor, with his signature deadpan comedy, saw his characters become part of pop culture, such as Baburao Ganpatrao Apte from Hera Pheri, Velji Bhai in Chachi 420, Teja in Andaz Apna Apna, and Dr Ghunghroo in Welcome. Some of these characters belong to the universe created through his collaboration with filmmaker Priyadarshan, with whom he shares 15 film credits. The partnership, which began 26 years ago, continues as the duo reunites for Bhooth Bangla, a horror comedy set in a palace in Mangalpur. Rawal says it stems from a mutual respect for the craft.
“The advantage of working with Priyadarshan,” Rawal says, “is that he comes from a strong film background. Malayalam cinema is constantly evolving, taking on a variety of subjects, which is not possible in Hindi cinema.” That experience, he believes, brings the constant evolution of characters, stories, and subjects. “Also, he doesn’t waste resources, and it is a smooth environment,” Rawal adds.
The process for getting into a character for Rawal is simple: understand the character arc, grasp the mood board, and develop their case history. “Then you brainstorm with the director on your vision versus theirs,” the 70-year-old actor says. He feels that the diminishing space for innocence in comedy is where several films today falter. “It’s been 45 years since Jaane Bhi Do Yaaro was released, but the madness and mayhem that came with sheer belief is what made it successful. There are various genres of comedy, but you also need the belief and conviction to create slapstick comedy. Maybe we were all new when Hera Pheri was released. We have all become a bit overconfident now,” he laughs.
At a time when virality has become a parameter for success, with actors chasing social media as much as box-office numbers, he maintains an old-school attitude towards promotions. “It’s tiring not only for the actor, but for the audiences, their mind, eyes, and ears as well.” He cites the recent Bollywood blockbuster Dhurandhar, which broke box office records without any marketing gimmick. “Look at Rajinikanth, he never goes overboard with promotions, and his films are a blockbuster success. These days, there is an inherent fear fuelled by anticipation that if I don’t promote my work, I will get left behind. Let the audience decide for themselves.”
What upsets Rawal is the diminishing space for credible film reviews and creative film writing. “Critics have lost their credibility now. There was a time when film critique and reviews were taken seriously, but today, it’s a barter between the film production and the reviewer.”
Rawal, who is also a producer and an outspoken parliamentarian, comes with an illustrious and well-decorated background across stage, television, and film. Having made his film debut with Rahul Rawail’s Arjun in 1985, his four-decade-long career is a brilliant showcase of his versatility—from playing antagonists in films such as Sir and Baazi to his critically acclaimed role as Sardar Vallabhbhai Patel in Sardar. “My choices are driven by instinct, but challenge and unfamiliarity are what I seek. Whether the role is big or small doesn’t matter; the narrative needs to make a strong point. Instinct is something that is always evolving,” he remarks.
