Naseeruddin Shah is a phenomenal actor; one of the best to come out of India. However he has become so bitter over the years.
It started off with him constantly harping on about Amitabh Bachchan being a crap actor. Full disclosure, I don't like Amitabh Bachchan at all, and have always ranked the likes of Naseeruddin Shah, Om Puri, even Raj Babar, above him. He's an alright actor, however even I (with my immense dislike of him) can acknowledge his cultural impact is huge.
Then I watched an interview in which he was whining about Ben Kingsley getting the Gandhi role over him, and commenting on how a white man shouldn't be playing Gahndi. He completely overlooked the fact that Ben Kingsley is in fact mixed race (his real name is Krishna Pandit Bhanji). That aside, complaining you didn't get a role 20 years after the film came out is just so pathetic especially for an actor of his stature. It just reeks of sour grapes.
He then said Rajesh Khanna was universally responsible for 'mediocrity' in Indian cinema in the 70s. Because of course, this man single handedly decided what type of content was allowed to be produced and distributed. The prevalence of mediocrity in Indian cinema couldn't possibly be down to the Indian audience preferring formulaic feel-good, escapist cinema to the output of 'parallel cinema'.
And now, not even a month after Dilip Kumar passed away, he is saying he (Dilip) didn't 'do enough', and 'left behind no significant lessons for future actors'. I mean... really? Who makes comments like this shortly after someone passes away? And if this is the approach he's going to take, what has he done for 'cinema' beyond acting in some good films? What new talent has he introduced and 'groomed', what 'lessons' has he left behind? I don't recall him delivering masterclasses in acting. In his entire career he has directed one film, which was firmly rooted in parallel cinema and did not do well commercially. How is this helping improve the mainstream output of Indian cinema?
He's become so disappointing with age.
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