Padma Bhushan Naseeruddin Shah: There Will Never Be Another Like Him

When I first met him on a desolate overbridge outside Churchgate station, I never imagined that the young man walking alone, lost in his own world of thoughts, would one day be recognized as one of the greatest actors not only in India but also in Pakistan and around the world. I couldn’t have anticipated that he would be honored by the Government of India with the Padma Shri and later the Padma Bhushan, in addition to numerous other awards, including one at the Venice Film Festival. I never expected he would lead a movement for better cinema—parallel or new wave cinema—only to become disillusioned and shift to mainstream or "masala" films.

I had no idea he would star in a rare film shot in Pakistan, or that he would direct a film, regret it, and later reconsider directing. I could never have guessed he would write his autobiography, and I certainly didn’t foresee that, at sixty-five, he would still be passionately involved in theatre, acting, and directing some of the most significant plays of our time.

That evening, he seemed like any other newcomer to me, someone I had seen only in his first film, "Nishant," and had been impressed by. I vividly remember that scene from over thirty-eight years ago. I had asked him to walk with me to my office and introduced him to my editor, who didn’t know the difference between "Jaanwar" and "John War" and mistakenly referred to "Door Ki Awaaz" as "Door (the door of a house) Ki Awaaz." I’m not trying to poke fun at him, especially since he was instrumental in getting me my first job, which I held for forty years, even thirty-eight years after his passing. I introduced the new actor to my editor, who asked if I had seen his work. When I confirmed that I had and that he was excellent, my editor asked me to write about him. The actor, Naseeruddin Shah, and I still remember that moment, despite how much the world has changed.

When Naseer came to Bombay after graduating from the National School of Drama, there were many other young actors from FTII. Some filmmakers, collaborating with these enthusiastic actors, created films that broke away from the norm. Their brand of cinema was known as new wave or parallel cinema, which meant they did not rely on big stars, large budgets, elaborate sets, or the traditional formula of running around trees.

Naseeruddin Shah led this movement by appearing in one experimental film after another, including "Nishant," "Aakrosh," "Sparsh," "Mirch Masala," "Albert Pinto Ko Gussa Kyon Ata Hai," "Trikal," "Bhavni Bhavai," "Junoon," "Mandi," "Mohan Joshi Hazir Ho!," "Ardh Satya," "Katha," and "Jaane Bhi Do Yaaro."

After years of dedicated work, Naseer realized that despite his significant contributions, he wasn’t gaining material rewards like the stars of the time. He and his colleagues lived a hand-to-mouth existence, often uncertain where their next meal would come from.

This extreme disparity between stars and actors like him led Naseer to question the system. He saw that while the creators of the new wave cinema enjoyed the best of life, actors like him struggled. Living as a paying guest in New Light Society opposite the Sacred Heart Church in Santacruz, he decided to revolt.

He shocked the movement by signing a film like "Tridev," where he wore a "tirchi topi" and danced to "Oye Oye" with Sonam. His admirers criticized him, but he responded, "Only appreciation, awards, and more work are not enough. Money matters too. What wrong have actors like me done to work hard and receive peanuts, while stars who do less live in palaces and drive plush cars? I have had enough. I am not going to let myself and my family suffer for the sake of art."

His revolt was echoed by other actors, leading to the gradual decline of the new wave and parallel cinema movement. Was Naseer responsible for this decline? History will seek an answer. However, Naseer followed his heart, showing his resolve when he played the villain in "Mohraa." He continued to excel in commercial cinema with films like "Hum Paanch," "Karma," "Ijaazat," "Jalwa," "Hero Hiralal," and continued with films like "Dirty Politics" and "Tera Suroor."

Naseer maintained his balance as an actor, also excelling in Hollywood films such as "The Perfect Murder," "Monsoon Wedding," and "The League of Extraordinary Gentlemen." He demonstrated his convictions by acting in two Pakistani films, "Khuda Ke Liye" and "Zinda Bhaag," gaining recognition in both countries and becoming the first actor to receive such honors on both sides of the border.

Among his notable commercial films are "Encounter," "A Wednesday," and "The Dirty Picture." Now, at a stage where he can be selective, he still takes on projects like "Dirty Politics" to maintain a "reasonably decent life for my family and me."

Naseer has also directed acclaimed plays like "Waiting for Godot," his one-man shows, and recent controversial plays based on the lives of rebel writers like Ismat Chughtai and Saadat Hasan Manto, alongside English plays with his wife, Ratna Pathak Shah, daughter Hiba, and actor Kenneth Desai. His ambition led him to direct his first feature film, "Yun Hota To Kya Hota," but the experience was disappointing. He initially vowed never to direct again but now, years later, he regrets that decision, which means his admirers can still hope to see him behind the camera.

Naseer has a penchant for playing renowned characters, as seen when he portrayed the Urdu poet Mirza Ghalib in a TV serial, making the poet even more popular. He had long dreamed of playing Mahatma Gandhi, even auditioning for the role in Sir Richard Attenborough's film, only to lose it to Ben Kingsley. However, he later portrayed Gandhi in Kamal Haasan's film "Hey Ram" and in a play called "Gandhi vs. Harilal," which explores Gandhi’s relationship with his elder son.

After years of dedicated work, Naseer chose to write his autobiography, "And Then One Day," which is a must-read for anyone involved in the arts, especially theatre, films, and television. Naseer is a happy family man, with his entire family deeply involved in the arts. His wife, Ratna Pathak Shah, is a versatile actress who excels in every role she takes on. His daughter Heeba, from his first wife, is a formidable talent in theatre, while his elder son, Imaduddin Shah, is a musician who also acts well. His youngest son, Vivaan, is an actor seen in films like "Saat Khoon Maaf" and "Happy New Year," and is also a director. Despite his many awards, Naseer has never allowed success to affect him or his family.

Naseer is a man who has erased the words "no" and "never" from his life, which are the only strong points that can never weaken him as an actor or in any of his pursuits. At sixty-five, he remains enthusiastic and finds his greatest joy in performing on stage with his wife Ratna, daughter Heeba, and Kenneth Desai around the world. He even performs free for students interested in theatre, advising them that "acting on stage is like living a part of life. You can act anywhere, without needing big sets. Just remember to be perfect with your lines, which only comes with reading, reading, and more reading, and avoiding any collisions with the furniture if there is any."

They now call him "Naseer Sir," though he would have been "Sir Naseer" in a country that respects talent more. Regardless of what anyone calls him, there will never be another Naseer.

I have had many encounters with this extraordinary man with unparalleled talent. I have tried to find any flaws in his character, to see if fame has changed him, but I’ve found none. He is not just a one-man show but an experience and an indescribable pleasure to know.

I had the pleasure of knowing him from his early days as a paying guest at the New Life Society outside Sacred Heart’s Church in Santacruz to his move to Bandra, once known as the “Queen of the Suburbs.” He had become a star in his own right and could afford a two-bedroom flat on Carter Road in a building called Sand Pebbles, next door to the renowned lyricist Anand Bakshi.

He lived with his two sons, Imaad and Vivaan, and was later joined by Hiba, his daughter from his first wife and a talented theatre actress. Despite his stardom, his life was simple, with no trappings of fame, except for having a manager like Jairaj, who had been with him since he had worked enough to pay salaries.

I have always seen two sides to Naseer: the actor working on feature films and the dedicated theatreman striving for better conditions in theatre. I am torn between admiring one more than the other.

We haven’t forgotten those early days when he was a new actor in Bombay, and I was a cub reporter with a knack for recognizing talent, which my then-editor, Mr. S. S. Pillai, supported. One of my opportunities was to write about this remarkable actor with an unusual name, Naseeruddin Shah. I was among the first to witness his revolt against the parallel cinema movement when he chose to star in Rajiv Rai’s “Mohra,” dancing to "Oye Oye," which shocked the new wave’s supporters. Naseer justified his decision, stating, “How long can I slog for a mere twenty-five thousand rupees for a film?”

His rebellion led many actors to abandon the new wave and join mainstream cinema, where there was financial stability.

I never missed a film of Naseer, regardless of its quality, because I knew he would deliver an excellent performance. I became a theatre enthusiast because of his talent on stage.

After a period of separation, I reconnected with him when I was launching my new book, "Witnessing Wonders." I took a chance and called him. Despite being in Cochin, he promised to attend my event on April 16, and he did, arriving before many of the major guests I had invited.

He graciously agreed to address students at a college I was associated with, and he gave them an unforgettable experience. He even performed three plays for the students with his family, Ratna, Heeba, and Kenny, without considering financial compensation.

Recently, after a severe accident, I didn’t seek help, but Shah Rukh Khan’s Trust covered all my hospital expenses. Naseer’s gesture was beyond comprehension. I preserved his cheque until bank regulations forced me to deposit it. What moved me deeply was his act at a book release function where he noticed me with a walking stick. He jumped over rows of chairs to check on me and offer help. I was deeply touched and told him, “You made me cry with joy.” He replied, “You are a good man, Charlie Brown,” a line I consider more valuable than a Nobel Prize.

What more can one ask in a world where people who claim to be friends offer only empty sympathy? God’s sense of humor is evident in creating one Naseer and a thousand others who fall short of being true human beings.

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