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The great Amrish Puri was so ubiquitous once upon a time that no Hindi film was complete without his presence. Even in the minor roles, the versatile star cast a long shadow, at times overwhelmingly outstripping the leading man. Much of our Mogambo’s charm rested on his famous baritone and lanky frame that filled the screen. Not to forget, the myriad costume changes and outrageous get-ups he adopted to bring alive some of Bollywood’s most memorably colourful characters, be it Mr India’s Mogambo, Karan Arjun’s Thakur Durjan Singh or DDLJ’s India-proud Bauji.
If Mr Puri were alive today, he would have been 89. He passed away in 2005, leaving behind not just the movies and memories but an entire genre that men like him helped invent with their kitschy talent for giving commercial cinema their much-needed juice. Writers use the phrase, ‘They don’t make ’em like that anymore’ rather loosely but it is on Puri, with his outsized appeal and his ability to straddle the world of commercial and art cinema, that the expression sits aptly.
In a career that began in the 70s, IMDB credits Puri in appearing over 301 Hindi titles. It’s no coincidence that an entire generation grew up thinking he was either a sadistic villain, or an evil character actor who is out to get you. The legendary actor is no more but he is still out to get you.
On his 88th birth anniversary today, here’s looking at five of his most eccentric characters that continue to strike terror in our hearts (as a villain), help us chuckle along (as a comic) and move us (the positive turns) beyond words.
Hope Mogambo approves, with relish. “Mogambo khush hua!”
Javed Akhtar created Mogambo as a comic-book villain. Thankfully, the all-rounder Amrish Puri understood the pitch. Ably directed by Shekhar Kapur, Puri immortalised the desi Hitler plotting to tame India. As Kapur said, “This was the same man that had done brilliant performances like the ruthless landlord in Shyam Benegal’s Nishant. And many such films. He had an acute understanding and experience of the art of acting.”
In DDLJ, Puri is the antithesis of the iconic Mogambo. The bauji of Simran (Kajol) and nemesis of the cheeky Raj (Shah Rukh Khan) is a desh-premi even though he has successfully migrated to vilayat. He yearns to return to his homeland, apparently like millions of NRIs. The film’s climax involving Puri as he lets daughter Simran go off (maintaining suspense throughout, keeping the audience guessing: will he, won’t he?) with Raj is the stuff of history.
If only Hrithik Roshan was all grown up, no prizes for guessing that daddy Rakesh Roshan would have promptly cast sonny in the double take featuring siblings Karan and Arjun. But, unfortunately, he had to be content with Shah Rukh Khan and Salman Khan. The two Khans may have been easily replaceable but where would Mr Roshan find another one like the inimitable Amrish Puri? The film has several classic Puri moments, most memorably the song “Mujhko ranaji maaf karna” with the wealthy landlord appreciating Mamta Kulkarni’s dance moves.
Playing upright Sunny Deol’s father from Banaras, Puri shines in this revenge drama. One of the most touching moments is when the feared Katya (Danny Denzongpa) flings a chain on the innocent Puri, making him crawl on all fours like a dog. It’s oddly touching and frustrating to see the mighty Puri who has dished out similar (or worse) evil treatment on many unsuspecting characters in his films getting the taste of his own medicine.
One of this writer’s favourite Amrish Puri performances – largely unsung, due to the film’s abstract reputation – is Govind Nihalani’s Party. The film is set in a soiree hosted by a society lady. Puri plays the host’s close friend but not much is known about him. As the film goes on to make larger points about themes such as artistic pretensions, revolutionary poetry and social impact of a piece of art, Puri stands there quietly, intuitively observing and speaking grudgingly only when spoken to. His is the most balanced repartee to deeper questions about art. No wonder, one critic has interpreted this character as a “stand-in for the audience.”
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