Baazigar bad guy that turned Shah Rukh Khan into a big star
Fun facts about the classic movie to mark its 30th anniversary
By Asjad NazirNov 08, 2023
ALTHOUGH Shah Rukh Khan made his Bollywood debut in 1992, it was his 1993 release Baazigar, which gained him big global attention.
His dastardly portrayal of a duplicitous individual, who goes on a murderous revenge mission, kick-started a rapid rise to the very top of Hindi cinema for the actor. It also showed that he was a new kind of leading man, who was willing to do things differently and play a negative role. That is why this film will be celebrated by his global fanbase on its 30th anniversary on November 12.
Eastern Eye decided to mark three decades of the movie with 30 fun facts connected to it.
Baazigar was an unofficial remake of Hollywood film A Kiss Before Dying (1991), which itself was an adaptation of a 1953 novel of the same name. There had also been a 1956 American movie with the same title.
Scenes from the film
Years later, actor Deepak Tijori alleged that he had originally shown the Hollywood film to directing duo Abbas-Mustan and producer Pahlaj Nihalani in the hope they would make it with him in the lead role. They were impressed with the subject but opted to produce the movie without him.
A number of actors including Akshay Kumar, Salman Khan and Anil Kapoor turned down the lead role because the character was villainous.
Abbas-Mustan wanted the writers to narrate the story to Shah Rukh Khan, but he insisted the duo do it themselves. They said: “When we finished, we expected him to say the usual, ‘I’ll think about it and let you know in two days.’ But he jumped up and said, ‘I’m doing the film’ and started showing us how he would enact certain scenes.”
The mother track in the story with Rakhee was introduced later into the movie to add extra emotion and sympathy for the villainous protagonist. AbbasMustan had said: “If the mother-son relationship is explored and justified properly on screen then it definitely strikes a chord with audiences. If a son is taking revenge for his mother, then his everything is forgiven. And it worked well with the audience.”
Another promo image
Shooting for Baazigar was supposed to commence in full shortly after the launch in December 1992, but Mumbai communal riots caused by the Babri Masjid destruction prevented that from happening.
The film finally started shooting in March 1993 and wrapped up by May-June. It was supposed to be in cinemas for July, but was finally released later that year in November.
Although Shah Rukh Khan had got noticed with 1992 films like Deewana and Raju Ban GayaGentleman, Baazigar became the big turning point in his career and put him on the radar of bigger banners.
Baazigar was the first film starring Shah Rukh Khan and Kajol. They would go onto act together in record breaking films like Dilwale Dulhania Le Jayenge(1995) and Kuch Kuch Hota Hai (1998).
The directors initially considered casting Sridevi in a double role, before opting for newcomers Shilpa Shetty and Kajol to play the sisters.
Ayesha Jhulka had starred in AbbasMustan hit film Khiladi (1992) and was approached for Kajol’s role, but she declined it.
Juhi Chawla turned down the role that was played by Shetty because she didn’t think it was substantial enough. Madhuri Dixit also declined the same role and so did Madhoo, who said, “I didn’t do Baazigar because I was doing some other movie”.
Shah Rukh Khan withKajol and Shilpa Shetty in a promo image of Baazigar.
Siddharth Ray, who played the key police inspector role was the grandson of filmmaking legend V Shantaram. He sadly died in 2004 aged just 40.
Shetty made her debut in the film and signed for it without auditioning. The actress would have cosmetic surgery after the movie and appeared in her next film with a different looking nose.
Shetty revealed that her first shot was for the song Ae Mere Humsafar and said Shah Rukh Khan taught her about how to face the camera.
Musician Daboo Mallik, who is the father of popular music stars Armaan Malik and Amaan Mallik, played a small role in the movie.
Two endings for Baazigar were filmed, including one where Shah Rukh Khan’s character is arrested. But they opted for the more dramatic one where both he and the villain die.
In another version, Priya (Kajol) was supposed to kill Ajay (Khan), like in the original plot, but they opted not to use it.
The famous Shah Rukh Khan contact lens scene was inspired by something similar that happened in classic movie Satte Pe Satta (1992), with Amitabh Bachchan.
Most of the comedy by Johnny Lever was improvised in the film. Shah Rukh Khan also improvised scenes to add more intensity to his role.
Many years later, Gauri Khan revealed that she had designed her husband Shah Rukh Khan’s eyecatching look in the song Ye Kaali Kaali Aankhen.
A lot of musicians and DJs have sampled the Baazigar song Yeh Kaali Kaali Aankhen, including M.I.A on her Matangi Mixtape.
The song Saamajh Kar Chaand was filmed, but edited out of the final cut because the directing duo felt the film was too long.
With over 10 million units sold, Baazigar became one of the bestselling soundtracks of 1993.
There was a 1990 magazine promotional image of the film Jurm that featured Vinod Khanna wearing sunglasses, with a picture of Meenakshi Sheshadri on one lens and Sangeeta Bijlani on the other. The idea was recreated for the Baazigar poster with Shah Rukh Khan, Shetty, and Kajol. The same concept would later be used in some Hollywood films.
The romantic thriller was released 42 days before blockbuster hit Darr, which was the second movie to see Shah Rukh Khan successfully play a villainous role.
Despite obviously being inspired by A Kiss Before Dying, Robin Bhatt, Aakash Khurana and Javed Siddiqui won a Filmfare Best Screenplay award for Baazigar.
The movie also won Filmfare awards for best actor (Shah Rukh Khan), best male playback singer (Kumar Sanu for Yeh Kaali Kaali Aankhen) and best music director (Anu Malik).
Baazigar became the fourth highest grossing film of 1993 after Aankhen, Khalnayak and third placed Darr.
Baazigar was later remade in Telugu as Vetagadu (1995), in Tamil as Samrat (1997) and as Kannada film Nagarahavu (2002).
WHEN Rishi Sunak became an MP, he swore his oath on a copy of the Bhagvad Gita, but few people – including perhaps Britain’s first Asian prime minister – will have been aware of the efforts of a Shropshire-born civil servant in that little moment of history.
Charles Wilkins (1749-1836) was an employee of the East India Company and an avid Sanskrit lover. He arrived in India and went on to study the language under scholars in then Benares (now Varanasi, which India’s prime minister Narendra Modi represents) and produced what is believed to be the first English translation of the holy Hindu text.
It made the Gita accessible not only to the British, but also millions of Indians, including Mahatma Gandhi, and years later, Sunak.
This is just one of the anecdotes Manu Pillai uncovers in his new book, Gods, Guns and Missionaries: The Making of the Modern Hindu Identity, published earlier this year.
Pillai traces the transformation of the religion over the past four centuries – from the arrival of early Europeans in the Indian subcontinent to British rulers and the rise of Indian leaders during the freedom movement – and examines the impact of those influences.
Manu Pillai
“Most of us look at Hindu identity today through the prism of Hindu-Muslim relations, because in the present, that is what became,” Pillai told Eastern Eye. “But to me, it seemed like a lot of modern Hinduism was actually influenced by colonialism and Christianity.”
Not so much in the way that missionaries converted millions of people, Pillai explained, as they “never had physical success in terms of numbers”, but “they had a lot of intellectual success in terms of placing these moulds and frameworks of thinking, which we took in order to articulate a modern avatar for Hinduism. So, I thought that story deserved to be told.”
This is his fifth book, which Pillai began in 2019, following a dissertation on Hindu nationalism at King’s College London. At the outset, he clarified the book is not about his academic thesis, rather it examines the impact of the early Portuguese, the Italians and other Europeans, then the East India Company, the British and finally, Indian reformers and politicians prior to and after independence.
Pillai said, “Hinduism is not a Western-style religion. It’s a cultural framework in which there’s multiple diversities. Think of it like a draw cabinet; it is the overall frame that is Hinduism. But each door has its own individual identity, as well.”
And , the cover of his new book
Pillai charts the influence of hardline Portuguese missionaries whose influence is evident in Goa even today, while in the south, an Italian priest, Roberto de Nobili, adopted the local Hindu ways in order to spread the teachings of Christianity.
The book also shows how British colonial rulers were initially reluctant to the push from missionaries in the UK to proselytise communities in the subcontinent, before eventually changing their minds. Reformers such as Serfoji and Raja Ram Mohan Roy adopted a more modern approach, followed by Dayananda Saraswati, Bal Gangadhar Tilak, Jotiba Phule and Veer Savarkar, whose interpretation of Hinduism came at a time of India’s freedom struggle.
This intertwining of religion and politics is not new, though, Pillai said. History has shown how rulers patronised places of worship and this continues in contemporary times, too.
The writer described how Jawaharlal Nehru (independent India’s first prime minister) and “the Nehruvian elites made a conscious effort to keep religion out, but bubbling just beneath that first level, (but) religion was always present in politics. Caste was always present in politics.”
Pillai said, “It was Nehru’s charisma and electoral success that allowed him to keep it at bay or in check. But it was never absent. By Indira Gandhi’s time, she started playing the religious card as needed, whenever she felt her party could benefit from it.”
He added, “The difference is religion has now come much more centrestage and openly acknowledged.”
Pillai also noted how economic clout and technology have both played a part in the recent assertion of religious identity, the most obvious is the patronage of places of worship, while carrying out rituals under the guidance of a priest over a video link is now the norm.
In the book, he writes about how the spread of the English language in the subcontinent meant exposure to new ideas, thus empowering Indians to not only challenge authority, but also learn about the world outside their country.
“The British employ Indians who can speak English. They pay those Indians. Those Indians are getting cash revenue. They are no longer dependent just on their farms (to earn their living). They use that to patronise their community. They build temples,” Pillai said.
“So, ironically, the wealth created by service in the British East India Company ends up in the flowering of Hinduism. The railways, which the British laid to move their troops around, also enables pilgrim traffic to temples. “All of these things come together – technology, politics and economics.”
More recently, Pillai said Hindu resurgence “isn’t purely due to political dynamics”. His view is that with rising disposable income, “you have time to think about identity, and now you have money to patronise things.”
He cites the example of Kerala, where he is from, explain how remittances from the Gulf countries led to a boom in old family temples being renovated. “There is something culturally coded in organising a big puja, or making donations to a temple is seen as an a c h i e v e m e n t , weighing yourself in grain and donating to a temple.
“So that kind of religious identity also boomed with economic boom. It’s not as an economic boom creates some rational paradise. On the contrary, an economic boom can actually result in a greater flowering of religiosity.
“Partly because of that, post liberalisation (of India in the 1990s), there’s been a new middle class that’s emerged, there’s also now disposable income. People have the wherewithal to now think beyond roti, kapda, makaan (food, clothes and shelter), and to think about who are we as a people? And the answer to that question lies in religion, culture, heritage.”
India and south Asia’s vast diversity dictate the way Hinduism is practised, across not just the subcontinent, but also across the world, where the diaspora communities are settled. Consequently, this shapes the evolution of Hindu identity.
Pillai said the next challenge for Hinduism will be maintaining that inner diversity, “because we live in times where there’s so much emphasis on that homogenised identity, on one reading of that label, of what it means to be a Hindu.
“It takes away from how much pluralism there is within the faith itself. The richness of Indian culture, in general, has been the fact that all religions that have entered India have become pluralized, even if it’s Islam.
“Islam in Kerala is not the same as Islam in Bhopal. When the north Indian Muslims under the Muslim League, as I mention in the book, went to Kashmir in the 1940s hoping to woo the Kashmiri Muslims, they were horrified. They thought that Kashmiris, with their saint worship, and all of that were not even proper Muslims. They said, ‘we’ll have to teach them Islam first, before making them Muslims, because they couldn’t recognise that version of Islam. “Everything in India is hybridised, and in many ways, that has been our strength, these hybrid identities have continued over so many generations. “What would be a major challenge is this tendency towards homogenising… towards feeling there has to be only one version of Hinduism and one interpretation of things.
“Even our epics have so many retellings. In Kerala there is an oral kind of Ramayana, in which Shurpanakha, when she propositions Rama and says, ‘I want to marry you’. And he says, ‘No, I’m already married. You go to Lakshmana.’ Shurpanakha turns around and says, ‘That’s okay; the Sharia says you can marry twice, more than one woman.
“So this is a Ramayana in which Shurpanakha quotes the Sharia, because it’s a Muslim Ramayana.
“That is the kind of country we come from. And I think losing that, where everything has become standardised, and that’s a global phenomenon, something we’re seeing around the world. That is a tragedy. That would be the bigger challenge.
“We need more people telling these stories about our inner plural, pluralism and diversity – which is not to devalue that framework. The framework has its own value. I’m not saying that Hinduism should somehow be only about its pluralism, but at the same time, it has to be a fine balance between maintaining that inner richness, maintaining all the threads in the tapestry without painting the whole tapestry one single shade.”
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