Amitabh Bachchan’s classic film completes 36 years
By Dharmesh PatelFeb 01, 2024
THE vigilante action drama, Shahenshah, generated a tidal wave of excitement when it was released on February 12, 1988.
Amitabh Bachchan’s return to the big screen after more than two years away from it gave him another career-defining role and was the secondhighest grossing movie of that year. Tinnu Anand’s second directorial outing with the megastar presented fans with a compelling narrative about a cop with a vigilante alter ego, taking the law into his own hands.
From his unique look to an unforgettable piece of dialogue, Shahenshah became a cult classic and completes 36 years this month. Eastern Eye marked the occasion by presenting 21 fun facts connected to the popular entertainer.
Bachchan with Meenakshi Seshadari
Shahenshah was director Tinnu Anand’s second film with Amitabh Bachchan. Their first was the 1981 smash hit, Kaalia. Anand later made the underrated Main Azaad Hoon (1989) and Major Saab (1998) with Bachchan.
Anand revealed that he had been tipped off that Bachchan had the habit of touching his forehead if he wasn’t interested in a script before declining a film. However, each time Anand narrated a film to him, his hand went nowhere near his face.
Bachchan had been signed by Anand in 1983, but shooting got delayed due to the actor getting seriously injured on the sets of Coolie and then joining politics. Anand found himself in financial difficulties, with creditors knocking at his door. Bachchan reassured him that he would complete the film.
Anand referred to Bachchan as a lion in an interview, saying that lions are fed meat, not grass, and that the fierce actor should be given roles to suit his stature.
Bachchan with Amrish Puri
Jackie Shroff was considered for the lead had Bachchan refused it after quitting politics.
The story was written by the lead star’s wife, Jaya Bachchan, who was also credited in the titles.
Dimple Kapadia was initially signed for the film, but was later replaced by Meenakshi Seshadari.
Aftab Shivdasani played the role of Bachchan's character as a youth in the movie and later in Insaniyat (1994) too. Meanwhile, Rohini Hattangadi, despite being over a decade younger than Bachchan, played his mother, as she did later in Agneepath (1990) as well.
Supriya Pathak, who played Bachchan’s sister in Shahenshah, played his wife in Sarkar (2005).
Anand’s father, Inder Raj Anand, wrote the film’s 23 pages of dialogue for its climactic scene on his deathbed. Despite being hospitalised and on oxygen, Anand senior assured his son that he would not let him down and completed the work as he breathed his last.
Anand felt cheated when an identical costume worn by the Shahenshah character was used by Jeetendra in Aag Aur Shola (1986) and he vowed never to hire that designer again. That didn’t stop the costume from becoming one of Bachchan’s most iconic looks. The steel arm alone weighed at least 14kg.
Bachchan with Meenakshi
As in Kaalia (1981), Bachchan’s opening scene featured him making a comical entry, describing a feared villain named Mukhtar Singh.
A scene where Shahenshah is confronted by the character played by Pran was edited out of the final cut due to the film’s length. This can be seen in the publicity stills.
Mohammed Aziz sang for Bachchan in Shahenshah, as he did for him in Mard (1985), Aakhree Raasta (1986), Ganga Jamuna Saraswati (1988), Khuda Gawah (1992) and their tribute to Mohammed Rafi in Kroadh (1990).
The film’s song, Andheri Raaton Mein, became a cult anthem for Bachchan and would often be played when he appeared in public.
Shahenshah was the most expensive film of the late 1980s and was sold for the second-highest price for distribution after Shaan (1980).
Bachchan as the police officer Vijay Kumar
Opposing political parties tried to stop the film’s release, with over 250 cinemas being guarded by armed policemen. Political leader Balasaheb Thackeray’s faith in Bachchan ensured the film’s safe release.
In its opening week, fans queued up for a mile to buy tickets. More than 20,000 moviegoers started buying tickets at 9am for the first show at Shiela cinema in Delhi, which was unheard of at the time. Saajan cinema in Varanasi held an extra show at 7am on the first Sunday after it was released, which was immediately sold out.
Bachchan earned a Filmfare award nomination for best actor.
The pirated video cassettes of the film were also in high demand for up to three times the market price before release.
Big B has delivered many famous pieces of dialogue in his films. One of the most famous is, “Rishtey mein toh hum tumhaare baap hote hain, naam hain Shahenshah”, which is still popular today. It is one of many iconic moments in a movie that remains a cult classic.
Adrian Lester, best known for his work on television and film, returns to the stage in the eponymous role of Edmond Rostand's 1898 comedy, Cyrano de Bergerac.
Rostland’s play centres around Cyrano - a little-known romantic 17th century French libertine poet, soldier, and philosopher. The play is based partly on his letters written on behalf of his love rival Christian de Neuvillette as he tries to charm Cyrano’s cousin, Roxanne with whom Cyrano is also in love.
Cyrano is cursed with an overt self-consciousness in the form of a large nose. His insecurity is such that he prohibits anyone to refer to it directly or indirectly. Together with his wit, his skills as a swordsman, and the directorial splattering of our own vernacular, they provide the play with a certain infectious - albeit teenage - humour.
Despite Cyrano unexpressed love for Roxanne, the latter has fallen for Christian who is handsome, but useless when it comes to expressing his feelings in words. But then, he is also useless as a swordsman and clearly no match for Cyrano’s mastery and maturity. Realising this and being utterly selfless, Cyrano offers his help to the youthful Christian to woo Roxanne by writing for him poetic and hyperbolic proclamations of love and longing. All he wants is Roxanne to be happy even if he himself has to do with nursing a broken heart.
Christian Patterson and Levi BrownMarc Brenner
The result is a farce of the highest order and mistaken identity, coupled with threat and violence
This RSC production is directed by Simon Evans who has provided a very lively and engaging interpretation by all accounts. Apart from a skilled, highly polished ensemble of cast, there’s interesting theatricality at work. Every now and then, for instance, one gets a sense that the stage is a reflection of our own world and vice versa. Characters mingle with the audience, they break the fourth wall, and the theatre band wander around with the characters and referred to with some bemusement and fun.
In a 17th century French world – not unlike our own, 21st century – external beauty, speech, language are prized. Expression has become almost secondary. It’s a world in which fakery, deception and lies are paced above sincerity, honesty, and truth. Looks and external beauty outweigh the inner beauty of man.
Evans removes the original piece from its French setting to England, littering it with a Brummie accent, and accentuating our preconceptions about hopeless romantics and those with meaningless verbiage. The effect is one of joyous atmosphere and true entertainment.
Adrian Lester provides a magnificent performance as the wordsmith, Cyrano. His character is verbose, comedic, and sympathetic in equal measures. Lester is enticing, hilarious and – judging by the reaction of the audience –appreciated as a versatile actor who can do comedy just as well as drama. Levi Brown’s Christian is a fiery - overtly hopeless - romantic who cannot paint his feelings into words. Brown gives a very energetic and magnetic performance. Similarly, Susannah Fielding provides a sprightly Roxanne who is heart-warming and an utter pleasure to watch.
Adrian Lester (front right) and companyMarc Brenner
It’s hard not to notice but as an audience, we are invited to consider the value of language that may sound romantic, but may – in actual fact – be little more than a shallow expression of fancy. Whereas, the seemingly absence of language – though painfully inadequate - may actually embody real sincerity and the true meaning of love.
Whatever you may think, one thing is certain: you will enjoy this production. It’s a real treat.
The play started at the Swan Theatre in Stratford-upon-Avon in early September, with its run lasting until 15th November.
Rating: ***** (5 stars)
(Cyrano de Bergerac is playing at the RSC Stratford until 15th November 2025.)
By clicking the 'Subscribe’, you agree to receive our newsletter, marketing communications and industry
partners/sponsors sharing promotional product information via email and print communication from Garavi Gujarat
Publications Ltd and subsidiaries. You have the right to withdraw your consent at any time by clicking the
unsubscribe link in our emails. We will use your email address to personalize our communications and send you
relevant offers. Your data will be stored up to 30 days after unsubscribing.
Contact us at data@amg.biz to see how we manage and store your data.