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Top 25 Performances movies of Naseeruddin Shah
We’ve always admired the art of Naseeruddin Shah.
A remarkable actor and star His greatest achievement is his versatility, which is fascinating beyond the boundaries of filmmaking.
In one of his films the director will wrack your heart with his shocking insights into the human psyche. In another, the film, he’s slamming those ideals. In a different it’s just plain rude seeking no redemption.
Every single line of his face tells a story, and every twinkle of his smile tells to the end of an entire chapter.
There’s no limit to the praise for the power and technique that is one of the country’s top actors.
Celebrating the legend’s birthday, on the 20th of July by picking our favorite Naseer performances.
Like this one
I like hearing from people who say that they didn’t like my work’
Here are Top 25 Performances movies of Naseeruddin Shah
Nishant (1975)
Naseer makes an indelible impression with his debut role as the confident sister of his untrustworthy family members, with his own share of complicated relationships in Shyam Benegal’s gruesome portrayal of the feudal oppression. Aces, this.
Junoon (1979)
Shashi Kapoor’s performance in Shyam Benegal’s highly acclaimed film isn’t the only excellent character in this period-based drama. Junoon is also awash with a intense supporting performance by Naseer.
The evident histrionics and the intensity of his rebellious Sarfaraz Khan, striving against the ‘angrez’ and uttering the most memorable line of the song”Hum Dilli Har Gaye Hai With all the force continues to amaze.
Aakrosh (1980)
The absurdity and frustration that a lawyer experiences due to the complex legal-social system is beautifully portrayed by Naseer’s ferocity and Govind Nihalani’s dramatic transition from cinematographer to director.
He’s interactions with Puris the Puris -and with the Puris – Amrish his mentor, as well as Om the clientis particularly absorbing.
Sparsh (1980)
The flawless, award-winning performance in Sai Paranjpye’s delicately crafted Sparsh is an example of his ability.
It is essentially an intimate love story of an elitist widow and an ebullient, blind principal of a school with his handicap, Sparsh is a lone case of getting it right.
A huge amount of credit goes to the actor for showing the dark, but loving, tender, and confused aspects of his character with admirable grace and precision.
Albert Pinto Ko Gussa Kyoon Aata Hai (1980)
“There are probably more people who have heard of the title than actually seen the film and the trailer,’ Naseeruddin Shah writes in his memoir”And then One Day.
He’s probably right.
However, it’s not your fault in the event that you do not see the actor’s intense performance and the accuracy with which he conveys the anxiety that the class of workers feel in Saeed Mirza’s classic art-house film which inspired a dull remake with Manav Kaul in the year 2019.
Jaane Bhi Do Yaaron (1983)
Kundan Shah’s hilarious masterpiece is filled with hilarious characters. It’s the corrupt Tarnejas as well as the shady Ahujas from the industry of construction, or the solitary corpse of D’Mello. It’s a great thing that Naseer remains real and romantic , which is a nice compliment to his snarkier partner, Ravi Baswani.
However, his humorous side pops out in waves when requested for special codes or fancy-dressing in order to be part of the famous Mahabharat stage show. Jai ho!
Masoom (1983)
Actors are prone to depict guilt in a casual or outright way. However, in Shekhar Kapur’s affecting drama about relationships which follows an unnamed man, his wife and a child who is not legitimate this kind of approach be unwise.
Nobody is more knowledgeable than Naseer amazing agile, quick, Naseer.
He has a genuine human quality who’s sadness and shame make him feel a sense of sympathy as he attempts to repair the harm and make amends for his unfaithful husband and father.
Mandi (1983)
Shyam Benegal’s Mandi revolves around the bustling brothel in Hyderabad’s byways. The eye-catching look at the daily life of these people and the insanity they endure is brought to life by the variety of characters aboard.
One of the characters is the character of Naseer’s Tungrus an unpopular character with a wonderful combination of naivete and rebel helps the story in tiny but regular amounts.
Paar (1984)
Naseer’s formidable persona and baritone is not present in Goutam Ghose’s stunning adaptation of Samaresh Basu’s short story. It’s more his depressed disposition that haunts the hard-hitting scenes of humiliation and struggle.
In addition to a thrilling climax that involves him guiding a swarm of pigs along the river and a dazzling performance by the actor as the poor villager Naurangia left to flee his home with his wife pregnant in his arms in the wake of the war of the caste.
Paar won him an additional National Award.
Mohan Joshi Hazir Ho! (1984)
Saaed Akhtar’s satire of the struggles of an elderly couple to obtain justice against their shrewd landlord Naseer along with Satish Shah’s legal Eagles into the scene.
As the wolf dressed in sheep’s skin, Naseer’s ploy is a hit on to the perfect notes.
Mirch Masala (1987)
The lecherous, vicious, stubborn with a shrewd, egocentric Naseer is the devil’s personification as the ferocious Subedar who is lusting after Smita Patil Ketan Mehta’s Mirch Masala.
The Subedar is reminiscent to SP Sultan Singh (J P Dutta’s Ghulami).
If Subedar is a violent manifestation of toxic masculinity Subedar is unabashedly disgusting.
Jalwa (1987)
We rarely think of Naseeruddin Shah as a box office star in terms of collections. If there’s an performer who’s numerous occasions successfully bridged the gap between business and art and business, it’s his.
While Pankaj Parashur’s cop-themed caper is a huge homage to Eddie Murphy’s Beverly Hills Cop, seeing the actor in a sleek appearance not only altered the viewer’s perception, but also affirmed his impressive capabilities.
Ijaazat (1987)
There’s much to admire in Gulzar’s intimate research into relationships, as well as R D Burman’s stunning score.
The leading ladies -Rekha and Anuradha Patel Rekha as well as Anuradha Patel shine as shining examples of poise and confidence but it is Naseer’s real situation and vulnerability that gives the complex triangle its heartbreak and the thairav.
Mirza Ghalib (1988)
If one could frame a show that Naseer’s exemplary performance of Mirza Ghalib would be up there on the wall.
It doesn’t matter if the biopic is has been released on a smaller screen or large, Gulzar’s lyrical perspective and the actor’s perception of the famous Urdu poet are an important aspect of their careers.
Pestonjee (1988)
This under-appreciated NFDC gem, which is directed by Vijaya Mehta set in South Mumbai isn’t starring him as the lead but Naseer and his charming Parsi voice and quirks make for a total success.
From his body language, to his knack of getting under the character’s skin, Pirojshah in Anupam Kher’s enthralling Pestonjee is a delight to see.
Hero Hiralal (1989)
Although the wacky style of Ketan Mehta’s comedy along with Sanjana Kapoor’s debut movie didn’t attract anyone interested, it works well in displaying a unique extravagant side of Naseeruddin Shah’s persona.
In his role as the Hyderabadi autorickshaw driver falling in the love of an Mumbai actress, much like the Tirchi Topiwala from Tridev that came out the same year. Naseer strikes a nice equilibrium between film and serious.
Son Vivaan would like to recreate it someday.
Bombay Boys (1998)
In what could be described as the most extravagant role (try not to think of the lime bikini that he wore in Tehelka) the wildly extravagant mobster Mastana in Kaizad Gustad’s raunchy adventure takes on the world in all its glory.
Unconstrained by the burden of mainstream propriety, this man is so much fun giving in to its outrageous claims and extremes that it’s hard to avoid joining in the excitement.
Maqbool (2003)
Vishal Bhardwaj’s Maqbool is a gift that keeps giving. The brilliance is evident in every angle and frame.
Naseeruddin Shah, and Om Puri’s sly police couple, Pandit and Purohit, are an enthralling approach to the witches from Macbeth and interjects the story with cackles, chills, and even a poisonous prophecy.
A Wednesday (2008)
Armed with a cellphone and a firm belief in the right to allow terrorism to go it’s approach, Naseer plays an angry anonymous Mumbaikar shaking the system in an hour using his well-thought out strategy.
The detachment in his resentment and his sanity in his convictions paint a powerful depiction of society’s most infamous victim the average person in Neeraj Pandey’s tidily crafted thriller.
Firaaq (2008)
Nandita Das takes the camera to examine the anxiety of the entire community in 2002 during the Gujarat violence across multiple storylines. Each story is as riveting as the others.
One of them shows an stunning Naseeruddin Shah, an old Muslim and classical singer who is inclined to believe that the world is a decent space until confronted by the brutal reality of increasing discord.
Jaane Tu Ya Jaane Na (2008)
Length was never to the forefront of Naseer getting the spotlight.
If he’s in a writer-backed role or assisting in no less than 3 scenes. The actor is an absolute class act.
As the dead Rajput painted chatty portrait is the house of his wife Naseer’s comical Amar Singh Rathore, anxious to see his son’s pacifist complete all three requirements to be an authentic Ranjhore male is among the most enjoyable cameos of the past decade.
Ishqiya (2010)
Dil toh bachcha hai -” Naseer is Gulzar’s perfect muse perfectly in his delightful portrayal as the sweet, mild-mannered old school Khalu.
They are co-stars. Vidya Balan, Arshad Warsi could have most attractive parts However, it’s the more experienced Naseer in charge of the style of their performances.
The Dirty Picture (2011)
As the rebellious ’80s movie star who is desperate to hold on to his youth , and singing cheesy lines such as Jawani to enjoy a taste of karne ke liye hoti hai Waste karne ke Liye Nahi, Naseer is delightfully self-aware in The Dirty Picture. It’s a good thing.
In a place where most people drown in the extravagant clothes and cheap wigs, Naseeruddin Shah’s getup becomes one of a kind due to his charming appeal.
Finding Fanny (2014)
If an actor has been in the same number of films as Naseer and for the length of time they have, it is harder to be seen as fresh before the viewers. He does exactly with Homi Adajania’s Finding Fanny where his need to find the love of his life causes a lot of angst and a bit of cheer in Goa.
The way I’ve described it in my review is, Naseeruddin Shah exudes an innocentness that is rare for actors who’ve spent years working hard on camera.
Dedh Ishqiya (2014)
The adventures of Khaalujaan and Babban are repeated in this sequel that is high on romance, poetry queerness, wit, and the whimsy.
