The decade of the 1990s was the exclusive domain of the three Khans- namely Salman, Shah Rukh and Aamir Khan. It was never going to be an even turf therefore for the latest entrant in the ‘Khan’daan – newcomer Saif Ali Khan. When he debuted with his film Parampara in 1993, incidentally with one of the three superstars with the Midas Touch Aamir Khan, he looked least perturbed by the fact that he could be royally (no pun intended) overshadowed by the bigger superstar in the early days of his career. This was not just a one-time decision he made as evident by the spate of ensemble or double-hero film he went on to take up throughout his career.
Parampara could hardly be recognised to have helped him gain a footing as a credible actor. His following films though like Yeh Dillagi and Main Khiladi Tu Anari with action and stunt star Akshay Kumar, both incidentally in 1994 definitely got him in the reckoning as a saleable star who complements other male leads instead of threatening them. This compatability is probably the reason for Saif’s continued success in later films like Dil Chahta Hai, Hum Saath Saath Hai, Kal Ho Na Ho and Omkara. Here was an actor who instead of getting overridden by the more flamboyant and popular superstars was actually able to add a dash of comedy and healthy on-screen camaraderie to make a film more wholesome and edgy.
This is not to say that Saif has been a failure when it comes to his solo-lead roles. Hum Tum and Salaam Namaste are films to his credit where he was seen romancing the top female actors of the millennium without missing a note. The turn of the century is perhaps when Saif was tested the most as newer actors like Hrithik Roshan, Abhishek Bachchan and even Shahid Kapoor were entering the fray or establishing their own fan base. Not forgetting the overpowering impact of the three Khan Supremos and the other strong actors who were steadily delivering some hits like Ajay Devgan, Akshay Kumar and Sunil Shetty, the playground was both crowded and competitive. Perhaps sensing that the romantic genre will not hold him in good stead for long, Saif changed tactic and jumped into the action-thriller genre with the zippy, zany Race franchise. So well-received was his portrayal of the character of Ranvir Singh, that both films in which he played this role went on to become blockbusters. Even if one were to argue that all the credit for the success of these films cannot be given to him alone considering Akshaye Khanna and John Abraham alongwith Bipasha Basu, Katrina Kaif, Deepika Padukone and Jacqueline Fernandes were part of them, the fact that he was the only main character retained for both speaks for itself.
The argument remains though that this is not an actor who seems to take himself too seriously. In Cocktail and Love Aaj Kal he lets the female leads of his films take centrestage, almost letting them enjoy screen presence as much as he does in these films. The female actors of these films shine on, not deterred or relegated to secondary status as is usual. Perhaps it is such nonchalance that allows an actor to embrace three significantly lesser known actors and lets them take the film forward as he does in Go Goa Gone in 2013. Again, he managed to surprise his audience with a film in which he does more when he does less. He is part of a motley gang in this film, adding star value but happy to let the ‘boys’ glisten the screen. Go Goa Gone is not known as a Saif Ali Khan film therefore for obvious reasons. It works as a sum of its parts, not trampled by the handiwork of one senior star as is wont to happen in Bollywood. However, despite the success of this film, the next five years saw Saif’s filmography take a turn for the worse with duds that he would hardly be pleased of today. Almost when he was being written off as Kareena Kapoor’s lesser known husband, he bounced back this time on a new platform superstars were shying away from known as OTT. Sacred Games arrived as a thunderstorm for a Hindi-film audience used to the staple heropanti of its superstars. Here was a hero who seemed vulnerable, bland and failing…the man who is a reluctant confidante to the antagonist and the reason why he is suddenly important to the story. Saif as Inspector Sartaj Singh is mellow, seething and yet alert to what could be the biggest crime operation he will ever be a part of. He is not the dashing, boorish and ass-kicking cop Bollywood dishes out ever so often and makes us hoot for joy. This is a complex character who is ably led towards a nail-biting finish thanks to other colourful and thrilling characters who make us root for him in this cat-and-mouse chase.
So he is a fine actor who comes good in meaningful roles in a small budget. If that’s the inference you have made till now, think again. Picture this: It is the tail end of 2018. Aamir Khan delivers a disappointment called Thugs of Hindostan. So does Shahrukh Khan with the fatal and clairvoyantly titled Zero. The third Khan of the Holy Trinity, Salman goes a step further, milking run-of-the-mill franchises for the third time in Race 3, following it up with the equally unpalatable Dabangg 3. The Khandom suddenly suffers a massive fall and there is no one left to pick up the pieces. Enter the man who no one expects to score a hit with Tanhaji in 2020. The film goes on to become the highest grossing box office hit with Ajay Devgan in the titular role and Saif Ali Khan licking his chops as the detestable Udaybhan Singh Rathod.
Not one to stop at the clearly well-earned OTT success, Saif chose Tandav as his second go with the medium that gave him a second life as an actor. This role was miles away from his Sartaj act, as Samar Pratap Singh is no scapegoat. He is a kingmaker, discreetly calculating his every move and taking consistently cruel decisions while looking cool and calm outside. Just when you thought he is ready to rule as the serious actor who demands to be taken seriously, he belts out Bhoot Police last year and Bunty aur Babli this year, proving that this man is a bag full of surprises as far as his roles go. His career graph may be speckled with knots and crosses galore and he may not be synonymous with the star value that the other Khans bring to the table, but his confidence in staging an unforgettable act that keeps him in the reckoning is now well-known. Makes you wonder if this isn’t the way it should be for every actor. Instead of trying to constantly be in the eye of the audience, why are most of our superstars afraid to experiment, break out and try the road less travelled? What a smorgasbord of films we could have if only they did!
