By Celebrities Editorial FilmSpell List Indian Tribute

Irrfan Khan: A Tribute traversing the memory lane of emotions

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Irrfan – what great things have already not been put to describe him. Celebrated both as an actor and a person, there’s none a fault one can find in his craft and body of work. You name any Irrfan movie, the actor has always shone bright in it. Be it an intense role or a comic role, the actor could pull it off with his effortless and distinct charm – you do know those signature Irrfan expressions pulled off through his big eyes, his voice, and his smile. The fact that he could just underplay a part and still come across as naturally brilliant is unfathomable but all admirable. His untimely death has left an unfillable void in the cinema – where he stood tall on a high stature with righteous international acclaim and praise.

Tributing to him this article that shall traverse his cinematic journey, Filmspell managed several of our writers and readers to share their fond memories of watching the phenomena Irrfan on screen. The listing of the views of everyone has been done as per the chronological order of the actor’s releases.

Maqbool (2003)

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Somak Mukherjee writes:
“I had just completed my office work at home, when my father came to my room. He said that he had seen Irrfan up and close when he came to Calcutta at the Nandan Theatre in the year 1990 for the premiere of Ek Doctor Ki Maut. My father worked at the theatre during that time, and he saw Tapan Sinha the director, Pankaj Kapoor, and Satyajit Ray who had come to watch the film. Among these stalwarts, a lanky young fellow looked like any other guy in the crowd. That was Irrfan. He was always like that, an ordinary-looking guy who made it big entirely on his sheer talent and nothing else. I first saw Irrfan in the Akshay Kumar-Suniel Shetty starrer Aan, where he played the villain, clearly stealing everyone’s thunder. The movie which made me a life long fan of Irrfan though was Vishal Bhardwaj’s Maqbool, the Hindi adaptation of Macbeth. Irrfan and Tabu’s performances in that film were incredible. The scene where Maqbool goes to murder Abba Ji and does it in cold blood was spine chilling, to say the least. Irrfan created an absolute masterclass and his chemistry with Tabu is perhaps one of the finest I’ve seen on screen. Later on, I’ve seen other adaptations of Macbeth, like Toshiro Mifune or Michael Fassbender, but Irrfan’s performance will be tied with Mifune in terms of intensity in my honest opinion. As I remember those scenes, tears fill my eyes. Never in my wildest dreams had I thought that we would lose Irrfan at such a young age. Imagine the films he could have done had he lived longer. Actors like Irrfan are born once in a generation. Goodbye, Maqbool, we will meet again, in another life, in another time.”

Shahrukh Jamal writes:
“Every time Irrfan showed himself up on the screen, the anticipation to see something new from him would arise all of a sudden. There’s one anecdote that I’d like to share which tells a lot about the actor he was. Vishal Bhardwaj told once that the famous scene of Maqbool where Irrfan’s titular character sees Kaka’s dead body opening its eyes – it was not in the original script. Vishal wrote this scene later and except Gulzar, everybody else disagreed with the sequence. He then convinced all of them to shoot both the scenes one after the other, and since he was the director, he agreed all of them to shoot the new version first instead of the one written originally. The scene was shot and Irrfan’s act of being scared on seeing the ghost of Kaka impressed everyone on the set, and they immediately agreed to use this scene in the movie. The original version of the scene wasn’t shot at all. Just because of Irrfan, that epic scene made into the movie, that too when two legends, Naseeruddin Shah and Om Puri too shared the screen in the scene. This was the acting prowess that Irrfan had, which singlehandedly raised the graph of the movies he was a part of.”

Life in a Metro (2007)

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Suhani Sharma shares:
“I will talk about probably the most unspoken role and film in the filmography of Irrfan- ‘Life In A Metro’. In an otherwise decent romantic drama, Irrfan was the comic relief (literally) and a fresh breeze of unadulterated charm. In a talented ensemble, Irrfan was the best thing as the wacky and socially inept common man – Monty. This was the first time when Irrfan’s comic genius was unfurled on me, which was followed by Sunday and Yeh Saali Zindagi. Before ‘Metro’, Irrfan for me was a big-eyed and intense actor. Irrfan as Monty redefined his career playing the 38 years old unmarried mumma’s boy who is snatched of his fair chance of romance just because he isn’t perceived as a normal, conventional, young, dashing or chocolaty lover boy. Monty strangely has a self-awareness of his being and when questioned about his understanding of love and relationships by Shruti, he comes up with utmost grounded and real perspective on both love and life. His earthy wisdom and his witty one-liners make him the most desirable man – a kind of man who is emotionally low-maintenance and makes you laugh. If not that, he makes you deal with your problems in simpler ways. Do women need more? He changes Shruti (Konkona Sen Sharma) forever, without getting changed himself. He liberates her from the absolutely unnecessary traps of social stigmas and her limited understanding of judging people on the way they look, they talk, they live. In many ways, Yogi of ‘Qarib Qarib Single’ is an extension of Monty – and they both were an extension of Irrfan. The charming, deep-eyed, handsome Irrfan brought so much humility, humor, sensitivity, and nuances to Monty that get you crave for more of him. Irrfan as Monty and Yogi are the lovers we deserve, but don’t get easily.”

Nirav Khandhadia writes:
“We all know Monty in and out. There is a Monty somewhere around us who is a 9 to 5 office going chap, is mediocre in life, and is always taken for granted due to his innocence and charming nature. Amidst the circle of intense characters that Irrfan has pulled off, he has also nurtured such characters like Monty who is a guy next door, a common man in several films. His logical yet profound banter with Shruti is one of the best positive and smiling moments that ‘Life in a Metro’ brings. Anurag Basu knew what this man can bring with his movie! Irrfan talking on the terrace with Konkana to finally shout together – this is a shining moment that cannot be forgotten even now!”

7 Khoon Maaf (2011)

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Omkar Kulkarni writes:
“When I first watched 7 Khoon Maaf in the theatres after its release, I was absolutely blown by Irrfan’s performance. Priyanka Chopra was obviously Phenomenonal, but if there was one actor in the stacked cast that was matching her brilliance – it was Irrfan. Wasiullah Khan was such a deliciously complex and multilayered character. He could charm his way into your heart with his lyrical genius in the day, and terrify and batter you with his monstrosity in the night. The desperation and insecurity that Irrfan brings to the character in his final moments is just amazing. Of course, his chemistry with Priyanka was absolutely crackling and had made me feel like I was watching the romance between Sahir Ludhianvi and Amrita Pritam on celluloid – a dream project with that perfect casting that will never be realized now. Another thought that had stayed with me after watching this underrated masterpiece was – if they ever remade Mirza Ghalib on TV or made a film on him, Irrfan would be perfect for it. Sadly we’ll never get that either. Oh, those unforgettable eyes! To cap off my thoughts on Irrfan’s performance – I would like to quote Gulzar Saab’s flawless lyrics – “Aap ko dekh ke badi der se meri saans ruki hai bekaraan hai bekaraan..Aankhein bandh keeje naa doobne Lage hai..Hum saans lene deeje naa.”

Paan Singh Tomar (2012)

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Pankaj Chandrakar writes:
“It is an uncanny coincidence that I happened to revisit ‘Paan Singh Tomar’ a day before yesterday. I laughed, cried, smirked, enjoyed, and was in awe of this brilliant performer Irfan – unaware that he would be leaving us forever in a few hours. They say that he was the master of his craft. To this, I would say – “He was a magician”. He knew how to transport the audiences to the world of his characters, through his astounding screen presence and natural dialogue delivery. In Paan Singh Tomar, his introduction scene is no less than a grand display of his effortlessness. I loved the way he delivered the iconic “Beehad me baaghi hote hain” dialogue with simultaneous ease and conviction. The authenticity and perfection of his dialect bowled me over throughout the film. I can’t find even a minor inconsistency here, which most of the Bollywood actors fail to achieve. The straightforwardness of the character Paan Singh is one of the most amusing qualities that Irrfan brought out beautifully in the first half of the film. His brief conversation with the senior army officers is more than enough to charm anyone. His body language, tone of voice, facial expressions, and even in-between pauses have the charisma to them. It happens rarely when an actor becomes the character and you are unable to distinguish the difference between them. I could clearly feel Paan Singh’s innocence, disappointment, anger, rebellion, and every iota of his existence through Irrfan. That’s how holistically he portrayed Paan Singh. That’s how holistic he was a human being!”

Arjun Rajput writes:
“A film of Irrfan I’ve revisited the most solely to admire his performance is Paan Singh Tomar. The most interesting aspect of this film is that it lends its focus on the hero after his glory days. It is an apparent Shakespearean tragedy of a gifted athlete who’s never had it easy in life, and finds himself in constant pain and exhaustion. There’s the monologue where Paan Singh bursts out on his cousin and keeps asking him what was his mistake that he killed his beloved mother, which robbed him of his existence as an athlete and lead to this path of destruction – his voice in that sequence is filled with pain, and his intense, smoldering eyes bursting with anger yet holding back till he gets his answers. Still, the best scene comes towards the end when after constantly running through his life he realizes he’s getting close to the finishing line, and it’s all gonna end soon for him. So, he goes to visit his Army headquarters one last time, where he finds himself celebrated by the younger recruits. There he gets to check on his son who is now in the Army. But he doesn’t let his son come close to him so that nobody finds out they’re related. Irrfan just stands there, his eyes filled with pride and sadness. He’s proud to see his son in the uniform, the eyes brimming with tears thinking about how life would’ve turned out had it not taken a turn this way. All of this gets conveyed without speaking a word as for Irrfan, his eyes said more than a dialogue could ever convey.”

Randhir Prasad writes:
“In 2012, by the time movie Paan Singh Tomar had released, I was already a fan of Irrfan. I loved his work in Mumbai Meri Jaan and Yeh Saali Zindagi, and even director Tigmanshu Dhulia was in good form back then. I was having a difficult time trying to control my excitement about watching it, with all the positive reviews coming in and tackling a busy week. Finally, I managed to catch the movie two weeks after its release. I was awestruck by the movie, more so by Irrfan’s performance. In Paan Singh Tomar movie, Paan Singh was a character who was otherwise very temperamental, very level headed, but held his self-respect very high – and Irrfan in every frame seemed that way. When he decided to go calculative or chose not to lose his mind, we could really understand why he chose to do it. In contrast, when he decided to get all his rage out and unleash his fury, we were also able to get it. His portrayal was so complete, even the small gestures and nuances he made gave us more insight into the man Paan Singh was. At times sweet, at times determined, at times in hardships, but mostly a very noble soul, that was Paan Singh Tomar. It’s always fascinating to watch a righteous man, coerced to turn on the wrong side of the system, especially when this character is so well constructed, and more so when given in the hands of such a magnificent actor who takes the material several notches higher.”

Vivek Joshi writes:
“Irrfan” – when I hear this name, my mind creates an image of a legendary actor who was not only famous in India, but all over the globe. I have been a fan of his work since Haasil…and today I want to talk about my favorite film of his “Paan Singh Tomar”. Oh good lord… I still remember, 2012 it was when I and my friend were watching the film with popcorn and coffee in our hands. The first thing he said – “Irrfan umar mein kitna chhota lag raha hai”. We were so much into the film that when Paan Singh ran to deliver an ice-cream box I was on the edge of my seat, and my friend was like “pahoch jaayega, aaram se. hero hai!”. When he finally reaches there and says “Saade chaar minute kein pahocha diya”, I remember hearing a whistle from back in a multiplex for the first time! That trademark dialogue of his “Beehad mein baaghi hote hai, Dacoit hote hai parliament mein” was my SMS tone for a long period of time. The impact Paan Singh Tomar movie had created on me was just can’t be explained in a mere few words! This film has stayed with me till now. Still, I do watch it with the same level of excitement, curiosity, admiration & my love for Irrfan! One thing is for sure – he will be missed and celebrated.”

The Lunchbox (2013)

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Filmspell Editor Satakshi Banerjee writes:
Sometimes the wrong train takes you to the right destination!”. This beautiful yet unconventional ode of two loners rightfully proves that there is no tried and tested formula to ignite the spark between two hearts. The story starts when a middle-aged widower accidentally receives a meal prepared by a young housewife for her impassive husband. Due to this fortuitous exchange of lunch boxes, an unexpected love story begins to take a shape. In the era where everything is so much fast and so much easily available, their exchange of little notes and that subtle craving for seeing each other strike the chords in your heart. Irrfan as Sajan Fernandes and Nimrat Kaur as Ila make an unusually interesting pair. The shy approval in their smile, concern, the dependence in their eyes, and above all, the much-restrained display of emotions give the earthly love story a somewhat fairytale-like touch! Irrfan as usual breathes life to the character of a lonesome, no-nonsense senior accountant, whose passion and apprehensions about a much younger Ila soothes him as much as discomforts him. No one else could have made Sajan Fernandes look so vulnerable yet complacent at times. The Lunchbox is surely one of the brightest feathers on his crown.”

Farooq Jamal, Author at Filmspell, writes:
“Love isn’t supposed to be cagey. It isn’t supposed to be confined to the societal norms and expectations. It can happen anywhere, through anything, even though a lunchbox. And Irrfan’s portrayal of Saajan Fernandes in Ritesh Batra’s The Lunchbox (2013) shows us just the same. His gentle smile as he picks up Ila’s letter from the lunchbox and begins reading does highlight his compassion towards the lady. As a senior, Saajan is gentle but also stern where necessary. Though with Ila, he is his own self. Both Ila and Saajan find a companion in each other, and letters become the carriers of their emotions. As Saajan, Irrfan becomes the medium of carrying this beautiful tale of love ahead when he writes, “Dear Ila, The food is salty today.” You’ll be missed, Irrfan!”

Neel Vaidya writes:
“Irrfan as an actor was someone whose presence on screen lit the frame so bright that time silenced itself. He came into the industry when it was unconventional to be “Irrfan”, and slowly he made being “Irrfan” a legacy. A niche. A style. The Lunchbox is one such film that comes to my mind, where I was mesmerized by his ‘being’ in the frame. The real art of an actor is not doing too many things but just simply living that moment as if you are not acting. In several scenes, we see the intensity of his eyes, no dialogues – just the purity of his self doing the talking. A simple story about a man and a lady separated by a common bond of food – yet Irrfan, loudly delivers in every scene by just way of subtle gestures. And this is the real power of an actor – to loudly scream your performance by subtle, soft gestures. Without any real interaction, Irrfan magically shows the bonding between him and this woman who is sending him a tiffin – something that a good actor will perhaps try hard and still fail at. But brilliance is in underplaying it and this man does it so well. I fell in love with their bond and Irrfan makes you believe in this reality that he creates. Such is the magic of this man – Irrfan”

Haider (2014)

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I, Siddhartha Singh, write down my Irrfan memory:
“It was Oct 3 in year 2014. I somehow managed to reach the theatre on time, right after school, to watch Vishal Bharadwaj’s third adaptation of a Shakespearean tragedy. This time the movie was ‘Haider’, adapted from Shakespeare’s ‘Hamlet’. Sitting in a rather empty theatre with high expectations that the movie eventually does meet, Irrfan’s entry sequence here just before the interval is one of the most iconic cinematic entries. The empty theatre added to the haunting impact of the same. It was like, Irrfan enters the movie, and the theatre lights turn on. So, what was so special in that – probably just the actor’s presence. Yes. He underplays with his natural and hard-to-ignore presence and enters after a rather loud sequence full of screams, but his aura matches the location tone – the touted calmness and soul of Kashmir valley – so was his name – “Roohdaar”. “Jhelum bhi main, chinar bhi main…” – I remember his long monologue by heart. Wearing black glasses and draped in a shawl, Irrfan as Roohdaar emanates mystery right from the go which makes for an astounding outing throughout the movie – won’t spoil that for you. His camaraderie with Tabu has always been icing on the cake, so was it this time, though for a few scenes just. He never needed to be in every frame to leave a lasting impact, just like every good actor. “Irrfan” – this legendary name and his legendary performances are a treasured contribution – etched forever in my mind.

Piku (2015)

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Vibhor Silewar, Author at Filmspell, writes:
By 2015, Irrfan had done many praiseworthy roles and was widely regarded as one of the better actors of Indian cinema. However, he was still to be accepted as a ‘hero’ by a large section of the audience, one of which included my dad. He did not have any great opinions of him at that time. Still, he went for the movie anyway and could not stop praising it and Irrfan since then. With a cast including Amitabh Bachchan and Deepika Padukone as well, it was thought that Irrfan might be overshadowed – but he played the role of Rana so effectively that all these fears of his fans were quelled. The role didn’t require him to beat multiple goons or undergo an immense physical transformation, yet the way he played it inspired many people out there. His part reminded us how some problems of your life are not really yours but they still enter your life anyway – and Irrfan as Rana taught us how to deal with them. He gave his sincere best in this role, just like all of the other roles of his acting career.

Aniket Mahure writes:
“Though the movie is centralized to Piku, it also tells the story of people around her, mainly Bhaskor Banerjee and a person comes into her aura for several reasons, Rana. Piku and Rana both have so many problems in their respective lives, mainly their family. Rana is having issues with Piku, but having so much frustration with his mother and sister in his house, maybe he thinks there is no difference going with Piku for the journey. Rana loses his job in Saudi, he takes over his father’s taxi business, surviving in the family which always pulls him down and driving himself for the client (Piku) who has always been a headache for him. Rana has a perception of life, he is always clear in his head what it should be, though the situations don’t allow him, he fights and never gets tired. He could’ve cut the journey in the middle because of the frustrating behavior of Bhaskor but he doesn’t. The one dialogue which I will always remember is, when Piku and Rana go to see the Kolkata, she shows him a place and tells disappointingly that there was a theatre but now there is some building. Rana says, “maybe this is the way forward. Isi ko log development bolte hain. But apni roots, agar unko ukhaad do, to kya bachega?”. He survives this all because he is rooted in the concept of the journey and that’s how he easily moves on. This is all Irrfan, the person. Each character he has played in his career has some mysterious connection with his behavior and perception towards life. This is how he made all these characters of his own. It is hope, which he believed in, and made us believe that in the end, it’s all going to be all right.”

Hindi Medium (2017)

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Anushka Srivastava writes:
“Irrfan starrer Hindi Medium is not your simplistic, stereotypical comic relief. It is an extremely endearing, light-hearted, replete with crisp humor, yet a thought-provoking story of an upper middle-class couple essayed by the legend himself and Saba Qamar. They are struggling to admit their daughter in the best school of Delhi – which requires numerous sacrifices on their part. What makes Hindi Medium top-notch for me is that despite portraying Bollywood’s favorite issues of all times – the rich-poor divide, it manages to steer clear of cheap populism, easily striking a balance between being critical of a certain group of privileged elites, yet not painting everyone in the same hues with the same brush. Irrfan’s raw, unrestricted portrayal of a young tailor turned a semi-literate, affluent yet complacent Chandani chowk Saree seller hits every nerve and he owns the screen space from the minute he enters. He is delightful as we see his unconditional love for his wife and daughter, his over-the-top Gucci-Armani look, his awkward yet hilarious attempts of fitting into lives of daily wage workers, only reinforces his capabilities as a wonderful method artist with amazing comic timing. His eyes dance seemingly effortlessly between mischief, affection for his wife, and frequent pangs of conscience in his attempt to get his little girl admitted. It is definitely hard to not praise every second of this superlative performance.  Every moment he spends on the screen becomes a lifetime opportunity for amateurs to learn the nuances of how to grab and steal all the attention of your viewers.”

Qarib Qarib Single (2017)

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Manisha writes:
“Irrfan’s acting has everytime been so real and true that it always made us feel as if he is one of us. I remember the scene from Qarib Qarib Single where he meets Parvathy on a blind date. It is a comic gem. Where Parvathy dresses in formals, Irrfan sports a blingy red jacket with shades, and perpetually utters with a straight face – “Sandwich?”. To this, he receives the reply – “Shouldn’t we just drink poison?” His dialogue in the movie – “Mujhe total 3 baar ishq hua, aur teeno baar aisa..matlab jaanleva ishq..matlab khankhor ishq..hadd paar!” This made me simultaneously cried and laugh at that moment movie, which the movie had in ample. The same was my case with Irrfan and his comic timing in Angrezi Medium. He has so many unforgettable scenes to his credit, always grasping the attention with his acting. Hearing that Irrfan passed away was truly a heartbreaking moment for me.”

Anai Komagan
“Qarib Qarib Single was a film that I went to watch without any prenotions & expectations. As the film progressed I saw more of Jaya (Parvathy) and what the character was going through. Then comes a Viyogi (Irrfan) out of nowhere and creates his own stamp of doing things, which include introducing himself in a dramatic way. He says he earns so much and sells ideas to people, that’s exactly why I feel I was in for a treat. The treat was so personal and I was like it’s something which I would do when a woman like Jaya is confused and not budging to move on literally. The Happy-Go-Lucky guy Term needs to be reinvented as Viyogi makes it subtle and funny at the same time. I would do ditto if I was him. More than this I would make people laugh out of my love in a way they never thought. Viyogi was a character I got connected to once I saw the way he sees life. He’s full of positivity and sans all the thoughts that go in to make a relationship work. The duo travels around the country and spends a lot of time together. I would love to be Viyogi who gives so much to take in to and at the same time is an open book. He’s like a mystery but if you be with him you know things which he wouldn’t tell. This friendship in relationships feel is a must takeaway after watching the movie.”

Karwaan (2018)

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Ritik Gupta writes:
“Karwaan movie is a journey in disguise that made me laugh, cry, and introspect at the same time. The movie starts with an amazing song by Prateek Kuhad and you immediately connect to Avinash at a certain level. Mithila with the chirpy positive vibe is the perfect balance between the three characters. Irrfan as Shaukat takes the movie to another level but that’s nothing new. The most beautiful thing about this character of Irrfan was the happiness he brought whenever he came on screen – but that’s Irrfan, right? He could make the simplest of characters so amazing that one couldn’t take his eyes off the actor. I watched the movie again before writing this, and every time Irrfan came on screen – he made me smile with his innocence, and as Avinash in the movie says about Shaukat how the latter has a good heart, you do feel it. Putting this as a fan – Irrfan has made me fall in love with every character of his. Though, I was never a crazy Irrfan fan, I do love his work more than anything else and that’s what he himself always wanted. It’s so tough to talk about him in the past tense. At one point in the movie, he says that we all are seeds, and our burial is our redemption. I relate. The amount of love I see for him is a testimony to the fact that he was always so much more than an actor.”

Angrezi Medium (2019)

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Maulin Parmar writes:
“I don’t remember which was the first film of Irrfan that I saw, though Piku was the film where I gave my heart to him. After that, any frame featuring him had become a noticeable one for me. In this last Feb, I was visiting theaters often to see as many movies as possible. Those were the days when I saw Angrezi Medium trailer on the screen. I had seen the trailer like 10 times or more on-screen. And believe me, that each and every time I went numb when Ik Jindadi played as BGM, and Irrfan was looking out of the car window. Tears of happiness in my eyes were celebrating a deserving actor like him. Unfortunately, I was extremely busy on the day one and two of the movie’s release and missed it. And then Corona pandemic happened – theaters went shut. I did not imagine at that time that I will not be able to see him again on screen. Those moments were the last, and my tears of happiness converted into sad ones. Angrezi Medium is like a celebration of a father-daughter rocking combination. Deepak Dobirayal’s support becomes Irrfan’s strength, with both being incredible in funny parts. He also managed to make many of us cry, along with Radhika Madan. Destiny won at the end. Still, Irrfan was a terrific actor and no one can touch his versatility ever. No one could find out how he was doing all the great work with such ease. He left all of us speechless. We will cherish his charisma in his films. To be a good actor, it requires to be a good human. And he surely was one – as my tears can’t come out just for anyone!”

Ratnam Agarwal writes:

“With Angrezi Medium, I was very excited to see Irrfan return to the big screen after two amazing performances in Blackmail and Karwaan back in 2018. I wish it wouldn’t have released during Coronavirus outbreak and I could see it in the theatre. Finally, I got the chance to watch AM in April when it was released on Hotstar – and I was mesmerized by Irrfan’s performance. His command on the dialect and accent of a halwai from Udaipur was spot on and he played that part with perfection. Irrfan made me cry in the emotional scenes with his eyes and voice, while making me laugh through the simplicity of his character. His mannerisms, chemistry with the cast made it a soulful and heartfelt performance, and I prayed for his good health. As always, I couldn’t wait to see what he did next but his untimely demise left me in shock and I couldn’t process the news until the very end of the day and still haven’t. I’ll always miss his charm, simplicity, and his dedication to his craft. Irrfan is the man, the myth, and definitely a legend of Indian cinema who has left a mark on the international community too.”

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About the author

Siddhartha Singh

Siddhartha is an avid reader and a cinephile who loves to write about movies. Being fascinated by the spell of cinema on and around us, he is always in for experiencing gripping stories told from the lens of different storytellers.


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