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Vinod Khanna conquered Hindi cinema by just being there

When not playing the villain, Vinod Khanna played straight man to the more garrulous co-stars.

Before Gabbar Singh, there was Jabbar Singh.

Not a grumpy, grungy, paunchy dacoit on the run from the police, but a smartly turned out young man with a twirled-up moustache, clean-shaven cleft chin and a black tikka, a daakuon ka sardaar, who laid down his own law at the end of a double-barrel gun. Before Amjad Khan, there was Vinod Khanna. A leading man/villain to face off a leading man/hero Dharmendra. It would be easy to be confused, watching Raj Khosla’s Mera Gaon Mera Desh, to decide on whose side you would rather be. This was the film that made Khanna a marquee star. Graduating from his several turns as a conventional bad guy, it would only be a few films before he would become one of the most sought after leading men of the 1970s.

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Mera Gaon Mera Desh (1971).

And yet, one could argue that becoming the good guy emasculated him. In his early roles as an antagonist he inevitably chewed more scenery, and had more eyes riveted on him than on whichever hapless protagonist he was cast against, whether Manoj Kumar, Vinod Mehra, or even Dharmendra and Rajesh Khanna. Not since the heyday of Pran was Hindi cinema blessed with a youthful bad guy of immense charm and swagger, one who could deliver threats with an edge and a smile.

One wonders what direction Hindi cinema in the ’70s would have taken had Khanna remained with the dark side. Look at Mere Apne, a two-antagonist film, in which Khanna as the gang leader is still remembered for his intensity even though he is cast against the usually bombastic Shatrughan Sinha.

Khanna was cast with Amitabh Bachchan in Hera Pheri, Khoon Pasina, Amar Akbar Anthony, Zameer, Parvarish and Muqaddar Ka Sikandar. In all these films, except the last one, there are no real villains to pose a significant challenge to the heroes. Imagine the possibilities had Khanna been cast as the villain in each of them.

Why is Vinod Khanna so fondly regarded upon his passing, while still making us feel that there could have been more to him? As a leading man, he strode the ’70s with other colossi like Bachchan, Rajesh Khanna, Dharmendra and Shashi Kapoor. In nearly 50 of his 140-odd films, he was cast with another hero or with multiple heroes. Apart from the six with Bachchan, he made two films with Feroze Khan and Randhir Kapoor, three with Shashi Kapoor, five with Rajesh Khanna, six with Jeetendra and seven each with Dharmendra and Shatrughan Sinha. Almost all his significant hits came from some of these films.

Here’s the rub. When not playing the villain, Vinod Khanna, Adonis, heart-throb and ladies man, retreated into the scenery, playing straight man to his more garrulous co-stars. In most of his roles, he is the upright do-gooder, the head of the family or a police officer, serious and sacrificing in nature, a witness to the shenanigans of more expressive scene stealers. Slightly boring, in fact.

This self-effacement is the leitmotif of Khanna’s career and can be seen even when he is cast in women-centric films. As the stoic spouse alongside Hema Malini in Meera and Rihaee, in Lekin with Dimple Kapadia or in Main Tulsi Tere Aangan Ki opposite Nutan and Asha Parekh, Khanna subsumes his role to that of a foil, allowing the women to take centrestage, and by holding back, allowing them to shine.

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Vinod Khanna in Lekin (1991).

His solo roles were rarely blockbusters, but they have some of his best performances. In Gulzar’s Achanak, almost a one-actor film, he can be seen in virtually every shot, and is a good example of character development as a cuckolded army man who murders his wife and her lover and goes on the run.

Among the many roles Khanna has played as police inspector, the best by far is in Inkaar, a police procedural inspired by Akira Kurosowa’s High and Low, a story of the misdirected kidnapping and rescue of a child who belongs to the servant of a rich man. The climax is a long chase, and his quest to find the villain (Amjad Khan) and the ransom money allow Khanna to shine as a realistic action hero.

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Inkaar (1978).

Among the many loving remembrances after Vinod Khanna’s death on April 27, filmmaker Paromita Vohra described his screen persona best, as one of “unhurried hotness”. He could capture both your gaze and imagination but with suaveness and cool. It is a persona more suited to the ’70s, when the leading man was one of a film’s characters and not its raison d’être, a protagonist in a quotidian setting who could still do extraordinary things.

My favourite Vinod Khanna film embodies all these qualities. In Imtihan, he is cast as a college teacher. Leaving a rich father, he departs from home to the stirring song Ruk Jaana Nahin and ends up as a teacher in a college filled with long-haired, wide-collared and bell bottomed delinquints. Over the course of the film, he reforms them and finds himself and his lady love. This was an action film without much filmy action (one fight scene in the end) that kept moving, with Khanna in the most canonical role of his career. There is nobility in his bearing and a dignity that he holds on to despite the adversities he has to undergo. Imtihan was one of his few solo hits.

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Imtihan (1974).

It may be counter-intuitive, but the most famous role of his career, as Inspector Amar in Amar Akbar Anthony, is the one that probably led Khanna down the slippery slope to retirement. Typecasting at its worst, we find Khanna once again as the straight man to slapstick Amitabh Bachchan, feeding him lines that would be answered by memorable retorts (Robert? Kaun woh fast bowler Andy Robert?) in a movie that is less a narrative and more a variety show.

Khanna had the least to do in this burlesque that allowed both Bachchan and Rishi Kapoor to take centrestage. He does little other than react and is the least proactive in driving the pace of the film. His own slapstick turn as a one-man band in the climax is completely unbelievable, given his dour persona throughout.

Bachchan, on the other hand, consolidated his superstardom with a big-top performance – performances really – as hero, lover, fighter and comedian, killing once and for all the need for the mandatory parallel comedy track in Hindi films.

Movies after Amar Akbar Anthony would be more and more crafted as vehicles for superstars who were the narrative rather than part of it. Little wonder then that Vinod Khanna found it best to quit movies for his spiritual quest with Osho.

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Amar Akbar Anthony (1977).
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London then and now – As experienced by Indians

While much has changed, the timeless quality of the city endures.

“I found the spirit of the city matching the Bombay spirit. Like Bombay, the city never sleeps and there was no particular time when you couldn’t wander about the town freely and enjoy the local atmosphere”, says CV Manian, a PhD student in Manchester in the ‘80s, who made a trip to London often. London as a city has a timeless quality. The seamless blend of period architecture and steel skyscrapers acts as the metaphor for a city where much has changed, but a lot hasn’t.

The famed Brit ‘stiff upper lip, for example, finds ample validation from those who visited London decades ago. “The people were minding their business, but never showed indifference to a foreigner. They were private in their own way and kept to themselves.” Manian recollects. Aditya Dash remembers an enduring anecdote from his grandmother’s visit to London. “There is the famous family story where she was held up at Heathrow airport. She was carrying zarda (or something like that) for my grandfather and customs wanted to figure out if it was contraband or not.”

However, the city always housed contrasting cultures. During the ‘Swinging ‘60s’ - seen as a precursor to the hippie movement - Shyla Puri’s family had just migrated to London. Her grandfather still remembers the simmering anti-war, pro-peace sentiment. He himself got involved with the hippie movement in small ways. “He would often talk with the youth about what it means to be happy and how you could achieve peace. He wouldn’t go all out, but he would join in on peace parades and attend public talks. Everything was ‘groovy’ he says,” Shyla shares.

‘Groovy’ quite accurately describes the decade that boosted music, art and fashion in a city which was till then known for its post-World-War austerities. S Mohan, a young trainee in London in the ‘60s, reminisces, “The rage was The Beatles of course, and those were also the days of Harry Belafonte and Ella Fitzgerald.” The likes of The Rolling Stones and Pink Floyd were inspiring a cultural revolution in the city. Shyla’s grandfather even remembers London turning punk in the ‘80s, “People walking around with leather jackets, bright-colored hair, mohawks…It was something he would marvel at but did not join in,” Shyla says.

But Shyla, a second-generation Londoner, did join in in the revival of the punk culture in the 21st century. Her Instagram picture of a poster at the AfroPunk Fest 2016 best represents her London, she emphatically insists. The AfroPunk movement is trying to make the Punk culture more racially inclusive and diverse. “My London is multicultural, with an abundance of accents. It’s open, it’s alive,” Shyla says. The tolerance and openness of London is best showcased in the famous Christmas lights at Carnaby Street, a street that has always been popular among members of London’s alternate cultures.

Christmas lights at Carnaby Street (Source: Roger Green on Wikimedia Commons)
Christmas lights at Carnaby Street (Source: Roger Green on Wikimedia Commons)

“London is always buzzing with activity. There are always free talks, poetry slams and festivals. A lot of museums are free. London culture, London art, London creativity are kept alive this way. And of course, with the smartphones navigating is easy,” Shyla adds. And she’s onto something. Manian similarly describes his ‘80s rendezvous with London’s culture, “The art museums and places of interest were very illustrative and helpful. I could tour around the place with a road map and the Tube was very convenient.” Mohan, with his wife, too made the most of London’s cultural offerings. “We went to see ‘Swan Lake’ at the Royal Opera House and ‘The Mousetrap’ by Agatha Christie. As an overseas graduate apprentice, I also had the pleasure to visit the House of Lords and take tea on the terrace.”

For the casual stroller along London’s streets today, the city would indeed look quite different from what it would’ve to their grandparents. Soho - once a poor suburb known for its crime and sex industry - is today a fashionable district of upmarket eateries and fashion stores. Most of the big British high street brands have been replaced by large international stores and the London skyline too has changed, with The Shard being the latest and the most impressive addition. In fact, Shyla is quite positive that her grandfather would not recognise most of the city anymore.

Shyla, though, isn’t complaining. She assures that alternate cultures are very much alive in the city. “I’ve seen some underground LGBT clubs, drag clubs, comedy clubs, after midnight dance-offs and empty-warehouse-converted parties. There’s a space for everybody.” London’s cosmopolitan nature remains a huge point of attraction for Indian visitors even today. Aditya is especially impressed by the culinary diversity of London and swears that, “some of the best chicken tikka rolls I have had in my life were in London.” “An array of accents flood the streets. These are the people who make London...LONDON,” says Shyla.

It’s clear that London has changed a lot, but not really all that much. Another aspect of Indians’ London experience that has remained consistent over the past decades is the connectivity of British Airways. With a presence in India for over 90 years, British Airways has been helping generations of Indians discover ‘their London’, just like in this video.

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This article was produced by the Scroll marketing team on behalf of British Airways and not by the Scroll editorial team.