Shantaram’s iconic “Do Ankhen Barah Haath” which deals with an alternative system of punishing convicts, by integrating them in the social structure and giving them a chance to atone for their sins. The film, produced by Premji, is loosely based on V. The camera, which never lies, caught the perceptible and sudden change in his looks - receding hairline, paunch, puffy face - truthfully. Perhaps it was his failure to handle superstardom and the consequent adulation which led to this sorry state of affairs.Īnother reason that comes forth is his lack of business acumen (most actors had become business savvy PROs by then) and his utter failure to look after his dapper looks.

It is a testimony to the tragedy of Khanna that at an age (30) when most male actors in Hindi films barely get a toehold in the industry, Khanna was to go into an irrevocable slide. Surely, the actor’s downfall was more due to other reasons cited - unprofessionalism and arrogance among them - rather than his capacity to adapt to action-oriented roles. Many critics who swear by similar numbers filmed on Amitabh Bachan-Rekha in films like “Muqqadar-Ka-Sikandar” will have to rethink after watching “Dushman”.Įven in action sequences, Khanna looks credible. Watching him dance to “Vaada tera vadda” - sung breezily by Kishore Kumar - with Chamelibai (Bindu) is sheer magic.

He adapts to the role, discarding his trademark mannerism and style of dialogue delivery for a sprightly walk and body language that smacks of arrogance. Wearing fatigues for most of the film and donning a moustache, Khanna looks every bit the truck driver he portrays. Essaying the role of Surjit Singh, a reckless, macho truck driver, with a penchant for consuming desi liquor and visiting brothels, the actor can be described in only one word - superb. This premise falls flat on watching Khanna in director Dulal Guha’s 1971 film, “Dushman”.

Several reasons were cited, including his restricted acting style, wherein he could enact only soft, romantic roles and his inability to sustain the onslaught of the angry young man, which is what the audiences desired in the mid-’70s. Most of last week, the untimely demise of Rajesh Khanna led television channels to feature panel discussions on the superstar’s life and times, particularly his fall from the position he occupied from 1969 to ’72.

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