Writing anything about Naseeruddin Shah and his craft is not an easy task, and I will not waste my time searching for metaphors to describe him. He is a metaphor; he is Naseer.
Shah was born on July 20, 1950, in Barabanki, Uttar Pradesh, into the home of Aley Mohammed Shah and his wife Farrukh Sultan, of Afghan origin. He attended St. Anselm’s Ajmer School and later St. Joseph’s College, Nainital. After graduating from Aligarh Muslim University in 1971, he pursued his acting career at the National School of Drama in Delhi.
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Willum Skeener
Naseeruddin Shah made his acting debut with an uncredited role in the 1967 film “Aman.” However, it was Shyam Benegal’s 1975 film “Nishant” that marked his entry into mainstream cinema. Shah followed it with acclaimed films like Manthan (1976), Bhumika (1977), Junoon (1978), Sparsh (1979), Aakrosh (1980), Albert Pinto Ko Gussa Kyoon Aata Hai (1980), and Bhavni Bhavai (1980).
Early in the 1970s, Naseeruddin Shah embarked on his theatrical journey, swiftly establishing himself as a formidable presence on stage. Shah never hesitates in stating that theatre is his first love and his preferred medium as an actor. Shah co-founded the theatre group “Motley Productions” with Benjamin Gilani and Tom Alter, which is renowned for its innovative and experimental approach to theatre, staging both Indian and Western plays.
One of Shah’s most notable performances was in the play “Waiting for Godot” by Samuel Beckett, which not only received nationwide recognition but also garnered international acclaim. People have praised Shah for his plays such as “Aadhe Adhure,” “Hayavadana,” “A Walk in the Woods,” “Old World,” “Einstein,” and numerous others. Shah also appeared in George Bernard Shaw’s “Arms and the Man,” in which he played Captain Bluntschli. His performance was noted for its wit and charm, bringing a fresh perspective to this classic anti-war play.
One of Shah’s early and impactful performances was in “Ismat Apa Ke Naam,” a play based on the writings of Ismat Chughtai, which he directed and acted in. This play is a tribute to the celebrated Urdu writer and was performed by Shah’s theatre company, Motley Productions. In his series based on Ismat Aapa’s work, other notable plays include “Manto, Ismat Hazir Hain,” “Aurat, Aurat, Aurat,” and “Kambakth Bilkul Aurat,” among others.
Another significant play in Shah’s career is “Mahatma vs. Gandhi,” which delves into the complex relationship between Mahatma Gandhi and his son Harilal Gandhi. Shah’s portrayal of Harilal received critical acclaim for bringing out the emotional turmoil and ideological conflicts of the character.
In “The Father,” a play by August Strindberg, Shah explored the psychological depth of the character, portraying the anguish and conflict of a man questioning his paternity. “Dear Liar,” a play based on the correspondence between George Bernard Shaw and Mrs. Patrick Campbell, saw Shah in the role of Shaw. The play was a delightful enactment of the spirited exchange between the two literary figures.
Moreover, Shah’s influence extends beyond his performances. He has been a mentor and educator, shaping the next generation of theatre artists. His work in theatre education and his willingness to share his vast experience have enriched the Indian theatre landscape.
On the other hand, in films, Shah continues to explore the depth of the medium with gems like “Chakra (1981),” “Umrao Jaan (1981),” “Bazaar (1982),” Katha (1983),” “Jaane Bhi Do Yaaro (1983),” “Masoom (1983),” “Mandi (1983),” “Ardh Satya (1983),” “Paar (1984),” “Mohan Joshi Hazir Ho! (1984),” “Khandhar (1984),” Trikaal (1984),” “Mirch Masala (1985),” “Khamosh (1985),” Genesis (1986),” “Yeh Woh Manzil To Nahin (1987),” “Pestonjee (1988),” and many more.
One of his most notable films in this period was Gulzar’s “Ijaazat,” where he paired with Rekha and Anuradha Patel. The film, which is now considered a classic, saw Shah’s character conflict between his lover and wife. But believe me, its not at all as simple as it sounds. The performances, treatment of the story, and superb music from R.D. make “Ijaazat,” a must watch.
After Ijaazat, Gulazar and Shah collaborated on “Mirza Ghalib,” the series on the life of the celebrated poet. Shah’s performance as Ghalib is a landmark in acting and should be in the curriculum of acting schools.
From the mid-1980s, Shah started appearing in some mainstream commercials and masala movies like Ghulami (1985), Karma (1986), Jalwa (1987), Maalamaal (1988), Tridev (1989), Vishwatma (1992), Chamatkar (1992), Tahalka (1992), Kabhi Haan Kabhi Naa (1993), Sir (1993), Drohkaal (1994), Mohra (1994), Naajayaz (1995), Chaahat (1996), Chinagate (1998), and many more.
Shah starred in “Sarfarosh (1999),” in the role of a ghazal singer who was secretly an ISI agent. The film and his acting were widely praised. After the 1990s, Shah was seen in many not-so-great films, for many reasons. Watching him in the films, which were clearly against his principles and belief system, which he expresses openly, was disheartening. In recent years, we have seen the great actor in sleazy comedies, acting in poorly written parts, propaganda movies, and what not?
Although he has been in some very good movies too, like Bhopal Express (1999), Hey Ram (2000), Monsoon Wedding (2001), The League of Extraordinary Gentlemen (2003), Maqbool (2003), Iqbal (2005), The Great New Wonderful (2004), Being Cyrus (2005), Valley of Flowers (2006), Parzania (2007), Khuda Ke Liye (2007), Dus Kahaniyaan (2007), A Wednesday! (2008), Peepli Live (2010), Ishqiya (2010), Raajneeti (2010), 7 Khoon Maaf (2011), Zindagi Na Milegi Dobara (2011), That Girl in Yellow Boots (2011), Dedh Ishqiya (2014), Finding Fanny (2014), and many more.
More recently, Shah was seen in “Bandish Bandits” as the Sangeet Samrat Radhe Mohan Rathod, a flawed character, which Shah played with genuine sincerity, which is not at all surprising. What is surprising was his involvement in “Taj: Divided by Blood (2023),” a highly fictionalised version of the Mughal period. The series is a mockery of history and a failed attempt at making a sequel to Game of Thrones.
He also starred in Homi Adajania Saas, Bahu Aur Flamingo (2023), Vishal Bhardwaj’s “Charlie Chopra & The Mystery of Solang Valley,” and Sumit Roy’s “Showtime.”
Shah first married Manara, also known as Parveen Murad, the sister of Surekha Sikri; their daughter, Heeba Shah, is also a renowned theatre actress. Manara and Nasir were an unconventional match, which was opposed by Nasir’s family due to her previous marriage and children. She was also 15 years older than Nasir. The marriage did not last long, and the couple separated.
Shah then married Ratna Pathak, the daughter of veteran film and theatre personality Dina Pathak and a renowned actress in her own right, in 1982. Together, they have two sons, Imaad and Vivaan, who have also ventured into acting. Ratna’s sister Supriya Pathak is married to Pankaj Kapur, making two greats of Indian cinema relatives.
The Government of India has recognised Shah’s contributions to Indian cinema with the Padma Shri and the Padma Bhushan awards. Shah has also been honoured with many prestigious awards, including three National Film Awards, three Filmfare Awards from 18 nominations, the Volpi Cup for Best Actor at the Venice Film Festival, and the Sangeet Natak Akademi Award in 2000.
