One of the finest actors in Hindi cinema, he is known for his sharp looks, intense but understated performances, and versatile work portfolio. Be it the role of corrupt publisher Mr. Ghosh of Pyasa, womenizer Chhote Thakur of “Sahab Biwi Aur Ghulam,” self-sacrificing friend Pyare Nawab of “Chaudhvin Ka Chand,” or cunning Chinoy Seth of “Waqt,” he fits in everywhere like water.
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Willum Skeener
Rehman was born Saeed-ul-Rahaman Khan on June 23, 1921, in Lahore, into a Pashtun family with royal heritage. He graduated from Robertson College in Jabalpur, staying in the famous Beohar Niwas Palace. After college (1942), he joined the Royal Indian Air Force and trained at Poona as a pilot. His love for films forced him to leave the Air Force and come to Bombay to pursue acting.
He started his film career as the third assistant director to Vishram Bedekar. He came into Bedekar’s good books when, for a film character, he needed a person who could tie the Afghan turban. Rehaman came to his rescue. Soon, he was also cast in acting roles in films like Chand (1944), Hum Ek Hain (1946), and Shahjehan (1946).
He was cast opposite Suraiya in “Pyaar Ki Jeet (1948),” “Badi Behan (1949),” and “Shaan (1950),” opposite Madhubala in Paras (1949) and Pardes (1950),” with Meena Kumari in “Maghroor (1950),” with Naseem Banu in “Ajeeb Ladki (1952), with Bina Rai in “Gauhar (1953),” which achieved both critical and commercial success.
Rehman’s ability to portray complex characters with ease made him a director’s delight. His collaboration with Guru Dutt is particularly noteworthy, as it produced some of the most memorable films in Hindi cinema.
In 1957, he was cast as corrupt publisher Mr. Ghosh in Gurudutt’s “Pyaasa,” a role that required him to play a Bengali Bhadra Purush, who, despite being an intellectual and learned man, has petty motives and does not show any remorse or guilt for his actions. His role in “Pyaasa” is often cited as a masterclass in acting, where he brought depth and nuance to the character of a struggling poet in post-independence India.
Rehman’s journey to stardom was not one of instant fame but of a steady climb marked by significant roles that showcased his versatility. His initial foray into the world of cinema was met with roles that capitalised on his polished demeanour and urbane charm. One of his most important roles came in Gurudutt’s “Chaudhavin Ka Chand,” where he played the loyal and loving friend to Gurudutt, who sacrificed his life for his friends’ happiness.
He then played the role of a lifetime in “Sahab Biwi Aur Ghulam (1962),” opposite Meena Kumari. The role of a chauvinistic man deep in the vices of various kinds, who not only neglects his wife’s needs but also humiliates her for her choices.
Some other notable films of Rehman in this period include Ustad (1957), Phir Subah Hogi (1958), Bhai Behan (1959), Pehli Raat (1959), and Choti Bahen (1959). Chhalia (1960), Chaudhvin Ka Chand (1960), Ghunghat (1960), Dharmputra (1961), Batwara (1961), Sahib Bibi Aur Ghulam (1962), Mere Mehboob (1963), Taj Mahal (1963), Yeh Rastey Hain Pyar Ke (1963), Ganga Ki Lahren (1964), and Gazal (1964).
Over time, he transitioned to character roles, often with negative shades, but they are not your typical gun-toting, fist-fighting villains. He curated a persona with proper motivations and a character arch. He was often cast as the rich guy with ulterior motives, which he played with characteristic smirk, which shows his privileged upbringing, raised eyebrows, pipe in hand, blowing smoke with a casual, carefree demeanour, giving the impression of a powerful man who can do anything to achieve his goal.
One such role came in “Waqt (1965),” where Rehman as Chinoy Seth and Raj Kumar as Raja gave one of Indian cinema’s most memorable scenes. Waqt was followed by films like Baharen Phir Bhi Aayengi (1966), Dil Diya Dard Liya (1966), Noor Jehan (1967), Palki (1967), Dulhan Ek Raat Ki (1967), Aabroo (1968), Abhilasha (1968), Humsaya (1968), Mere Hamdam Mere Dost (1968), Shikar (1968), and many more.
One of his most important roles came in Dil Ne Phir Yaad Kiya (1966), with Dharmendra and Nutan again playing a positive role as self-sacrificing friends. The famous Lata Rafi Mukesh song “Dil Ne Phir Yaad Kiya Barq Si Lahrayi hai” was picturized on Rehman, Dharmendra, and Nutan. In 1969, he played Sohanlal, a corrupt businessman who was responsible for Sadhna’s imprisonment in “Intaquam.”
Rehman was always known for underplaying the character with subtle mannerism, minuscule use of facial movements, natural expressions, the use of eyes that seem to gaze into your soul, and a rich, powerful voice that reflects his characteristics, along with the sarcastic tone of delivering the dialogues.
Rehman earned four Filmfare nominations for Best Supporting Actor for his roles in “Phir Subah Hogi” (1958), “Chaudhvin Ka Chand” (1960), “Sahib Bibi Aur Ghulam” (1962), and “Dil Ne Phir Yaad Kiya” (1966).
Some of his notable roles in the 1970s include Mastana (1970), Devi (1970), Darpan (1970), Chingari (1971 film), Dushman (1971), Heera Panna (1973), Majboor (1974), Aap Ki Kasam (1974), Aandhi (1975), Chacha Bhatija (1977), Ahista Ahista (1981), Rajput (1982), and Dil… Aakhir Dil Hai (1982).
Most of Rehman’s family remained in Pakistan after partition, while he chose to stay in India. His brother, Massud-Ur-Rehman, was a famous cinematographer in Pakistan. Massud’s sons are TV actor Faisal Rehman and classical dancer Fasih Ur Rehman.
Rehman passed away on November 5, 1984, after a painful battle with throat cancer.
