When performance demands more than acting, the line between dedication and damage blurs
How far would you go for a role? It’s a question that continues to define actors. If Yami Gautam studied the “Quran” to portray a Muslim matriarch in Haq, Salman Khan reportedly recited the “Hanuman Chalisa” while preparing for Bajrangi Bhaijaan. For a scene in Mani Ratnam’s Nayakan, Kamal Haasan reportedly placed his head inside a plastic bag and screamed to achieve the required intensity, an act that left his vocal cords permanently damaged.
Director Suparna Varma commends Yami Gautam’s commitment.
“It doesn’t matter which religion she belongs to, as long as she is true to her character. I studied the “Quran” as well as the Islamic laws and the legal case along with writer, Reshu. And Yami learned the Ayaats and the proper pronunciation over months which took a very long time because it had to be done to perfection,” says Suparna. Veteran actor Shabana Azmi, known for her fearless choices, offers a note of caution. “It’s worthwhile to go that extra mile when you’re younger,” she reflects. For Shyam Benegal’s Mandi (1983), she gained ten kilos, only to lose it rapidly for other films. “Such extreme weight changes are not advisable, especially with age.”
Among the new generation, Rajkummar Rao has built a reputation for immersive method acting. For Vikram Motwane’s Trapped, he stopped eating and drinking after the first day of his character’s ordeal, choosing to “live each moment truthfully.” Even Abhishek Bachchan has wrestled with physical transformation. “The last time I grew a paunch was for Mani Ratnam’s Guru. Back then I was much younger. I promised myself I won’t do it again for any role. But I had to do it again for I Want To Talk,” says Abhishek.
Then there are actors who stay in character beyond the camera. For his role in Super Deluxe, Vijay Sethupathi wore a saree even off set, choosing to inhabit his character Shilpa fully through the shoot. Shah Rukh Khan, for instance, reportedly shot Devdas with his jeans tucked under his dhoti, proof that conviction on screen doesn’t always require discomfort off it.
