Asrani - Laugh And The World Laughs With You
06 Oct, 2020 | Archival Reproductions by Cinemaazi
![](https://www.cinemaazi.com/uploads/features/asrani-laugh-and-the-world-laughs-with-you.jpg)
Asrani in Aaj Ki Taaza Khabar
From the younger set of comedians ARANI has come into his own this year. Two acting awards and lots of plum assignments ensure his secure career in the uncertain and constantly fluctuating ranks of the professional funny-men.
Asrani is a Sindhi.But he hasn't caricatured a Sindhi in any of the innumerable comic roles he's played in Hindi films in the last few years. As a matter of fact, Asrani is wary in talking about his caricatures or the buffoon-type roles he's been made to play in this or that Hindi film. He prefers the subtler sort of comedy. Like that guy with the highly improbable sounding name of Champak Bhoomia which he played in Aaj Ki Taaza Khabar (1973) or like that mad-man he played in Anhonee (1973). The first won him the Best Comedian's Award from "Shama-Sushma" this year.
Asrani comes from a family of shopkeepers in Karachi. His father was (and still is) a cloth merchant. He is the third of four sisters and four brothers of a large and fairly prosperous family of cloth-merchants who had the foresight to get out of a city which was to become the capital of Pakistan when the Partition came. Asrani's parents migrated with the family to Jaipur where they put down roots and continued the same cloth business. Asrani studied in school and college at Jaipur and took his B.A. Degree first.
![](https://cinemaazi.com/userfile/images/Archival%20Reproduction/asrani/__thumbs/(2)%20(2).jpg/(2)%20(2)__239x480.jpg)
"When did you first get conscious that you wanted to become an actor?"
"When I was a kid in the third standard. My class fellows were putting on stage-play about Samrat Chandragupta. A good friend of mine was in that play and he was getting lots of admiration and applause while he did his thing.
"It made me quite jealous! I remember wishing that I was in his place on the stage, getting all the attention which he was getting!"
So Asrani started getting into stage-plays. He was often called to participate in the Children's Programmes of All India Radio, Jaipur. Asrani went to College and continued taking part in stage and radio-plays. He was eager to do any sort of role.
"When I passed my B.A. my parents and brothers discovered my desire to join the Film Institute at Poona. They laughed at me. My elder brother had begun to take care of the family business and they wanted me to become a cloth merchant too!
"But I was determined to become an actor, and join the Institute I did." Asrani had applied for both the Direction and the acting course at the institute and got selected for both. He, however, settled for the acting course ("my first love!") and at the institute, Asrani for the first time discovered what is called "character acting." "I acquired a sense of character and comedy for the first time," he said. "And for the first time, I got an inkling that my real forte might well be comedy."
"Did you ever nurse any ambitions to become a hero?"
"Good heavens, no!" Asrani laughed heartily. "To be a romantic hero in films you've got to have a particular sort of romantic image - and I knew I never had that! I can evolve and fashion different sorts of characters out of myself - but hero? Never!"
![](https://cinemaazi.com/userfile/images/Archival%20Reproduction/asrani/(6)%20(1).jpg)
"But did you ever attempt a romantic image?"
"Only once.For a trial lesson at the institute. They picked up a romantic scene form the late Bimal Roy's Sujata (1959) and I was made to enact it. I was awkward and felt very foolish doing it! I just couldn't bring it up from inside! That was my first and last attempt at playing Lover Boy!
"How did your first break in Hindi films come?"
"Producer-director Atmaram came to Poona in 1969. He wanted a whole bunch of newcomers for Umang (1970). He selected eight boys and three or four girls from the Institute. In all, he had a dozen new boys and a dozen new girls in that film, and I was one of them."
"What was your role in the movie?"
"Atmaram asked me to suggest something and I evolved a hippie's get-up and showed it to him. He liked it, and that was that. I had sort-of improvised the thing, to be different from all the rest of them."
"What happened?"
"Nothing much. The movie didn't do well. But my next one, Guddi (1971) did. And that got me seven to eight very good roles. Guddi actually marked the beginning of my developing what I like to term as 'character-comedy'."
![](https://cinemaazi.com/userfile/images/Archival%20Reproduction/asrani/(3)%20(1).jpg)
"What's that?"
"I'm a quietly observant type. I'm fascinated by the odd, the offbeat and the unusual manifestations of human character. And I adopt from real-life, from what I have observed, and use it as a base to invent a wholly comic character.
"In Guddi I played a screen-struck youth who comes to films to become a hero - and lands up becoming and extra! It had only couple of scenes, but it left a mark.
"From that film I got Manoj's Shor (1972), Brij's Paise Ki Gudiya (1974), Vijay Bhatt's Banphool (1972). Tahir Hussain's Anamika (1973), Prasad's Shaadi Ke Baad (1972).
"Roundabout the same time I met Gulzar and he gave me a small role in his Mere Apne (1971). Since then I've been in all Gulzar's movies - Koshish (1972), Parichay (1972), Achanak (1973) and now Khushboo (1975)."
In the South too, Asrani has bagged some major assignments: Vijaya Suresh's Prem Nagar (1974), Venus's Humshakal (1974) and Anjanelu's Sunehra Sansar (1975).
"Can you tell us something more about what you called 'character comedy' a little while back?"
"Yes. It's opposed to buffoonery. It consists of comedy based in character and arising out of character. I'll tell you something. When I was shooting in R.K. a couple of years ago I observed a labourer there who hopped along in a quaint fashion instead of the usual walk. People there had got used to him and didn't notice. But seeing him the first time I found it a striking thing. So I used that mannerism in a role I played later. It's like that.
![](https://cinemaazi.com/userfile/images/Archival%20Reproduction/asrani/(9).jpg)
"What are your views on scene-streaming? I believe 'heros' generally detest working with comedians because they're inveterate scene-stealer?"
"As far I'm concern I keep myself in reigns. I've worked with Rajesh, Amitabh, Sanjeev and none of them have any such grouse against me.
"But has such thing ever happened to you?"
"Yes, Once. Years ago I was doing Banphool and there was this scene with Jeetendra where both of us impersonate Sadhus and I got carried away. Since then I'm always careful to keep in limits."
"Do you keep in the director's orbit? Or do you prefer to let yourself get carried away by a scene?"
"I believe that any good actor cannot handle himself to his fullest abilities. He must have a good director to keep control over him. I've found in my own case that a certain crudeness colour my work if I allow myself to run away with a scene. I prefer a director's whip to keep me in control. I remember a couple of vivid instances where I thought I was going excellently, over and above the director's requirements. But when I saw the finished product on the screen it was awful.
"Which are your good roles in forthcoming films?"
"Nagi Reddi's Prem Nagar; Ramesh Sippy's Sholay (1975); Prasad's Bidai (1974) in which I have a double role; Chaitali (1975) and Khushboo. And yes, Prakash Mehra's new film in which I have an unusual role of a killer who never speaks a single word. Again in each film, I have developed specific characterizations."
![](https://cinemaazi.com/userfile/images/Archival%20Reproduction/asrani/(10).jpg)
"With which directors are you most at ease?"
"Gulzar, Hrishi-da and Shakti. They're so good it becomes easy to do your best with them."
"Are you happy at the pace of your career now?"
"Yes. There was a time when I was nervous about the future, but not any more. I have avoided being a typed aby consciously and deliberately creating different characters for each of my films. I am happy that my efforts have been recognised by the cinegoers too. Do you know: I was nominated for a Best Supporting Actor's Award for my role in Abhimaan (1973) this year?"
This interview was originally published in Star & Style Magazine's 26 April 1974 issue. All the images used in the feature are taken from the orginal article.
About the Author
Other Articles by Cinemaazi
17 Feb,2024
What is a Good Documentary Film?
25 Jan,2024
Salute to an Immortal Spirit
22 Jan,2024
A Painful Parting
29 Nov,2023
Children's Film Society
28 Oct,2023
Let's Give the Kids a Chance
26 Oct,2023
Directing the Child Actor
25 Oct,2023
Chandu - The Elephant Boy
23 Oct,2023
HEROISM-Children's Film Society gives the lead
18 Oct,2023
Munna
29 Sep,2023
ख्वाजा अहमद अब्बास का पत्र महात्मा गांधी के नाम
02 Sep,2023
Shakti Kapoor: It's Three Punches A Day
04 Jul,2023
Should a Filmmaker be Original?
24 Jun,2023
Babita My First Screen Love
22 Jun,2023
Phir Wohi Dil Laya Hoon
19 Jun,2023
Romance in Our Cinema
12 Jun,2023
The Romance of our Show Houses
12 Jun,2023
Kashmir Ki Kali (1964)
07 Jun,2023
Sangam (1964)
05 Jun,2023
This thing called Love
25 May,2023
Gandhi: Whose voice?
15 May,2023
"Deewar" Becomes a Nation's Prayer
15 May,2023
Mangal Pandey
06 May,2023
History of Cinema, History of the Nation
02 May,2023
Birbal Paristan Mein
20 Apr,2023
Reincarnation... the story goes on ever after
27 Mar,2023
The Film Director?
21 Mar,2023
M Sadiq
15 Mar,2023
The Social Role of the Cinema
15 Mar,2023
"Samaj" A Memorable Film with Popular Appeal
01 Mar,2023
"Two Eyes" in Hollywood
20 Feb,2023
Do Dooni Chaar
15 Feb,2023
Rafoo Chakkar
07 Feb,2023
Johnny Walker.... still going strong
20 Jan,2023
Mahabharat : Epic Tamasha
10 Jan,2023
Narsi Bhagat : An Excellent Biography
03 Jan,2023
Nav Ratri
01 Dec,2022
एक ताजगी का नाम है देवानन्द (Dev Anand)
25 Nov,2022
जे बी एच वाडिया (J B H Wadia) - वचन न जाए
14 Nov,2022
Children's Films in India
01 Sep,2022
Horses .... Cars and Laughs-Mehmood
06 Aug,2022
हिन्दी फिल्मों की दुर्दशा का जिम्मेदार कौन?
01 Aug,2022
क्या हिंदी फिल्मों से हास्य गायब हो रहा है?
20 Jul,2022
हास्य की परंपरा और हास्य अभिनेताओं की भूमिका
12 Jul,2022
प्राण और उनकी दाढ़ियाँ
17 Feb,2022
Odds Against a New Comer
10 Dec,2021
Speaking of Portraits and People
03 Nov,2021
An Actor Prepares
19 Oct,2021
Producers' War on Dubbed Films
24 Aug,2021
Jottings from a Film Director's Notebook
26 Jul,2021
प्रेमचंद सत्यजीत राय और ’सद्गति’ -गिरिजाशंकर
22 Jul,2021
Rewind 1990 Commerce of Love Stories
20 Jul,2021
Eastern Scene: Cinema of Surviving Faith
22 Jun,2021
Movie Memories : Tansen (1943)
22 Jun,2021
Movie Memories: Sikandar (1941)
15 Jun,2021
Towards A Brighter Future- Bengali Cinema
20 May,2021
The Enigma Of A Flux - Malayalam Cinema
05 May,2021
The seesaw graph of Hindi filmdom
03 May,2021
Ankahee: The Unspoken
29 Apr,2021
The Mahatma Returns: World Press Reaction
29 Apr,2021
Children’s Films
17 Apr,2021
Telugu Cinema in 1986- Sons and Fathers
09 Apr,2021
Mukhamukham : Face to Face
08 Apr,2021
Tarang : Wages and Profits
01 Apr,2021
Design In Indian Cinema
27 Mar,2021
Movie Memories : Savkari Pash
23 Mar,2021
Double Trouble: Role of Twins In Hindi Cinema
22 Mar,2021
Prem Chopra: The Same Role For Ever
19 Mar,2021
Kalyan Kumar - Karnataka’s Self-Made Star
18 Mar,2021
Ceylon's Cyclonic Cinema
18 Mar,2021
Movie Memories : Aladdin & the Wonderful Lamp
17 Mar,2021
Kumari Padmini: Rising New Star Of The South
11 Mar,2021
50 YEARS OF MALAYALAM CINEMA
02 Mar,2021
Alakh Niranjan: Film India Review
27 Feb,2021
Party: The Story of Choices
26 Feb,2021
The Naushad Era In Hindi Film Music
19 Feb,2021
A Man: Amitabh Bachchan -Amitabh, is My Name
10 Feb,2021
A Man: Amitabh Bachchan - Two of a Kind
29 Jan,2021
Women In Hindi Films : Dichotomy of Values
22 Jan,2021
A Man: Amitabh Bachchan - Yesterday and Tomorrow
22 Jan,2021
Cinema in the South: Crisis of Character
18 Jan,2021
Film Societies Play Their Part
01 Jan,2021
Nutan : A Flashback - The Actress
30 Dec,2020
"Gwalan" Proves A Thrilling Entertainment !
29 Dec,2020
Rajesh Khanna : Echoes Of An Era- Family Of Four
28 Dec,2020
Holi: A Metaphor for Horizontal Violence
23 Dec,2020
A Summon for Mohan Joshi
22 Dec,2020
Nutan : A Flashback - The Friend
22 Dec,2020
Raj Kapoor Scores Personal Triumph In “Aag”!
19 Dec,2020
Smita Patil's Memoir- Trading Places
17 Dec,2020
Shashi Kapoor: Once Upon A Time- The Film Makers
16 Dec,2020
Rajesh Khanna : Echoes Of An Era- Peer Pressures
15 Dec,2020
“Lal Haveli”- Crude But Entertaining!
12 Dec,2020
Nutan : A Flashback - The Wife
10 Dec,2020
Rajesh Khanna : Echoes Of An Era
09 Dec,2020
"Lalkar" Presents Cheap Entertainment
07 Dec,2020
Smita Patil's Memoir-Comrades In Arms
01 Dec,2020
Shashi Kapoor: Once Upon A Time- Unjinxed
28 Nov,2020
Ek Din Ka Sultan- Becomes Good Entertainer !
26 Nov,2020
Smita Patil's Memoir- Friendly Strokes
25 Nov,2020
Shashi Kapoor: Once Upon A Time- Tough Times
07 Nov,2020
The Technician And His Problems
06 Nov,2020
We Must Inject Dynamism Into Publicity
05 Nov,2020
The Role Of Film Finance Corporation
04 Nov,2020
Progress In Raw Film
30 Oct,2020
Freedom In Films
28 Oct,2020
Export Market For Indian Films
23 Oct,2020
The Growth of The Motion Picture
22 Oct,2020
Setup Of The Film Industry
21 Oct,2020
Few Facts About Film Production
13 Oct,2020
Personalisation In Cinema
08 Oct,2020
Waiting for a Doyen's Glance- Arati Bhattacharya
08 Oct,2020
कौन सुनेगा इन सिसकती बिलखती प्रतिभाओं का विलाप?
05 Oct,2020
My Memorable Roles- Hiralal
03 Oct,2020
राजीव गोस्वामी - कहां थे अब तक 'पेंटर बाबू'?
03 Oct,2020
जब नफरत से बेड़ा पार हो गया: बलराज साहनी
30 Sep,2020
The Case of Emotional Turmoil In Dopatta (1952)
29 Sep,2020
The Story Of A Child Artiste - Sheela Kashimiri
26 Sep,2020
Afsana Likh Rahi Hoon : Tun Tun
26 Sep,2020
Some Hopes For The New Year: Lillian
24 Sep,2020
Joru Ka Bhai: A Tale of 'Atithi Tum Kab Jaoge'
22 Sep,2020
अभिनेता प्रेमअदीब से भेंट
21 Sep,2020
Vijaylaxmi: A Career As The 'Other' Woman
18 Sep,2020
Shaminder: The Actor Who Had High Hopes
16 Sep,2020
धर्मेन्द्र - समय आ रहा है...
14 Sep,2020
Film Life After Fifty : Motilal
14 Sep,2020
प्रसिद्ध फिल्म लेखक गुलशन नंदा से आपकी बातचीत
11 Sep,2020
"I live on hope"- Kumkum
11 Sep,2020
Thehr Zara O Jane Wale : Madhubala Jhaveri
09 Sep,2020
Ratnamala Attracts Attention In ‘Station Master’
08 Sep,2020
Ghory: The Laurel Of Indian Cinema's Comedy Duo
07 Sep,2020
Yeh Teri Saadgi, Yeh Tera Baankpan: Usha Khanna
07 Sep,2020
सेनापति शेट्टी
05 Sep,2020
कृतिदेव यहां मैं, तनूजा, स्वीकार करती हूँ
05 Sep,2020
मै उर्मिला को भूल नहीं पाती - मंजरी
04 Sep,2020
बुलबुल बंगाल की: चंद्राणी मुखर्जी
03 Sep,2020
Payyal's Lucky Break
02 Sep,2020
These Foreign Producers
29 Aug,2020
The Practical Actress: Shabnam
29 Aug,2020
“Amrit” Becomes A First Class Picture
28 Aug,2020
फिल्मी मारपीट के गुरू : अजीम भाई
26 Aug,2020
From Poverty to Screen Fame - Mehboob Khan
26 Aug,2020
Humility: Nasreen's Most Admirable Feature
24 Aug,2020
A Mercenary Comes To India - Bob Christo
23 Aug,2020
Dilip Kumar: The Leader
19 Aug,2020
Alam Ara: Ardeshir Irani's Ambitious Secret
17 Aug,2020
I Serve My Art- Kanan Devi
10 Jul,2020