Hindi Cinema’s Fading Characters: Akhilendra Mishra Decries Loss of Distinctiveness
Lucknow: Veteran actor Akhilendra Mishra has voiced a significant concern plaguing contemporary Hindi cinema and television: the dwindling creation of distinct, memorable characters. He contends that today’s roles largely lack individual personalities, leading to a pervasive sameness across the screen, a stark contrast to the iconic figures that once captivated audiences.
Speaking to PTI during a recent visit to Lucknow, Mishra, renowned for his indelible portrayals such as Kroor Singh in “Chandrakanta”, Mirchi Seth in “Sarfarosh”, and DSP Bhurelal in “Gangajal”, emphasized that it was robust characterization, not merely screen time, that embedded supporting roles into public consciousness. Mishra’s own illustrious career includes the role of Arjan in the Oscar-nominated Aamir Khan-starrer “Lagaan,” which celebrates its 25th anniversary this year.
“Earlier, people connected with characters. Today, films lack characterisation. Everyone acts in a similar way and speaks in the same tone. In the process, the colour and identity of characters have disappeared. When audiences cannot relate to a character, films eventually suffer,” Mishra elaborated, underscoring the critical connection between audience engagement and character depth.
He drew a poignant analogy, comparing diverse storytelling to the allure of a rainbow versus plain white light. “When you see a rainbow, you call others to look at it because all seven colours are visible. Similarly, stories, performances, music, emotions and presentation need different shades. Today, we are only seeing white light. The rainbow is missing,” he lamented, pointing to a homogenisation of creative expression.
When questioned about the enduring legacy of characters from past decades compared to the fleeting impact of contemporary ones, Mishra attributed this to a decline in compelling character writing. “Where are characters like Gabbar Singh, Mogambo or Sakharam? Where are Kroor Singh, Mirchi Seth or DSP Bhurelal being written today? Police films are still being made, but you don’t find such memorable characters anymore,” he stated, highlighting a creative void.
Mishra reminisced about an era when filmmakers actively scouted theatre actors for nuanced character roles, citing stalwarts like Amjad Khan and Amrish Puri. “They searched for actors who could become those characters. I was chosen for Kroor Singh because of my theatre work. John Matthew Matthan picked me for ‘Sarfarosh’ after watching one of my plays,” he recalled, illustrating a more organic casting process rooted in performance authenticity.
While acknowledging the industry’s evolution towards a more organized and corporate working culture, Mishra posited that this professionalism has not necessarily translated into superior storytelling. “The film industry has completely changed. New people have come in and the working style is more modern and corporate. One positive change is the work has become systematic and projects are completed on schedule, whether films or web series. That wasn’t the case earlier,” he conceded.
However, he argued, “The soul of cinema lies in the stories and characters. Languages have disappeared from films, and actors increasingly imitate a particular Westernised style of dialogue delivery. Directors also want that. As a result, characters lose their individuality.”
Paradoxically, Mishra finds a glimmer of hope in OTT platforms, which he believes offer a more fertile ground for actors due to their emphasis on defined characters and encouragement of experimentation. “OTT has brought back meaningful roles. Writers are working harder because the content is released globally and has to meet international standards. Many actors who had faded from public memory have found a fresh breakthrough through web series,” he observed.
Conversely, mainstream Hindi cinema, in his view, has become repetitive, a stark contrast to the vibrant regional film industries. “There is hardly any variation left in Hindi cinema. Malayalam, Tamil, Assamese, Bengali and even Punjabi cinema are doing remarkable work with fresh scripts rooted in their soil. That rootedness is what connects with audiences,” he asserted.
Mishra also voiced concern over the struggles faced by independent filmmakers in securing theatrical releases, noting that many acclaimed films fail to reach wider audiences due to inadequate screen allocation. “Many talented actors have not been fully explored by the industry. Good films are also struggling to find proper theatrical release. But change has its own time, and I believe Hindi cinema will eventually change too,” he concluded, expressing cautious optimism for the future of Hindi cinema.
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