On June 23, 1983, Woh Saat Din starring Naseeruddin Shah, Padmini Kohlapure and Anil Kapoor hit the theatres. The film turned out to be a sleeper hit and Bollywood found a star in the actor who played the earnest musican Prem Pratap Singh ‘Patiyala Wale’ — Anil Kapoor. Over three decades later, he is one of the few actors of his generation who is still relevant.

His second release of 2018 is Fanney Khan where he plays the title role. He has also spent a large part of this year filming Total Dhamaal, the third movie in the Dhamaal series, with Ajay Devgn and Madhuri Dixit, as well as Ek Ladki Ko Dekha Toh Aisa Laga with daughter Sonam Kapoor.

Even before “reinvention” was a Bollywood buzzword, Anil was out there experimenting with characters, the length of his roles and even his look. He was advised not to do Mr. India because “the hero is invisible in most of the film”. Shaving off his trademark moustache for Lamhe might not have worked, but the unconventional love story is a landmark film in his filmography. And, a small role in Danny Boyle’s Slumdog Millionaire took him to the Oscar stage, a recurring role in the iconic TV series 24 and a cameo in Mission: Impossible — Ghost Protocol. 

When the 61-year-old talks about being a greedy actor who’d do any good role, Anil is not lying. “Every decision I have made has propelled me to a better place. If a gamble has paid off, it’s led to bigger opportunities and if it hasn’t, it has taught me what mistake not to make the next time,” he explains. On the sidelines of the promotions of Fanney Khan, which also stars Rajkummar Rao and Aishwarya Rai Bachchan, t2oS sat down with Anil for a working lunch at the JW Marriott in Juhu, Mumbai. Over sandwiches and roasted vegetables, Anil chatted about being a sex symbol, his struggles and working with his children. 

You had your share of struggle before the success of Woh Saat Din...

Yeah! For five years, I was like Fanney Khan. Fanney Khan would have given up and said, “I couldn’t do anything, but I’ll make something out of my child.” But I didn’t give up. I did background dancing and acting, was a junior artiste, did cameos, did everything. I was a background actor in Ek Baar Kaho, had a cameo in Shakti, junior artiste in Hamare Tumhare, and background dancer in stage shows. I did shows with Vimal fabrics. I’d do anything as long as I was paid for it.

I wasn’t getting work in Hindi films, so I went South and did films in Telugu and Kannada. My first leading role in a Hindi film was in Kahan Kahan Se Guzar Gaya. I did a film called Rachna, which never got released, and another film, Prerna, got shelved. I was already dating Sunita and wanted to marry her. But I couldn’t marry her until I was successful. I had no choice but to keep trying. Every Wednesday I would go to Mahim church, offer a candle and pray to Mother Mary.
Then Woh Saat Din happened and things changed.

When did you first feel that success was around the corner?

I think it was when I signed Mashaal. When I had the opportunity to work with Dilip Kumar, I knew I had made it. It’s the greatest role you can get when you can stand against Dilip Kumar. It was a film produced and directed by Yash Chopra and written by Javed (Akhtar) saab. What else do you want?

If you met someone who didn’t know your films, which ones would you recommend they watch?

I am one of those lucky few who can just rattle off 15 names at one go. I don’t even have to think. Starting with Woh Saat Din, Mr. India, Lamhe, Parinda, 1942: A Love Story, Slumdog Millionaire, Eeshwar, Karma, Ram Lakhan, Tezaab, Dil Dhadakne Do, 24, Mission: Impossible 4… there’s so much and so many. A film like Saaheb wasn’t a success but it’s a beautiful film. Then there’s Meri Jung, Taal, No Entry, Welcome, the Race films — fans talk to me about these films all the time. The characters I played in these films — RD (from the Race franchise), Prem (Slumdog Millionaire) or Majnu Bhai (Welcome franchise) have become so popular.

What would you say was the low point in your career?

When Roop Ki Rani Choron Ka Raja bombed. That was the lowest time not just me, but for the entire family. We had put in so much money into the film. Boney (Kapoor, his elder brother) lost so much and then Sri’s (Sridevi) mother was not well, so both of them went to Chennai. I was the only one in Mumbai and had to bear the brunt of that flop.

At what point did you realise that you needed to reinvent yourself, given that you wanted a long career?

I think very early in my career. Unlike a lot of actors, I didn’t wait until the offers stopped coming to reinvent myself. When I started my career, I was doing commercial films like Mohabbat, but I would go and meet Mahesh Bhatt. The films didn’t do that well, but I would do an Eeshwar or Awaargi. 

Then, in the second decade I had established myself and I used that success to woo someone like Vinod Chopra. I watched Ankush and asked N. Chandra to make my next film. After watching Masoom, Boney and I would talk about working with Shekhar Kapur. At the time, when Yashji (Chopra) offered me Lamhe, it was considered an arty film. I was the biggest star and he wanted me to shave off my moustache and play someone a lot older than Sri.

In the third decade, I felt I needed to do stronger characters rather than just being the leading man. So, I did films like Biwi No. 1, Taal, Virasat. And in the fourth decade, you see me in Dil Dhadakne Do, 24, Slumdog (Millionaire) and Fanney Khan.

If you look at me in Fanney Khan, I’ve aged myself. This is the oldest you’ve ever seen me on screen. I didn’t have to; he’s just a 50-year-old guy, but he’s gone through so much that I decided that he should look very old. The grey hair isn’t because of age, it’s because of his struggles and because of depression. I sat down for hours with my hairdresser to get the right grey look. She got so fed up of bleaching my hair that she said that I’d go bald if I didn’t stop. Every shirt I’ve worn in the movie isn’t worth more than a 100 bucks. They have shortened sleeves, a little tight around the stomach for my paunch to show. My bald patch is showing, hair’s a little scanty and I have a paunch but I’m playing a middle-class guy who has no job, no work, no money. He is not going to bother with how he looks!

After four decades in the business, how do you keep your passion alive?

For me, it’s not hard at all. I love what I do. I enjoy every single minute of life. Actors complain when they have to sit around a set, waiting for the shot to be ready, or do outfitting, or work in the gym. I can’t complain because this is what I have always wanted to do. This job is what has given me this life. Actors complain about how promotions are tedious, but when I am sitting here and talking to you, it’s like sitting in a cafe on the French Riviera. The wind is blowing through my hair and the sun is shining. Life is beautiful!

It can’t be easy to be this positive all the time. Do you worry about the day when the bouquets and offers will stop coming?

Of course, I do. But it’s a reality of life. The young always edge out the old. There’s no use having delusions. You have to accept this, sit back and relax at home, spend time with your wife, go for walks, read books. What else can you do? It’s not like you can threaten people for roles.

What is the hardest aspect of being an actor?

There is no method to the madness. No one can pin-point what works and what doesn’t work. Also, there’s no job security. Tomorrow, if you get injured or are unwell, you’d be out of job and that’s it. You are the factory and the product, so you have to always be mentally, physically and spiritually fit. Your eyes always have to sparkle; that drive that pushed you. You can’t become jaded or be tired, or you can’t emote. You can’t even feel angry in front of the camera; you need energy to feel angry. So, you have to be fit.

There’s a whole generation of women who have rediscovered you as a sex symbol. What is the secret of looking this good at 61?

Our bodies are like a car. If you buy a car and don’t take care of it or fill petrol that is cheap, don’t give it for servicing, don’t clean and polish it, it’s going to become junk. I take care of myself, I polish it every day and service it, internally, mentally and externally. For the last 10 years, I have maintained my weight around 72-74kg. I work out every single day, no matter where I am and how packed my schedule is. I also keep changing my workout. Sometimes I only do yoga or swim and other days it’s cardio and weights. Most importantly, I rest. Beyond a certain age, you can’t overuse your body. That becomes abuse (Laughs). So, you have to space out your work.

Are there actors from the younger crop who you’re curious to work with?

I really want to work with Varun (Dhawan) and Ranbir (Kapoor).

And, girls?

Oh! All of them! (Laughs)

Both Fanney Khan and your next Ek Ladki are directed by newcomers. Does that put a lot of pressure on you?

It’s scary, but it’s fun. There was a possibility that you went onto the set and they didn’t know what to do. So, I spend a lot of time in pre-production with them. With Atul (Manjrekar, director) for Fanney Khan, I did a lot of workshops, spoke and discussed, became friendly, understood him, how he wants to shoot a scene. And he understood me. By the time we got on the set, both of us knew what the other person would do on the set.

Have your reasons for doing a film changed over the years?

They keep on changing. In the early years, I was just desperate to get in front of a camera and showcase my talent. Once that started happening, I wanted to make money to get married and buy a home. I had to make sure that my children and family are looked after. So, the reasons for doing a film have changed. Today, once again, it’s again family — if I’m there working and still relevant, I can be a big support.

You are doing a movie with Sonam and another with Harsh. Did that happen organically?

Totally organically. I am very happy that both my children have found their own path in the industry. I have not launched them. They found directors and producers who saw the talent in them. Even these two films happened because they wanted to work with the two of them and me. We are not a package deal. Though I have to confess that I am very worried. It’s not easy to work with your own children; there are so many emotions.

Harsh hasn’t really found his feet in the industry yet. Have you advised him?

I think everyone has his own journey. The same questions were posed to Sonam after she had done five-six films. In her case, it was much more vicious where people said she doesn’t know anything. In his (Harsh’s) case, luck hasn’t been in his favour — he’s a very good actor, knows his job and he’s worked with the best. It’s just about finding the right film. He’s definitely in a better situation than I was. I didn’t look like a hero, nor did I look like I could be one. So I went off to South India to get roles. I went through a lot worse, but nobody knew me, so it was not magnified. But even when I was known, it was never easy. It’s better to have this phase now rather than be an actor who has had his first hit and then disappears into oblivion.

What do you hope the future has in store for you?

Just work. Lots of work. I’d want to either be producing films or acting in them.

A FEW OF AK’S JHAKAAS ACTS

Charandas (Chameli Ki Shaadi, 1986)
This little known Basu Chatterjee gem from 1986 found its audience years later, thanks to frequent television airings. Anil plays a simple, small-town boy whose only ambition is to become a wrestler; that’s until he meets Chameli.

Arun Verman / Mr. India (Mr. India, 1987) 
His character might have been invisible through most of the film but Shekhar Kapur’s superhero fantasy had Anil playing the wholesome Hindi film hero. He juggled being a compassionate caretaker of a group of orphans, romancing his pretty tenant and fighting Mogambo and Co. 

Munna (Tezaab, 1988)
Madhuri Dixit’s luminous smile and Ek do teen dance was a counterpoint for Munna’s passion and fury as a vulnerable idealist who turns into a rebel in the N. Chandra film.  

Lakhan (Ram Lakhan, 1989)
In 1989, Anil had the whole nation singing My name is Lakhan, as an affable rogue who lived by his wits. The perfect foil to the straight-laced Inspector Ram, played by Jackie Shroff.

Viren (Lamhe, 1991)
The Yash Chopra film didn’t do well but the love story is now hailed as one of Bolly’s most mature romances. Anil played Viren, who loses the love of his life only to have her daughter fall for him. This wasn’t an easy character to pull off and Anil’s subtle, soulful act was pitch perfect.

Shakti Thakur (Virasat, 1997)
Fun and carefree in the first half; intense and aggressive in the second. The switch from a happy-go-lucky guy to a powerful man of the house who takes charge of his turf is a startling contrast that Anil payed to the hilt. 

Majnu Bhai (Welcome, 2007)
As the flamboyant ganglord and painter (don’t ask!) Majnu Bhai, Anil’s comic flair came to the fore again and showed what a riot he can be. 

Prem Kumar (Slumdog Millionaire, 2008)
The West and the rest were introduced to Anil as the OTT game show host in Danny Boyle’s Oscar-winning film. A very long role, but Anil’s sly poker face and the way he pronouncced ‘millionaire’ made him stand out.