Breaking bad: How the world of villains has changed. Danny Denzongpa (right) plays Kancha Cheena in Agneepath. Mainstream Hindi cinema is easy on our conscience. We know who the good guys are, who the bad guys are, who we should root for, and who needs to die in the end (unless the cops turn up and play spoilsport).

Also, in the world of Hindi cinema, villainy often has a kind of magnetism that heroism rarely has: Villains come wrapped in an abundance of charm, confidence, cunning and control that heroes (female ones included) barely possess. In scene after scene, movie after movie, heroes bluster on with lines of heavy dialogue, while the villains sedately smoke cigars, or nod indulgently with amused smirks on their lips; heroes blunder their way through the plot, falling prey to temptations and travails, while villains remain steadfast in their ideals and objectives. If the hero manages to finally prevail over the villain—often with the help of generous amounts of luck and chance—it is almost always because good must prevail over evil (audiences don’t take too well to cynical plotlines), and not really because the villain comes up short. We are all too aware that villains are perhaps better than the heroes in every which way, except in that sticky department of morals. RELATEDEDITORIAL: Celebrity Inc. OVERVIEW: Salman Khan tops 2.

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And the lines were clearly demarcated among actors and even at award ceremonies. Indian film awards follow this strict demarcation by having separate categories for actors in ‘a negative role’, unlike, say, the Oscars or the Baftas, which have no such category. It is almost as if we are morally obligated not to award a villain the award for the best actor. Or is it because we know who the better actor really is? From the 1. 95. 0s to the 1.

Pran, Premnath, Ajit, Prem Chopra, Ranjeet, Amjad Khan, Amrish Puri, Gulshan Grover, Shakti Kapoor, and Kiran Kumar are some of the most prominent ones. While it was not entirely unusual for these actors to portray non- villainous characters—Pran being the most prolific in this category with roles such as Sher Khan in Zanjeer, Michael Gonsalvez in Majboor and Jasjit in Don—it was unthinkable that an actor who played the hero would take on a negative role. Even when heroes crossed over to the dark side—Amitabh Bachchan, most notably, in Deewaar or Kaalia—they did so for the sake of their families, which automatically justified all their crimes in the eyes of the audience; alternatively, they started out as baddies, and eventually grew a heart of gold.   And then along came the upstart called Shah Rukh Khan in 1. Hindi cinema.(But more on that later.)                                                                          ***Though there have been villains of varying kinds, it would not be entirely inaccurate to claim that the myriad faces of the Hindi cinema villain are representative of their times. At different points in time, different groups of people have been considered ‘bad’ by society, giving rise to discernible patterns in the way villainy has been portrayed on screen.   In the 1.

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India grappled with land reforms and the abolition of the zamindari system, villainy came in the shape of the landlord. Long vilified in Indian literature as the embodiment of all things oppressive, unjust and evil, the zamindar—and all its variants, such as kunwar saab, raja saab, rai saab, raja thakur, etcetera—was a character that was easily identifiable. An early example of this is the character of Thakur Harnam Singh in Bimal Roy’s Do Bigha Zamin (1. Insecure, greedy and manipulative, he brings ruin upon the farmers who till his land (by planning to build a mill on it), and in particular to the family of Shambhu Mahato, immortalised by Balraj Sahni.

But while Harnam Singh portrayed a middle- aged landlord facing uncertainty in the face of land reforms, Ughranarayan from Bimal Roy’s Madhumati (1. Portrayed by a suave and dandy Pran, Ughranarayan is the quintessential young, absentee landlord who rules by the lash of his whip. Dressed in riding breeches and knee- high boots, or ornate dressing gowns, he towers over Dilip Kumar’s righteous and soft- spoken Anand. Clockwise from top left) Ajit (left) plays gang leader Teja in Zanjeer; Amrish Puri (left)as Mogambo in Mr India; Kulbhushan Kharbanda (left) as Shakaal, the sadist crime lord, in Shaan. Image: Express Archive Photo.

One of the incarnations of the tyrannical landlord was the oppressive moneylender. A fixture in the fabric of rural India, this was another character that easily lent itself to villainy. For instance, Sukhilala in Mother India (1. Radha (Nargis) and her sons Birju (Sunil Dutt) and Rama (Rajendra Kumar).

So death- like was the grip of account books on the lives of farmers that Birju, in his ultimate act of revenge, hurls Sukhilala’s ledgers into a blazing fire. The feudal hangover continued well into the 1.

Kunwar Saab in Teesri Manzil (1. Ranjit (alias Bhupender Singh) in Johny Mera Naam (1. Premnath. Both characters belonged to the rich and landed aristocracy—they were impeccably dressed and lived the good life while being corrupt and ruthless in their ways. Meanwhile, in parallel cinema, Sajal Roy Choudhury, for instance, played the greedy moneylender in Mrinal Sen’s Mrigayaa (1. Mithun Chakraborty’s debut film, while Naseeruddin Shah played the arrogant subedar in Ketan Mehta’s Mirch Masala (1.

By the mid- 1. 97. Hindi cinema as the realities of independent India changed rapidly. Watch Sunflower Full Movie.

Moving on from the vestiges of a colonial past, villainy now came in the form of those who broke the law of the land. And who could break it with as much frequency and panache as Bombay’s ganglords and smugglers? Following the ban on gold imports post- independence, gold was (and continues to be) one of the most coveted commodities smuggled into the country. Thus emerged characters such as Teja (Zanjeer, 1. Shakaal (Yaadon ki Baaraat, 1. Deen Dayal, better known as ‘Loin’ (Kalicharan, 1.

Ajit. They were rich and flamboyant characters who ran crime networks, employed tough- looking henchmen, had female arm candies, and paid off corrupt policemen. While in the badlands of Bombay, mention must also be made of the exploitative owners of mills, factories and businesses; in a way, they were the modern- day versions of the landlords and moneylenders. Although these characters did not often occupy much screen time or space, they created the socio- economic background against which the hero rebelled. Instances of this have been seen in Namak Haraam (1. Deewaar (1. 97. 5), Trishul (1. Kaalia (1. 98. 1) and Laawaris (1. Clockwise from left) Karan Johar's 2.

Agneepath saw Rishi Kapoor and Sanjay Dutt don menacing new avatars; Nawazuddin Siddiqui in Gangs of Wasseypur IIHowever, the villain who stood head- and- shoulders above all the rich, urbane, and flamboyant bad men of the 1. Gabbar Singh of Sholay (1. Hindi cinema had seen dacoits before—from Pran in Jis Desh Mein Ganga Behti Hai (1. Prem Chopra in Mera Saaya (1. Gabbar. Unlike the dacoits of past films, Gabbar did not abide by any honour- among- thieves rulebook, and killed his own men with as much glee as he killed hapless villagers. The flamboyance of the 1.

Heralding this era was Shakaal, played by Kulbhushan Kharbanda in Shaan (1.