The HIndie Awards 2015: Acting Awards Part 2

The HIndie Awards 2015

Supporting Awards

 

 

Time to get to the fun bit of the HIndie awards;

The Acting Awards!

As much as I chastize Bollywood for their fascination for their actors (Such that they end the awards as the most prestigious parts of a film), I also love doing this part of the awards cause I feel I can write about performances better. 

Still as you can note, I'm not ending my show with the acting awards cause that in its entirety is an insult to the film and the makers of it. 

There's an odd rule I've put into the acting awards though, but it is of importance. Normally we see the male actor awarded after the female actor, being awarded the last is a sign of prestige (reiterated from above). 

As such it's unfair in a gender wise situation, just like our world. So instead I decide to award my actors on merit. 

So the rule is simple. There's four supporting awards to be given out. 

Despite gender, despite genre. Each award will come depending on the ranking of its winner. 

Example;

If Male (Comedy/Musical) winner is the best. Then that award will come fourth on this post. 

Followed by Female (Drama), then Male (Drama) and then Female (Comedy/Musical)...

it's a complicated rule, so you'll know what I mean once you see the awards...so let's just get to it...

HIndie Award for Best Actor (Male) in A Supporting Role (Drama)

So the winner of this category basically gives a fantastic performance but not as good as the winners after him in the Supporting stream. 

Anyways before we get to our nominees, the dramatic category had quite a few stalwarts who gave some staggering performances in their films elevating their materials in dramatic turns. Most as is the case with Hindi cinema, are villains with layered motives or friends that add great dramatic value to the journey of the protagonists. 

A true great supporting performer is one that provides the basis for great storytelling and makes you marvel at his acting without unnecessarily taking away from the leads. In moments they can be called to also step up and outshine their co-stars like a few do on this list. 

But first here are a bunch of actors who missed the cut; 

Ronit Roy (Ugly): Typecast again, Roy plays a no nonsense husband and cop with a personal vendetta that causes him to be blinded by the real task at hand in a performance that allows him to play around with his stellar histrionics. 

Narendra Jha (Haider): If only he had been in the film longer, for Jha's poignant rendition of 'Ghulon Main Rang Bhare' strikes an emotional cord. A fantastic extended cameo. 

Riteish Deshmukh (Ek Villain): He's no Choi Min-Sik, but Riteish really engages you with his finest performance but is let down by an awful film.  

Irrfan Khan (Haider): Khan dazzles in a rock-star like cameo that elevates the thrills and tension in Haider. 

Darshan Kumar (Mary Kom): Kumar is a terrific support to leading protagonist Priyanka Chopra, like Onler is to wife Mary Kom. 

Salman, Mamman, Thirupathi and Ashfaaque (Hawaa Hawaai): Four terrific children along with Partho Gupte that shine and shine through this underdog joy ride. 

Now onto the nominees...

  

Vineet Kumar Singh as Chaitanya Mishra for Ugly

There's something really fascinating about the gaps Kashyap leaves out regarding the relationship between Vineet's questionable casting agent Chaitanya and his ambiguous control over Rahul (Bhat). As Inspector Jadhav (Kulkarni) pontificates, if Chaitanya is a casting agent; then why doesn't he get more work for Rahul?

Kashyap builds much of the early going tension and mystery around the actions of Chaitanya, who from the onset is revealed to not be a good man. He then peels those layers to reveal the kind of trust he has built with Rahul, the kind of things he has done and is doing against him and finally the kind of friendship they've struck together. 

Singh takes all this into account in every frame. He never lets Rahul feel the burden of the debt he has on Chaitanya, but he never lets him forget either. Their scene in jail is well constructed by Singh's now scared and equally raging delivery and body language. It's a moment of true triumph for the actor as he steals the show thanks to that scene, in an ensemble full of terrific performances.

He carries himself as a man on a mission, with no real care for who he hurts. Yet as the climatic twist reveals he also does value his friendships. Singh is to play him with sleazy abandon, which he does. But he also adds a lot of undeniable but discreditable (Due to his actions all round) likeability to the role. 

Funny considering how truly Ugly he turns out to be and how well deserved his gruesome ending is.  

Manu Rishi as Samarth Pratap Shastri in Kya Dilli, Kya Lahore

Whether it be in writing or acting, Manu Rishi always knocks it out of the park.

His latest sees him straddle a conflicted character with the humorous inability to fight in a war where he is left without reinforcements. Shashtri is the army cook, left alone to fend off the adversaries in a house storing important documents regarding the Indian battle strategy.

Conflicted because on one hand he is a Pakistani Hindu fighting for India against his country, on the other he's a loyal army cook who doesn't get the respect he deserves. Through the film we delve into his and Ali's (Raaz) back-story and the two stories intertwine to prove that both sides are the same coin.

Rishi plays the character with fantastic undertones of emotions. A fear, a hatred and an undeniable bond of friendship forms between the duo and Manu really strikes all the chords with the audience. The last scene as he holds Ali's limp body in his arms is made harrowing by the powerful cries he bellows across the war torn area.

He makes you truly feel this one-off friendship.

Despite Raaz being the true lead of the film, as they say it takes two to tango and Manu Rishi makes quite the exciting dance partner.

Anil George as Vicky Duggal for Miss Lovely

There's something so genuinely chilling yet endearing about the bond Vicky shares with his younger brother Sonu. George in his breakthrough role balances this line perfectly, all the way to the end and in an ambiguous range of emotions, even beyond.

He plays Vicky with a brash, sleazy attitude and a controlling nature over his younger brother. You come to understand why Sonu is so stuck in this murky cesspool. That iron grip work is exemplified in the kind of body language and movement that George captures.

Behind the mask of this ruthless man he hides one aspiring to get big, behind that a genuine care for Sonu, behind that a lustful predator and behind that a harsh truth. These layers are deftly peeled by the actor so much so that they become the facets that form the character on the surface.

George knows the in and outs of the world he is playing in and he relishes the opportunity, balancing his act to perfection. In his emotions and interactions with Sonu, he creates a crackling chemistry with Nawazuddin. Here he truly outshines his now superstar co-star, like Vicky brilliantly beating him to the punch.

He reveals depths of sub-text, in his emotions conveying the idea that he could have been a Sonu before, but he saved himself from the destructive idealism.

It's a mesmerizing performance in a role that you come to understand but really hate. I don't think I could have been happier at his demise, and in that sense George wins everyone over.

Girish Kulkarni as Inspector Jadhav for Ugly

There's a wicked sense to Anurag Kashyap's humor, puncturing most of the tension in his film and revealing the depressingly disgusting depths of he's characters by propelling the narrative with comedy.

For that he requires an actor whose sharp with his tongue and raring to go. Nobody is more game in Ugly than Girish Kulkarni. He gets two really fun scenes to revel in the narrative, reveal his character and above all else like a magician distract the audience to pull of the films moving trick.

He shows that he is in fine tune with the script and the sub-text it hides, by pulling of his delivery and mannerisms with a devilish hate that Jadhav has for a people given better in life than him. He doesn't make points of these nature overtly dramatic, but rather paints them as a part of the man's growing frustration and wicked ways.

Kulkarni's own rendition of in movie item song 'Nicchod De' is simply hilarious, an underrated part washed away by his humorous narrative deflating conversation on actors names and phones.

The talented Marathi actor like the character he is playing, is for a moment and more able to distract the audience from the other performances and truly steal this show.

Tahir Raj Bashin as Walt/Karan Rastogi for Mardaani

I don't think I've hated a character as much as Karan Rastogi since King Joffery, or cheered for his death as much.

That is the hallmark of a great actor.

To be able to truly, get under your skin and move you to react the way his/her director wants the audience to. Despite it's somewhat questionable ending, Mardaani works because Bashin imbues the man with such a calm and insensitive demeanor to do what is necessary for himself at the expense of innocent lives. You truly root for his death even though the end seems in itself contradictory and vengeful fantasy.

But the one scene that Bashin captures you in, truly makes Karan rounded if not likeable because come on, he's a monster. It's when Karan finally realizes that Shivani (Mukherjee) has come so close, that it forced Wakeel (George) to kill himself.

Is Wakeel Karan's father? No idea. Did they share a loving bond? Maybe.

No matter, cause Bashin really sells the relationship with his silent expressions of frustration and rage. He picks up right from there to shoulder a wonky climax where his body language echoes equal amounts of cunning as it does fear of Shivani and the repercussions to follow.

It takes a true talent to stand up to someone of Rani Mukherjee's caliber and Bashin equals if not surpasses her, with a star making turn.

  
Manav Kaul as Vishnu for CityLights

There's a point where Manav Kaul's raging dictates against the hand that fate has dealt him and the dredge this city has thrown him into, make you realize that his actions against everyone despite how they affect Deepak (Rajkumar) are justified.

Within the contortions he forms on his constantly glum and conniving face, Kaul reveals a heart and idealism he might have had just like Deepak after him. He mines an untold back-story that tells of a character we are totally unaware off, so much so that his death despite his actions hit hard and heighten the tension in the drama and the ideology of the city swallowing its poorest, whole.

Kaul crackles in his chemistry with Rao and their play off each other working the films climatic high. He really succumbs to the whims of his characters darker side, allowing the viewer to believe in the actions Deepak will have to commit to and the naive heroism of the protagonist.

He's a great friend and foe, but above all else Kaul plays him as the role defines. An honest, true and perfect supporting actor that elevates his leading man's performance to the next level.

  
KK Menon as Khurram Meer for Haider

The profound way by which Menon balances the his character, instead of going for an easier one note portrayal is applause worthy. Whether he is outshone by Kapur and Tabu or not, he can take one thing away and that is unlike them, his accent never slips through the feature.

You truly can believe this is a Kashmiri man. What you cannot believe are his true intentions, motives or emotions like the ambiguous theme of the film. He paints Khurram as a conflicted but opportunistic individual, a man who mercilessly sends not only his people but his own brother into deaths arms yet also genuninely reflects that he cares for his family especially his 'bhabi-jaan'.

Unless of course he's playing everyone like the end on a surface reflects. There's so many facets to the characters and its entertaining to see Menon deftly peel those layers back to reveal not only a murky mind but also a soft heart.

He truly shines in the last scene, begging for relief from all the bloodshed, begging Haider for his death. He plays it like a selfish act, because he's lost his limbs but look at his eyes and you see his true love for Ghazala break through.

In truth Ghazala is better off with Khurram, despite his questionable actions and their semi-incestuous relation because he is the only male character who purely cares for her. The balance between evil and caring is perfectly captured by an underrated actor, I hope gets more work that he is deserving off.

Take a bow, KK Menon. Leaving a mark against the tide of Tabu and Shahid, would have been no mean feat.


And the Winner is...

Anil George as Vicky Duggal for Miss Lovely!

HIndie Award for Best Actor (Comedy/Musical) in A Supporting Role (Female)

The female comedy/musical nominees are stacked with performances that are staggeringly powerful while genuinely allowing female actors to be balls to walls hilarious. There's no one of these actors who didn't make me laugh. 

There's a few however who didn't make the cut, well actually just one. 

Amrita Singh (2 States)-Playing the stereotypical Punjabi mother, Singh is hilarious as she can be. Her timing is perfect, but she's also the only actor who also really hits it hard in the melodramatic portions carrying her heavy sub plot perfectly. 

I could have nominated her, but she didn't feel as good to fairly match up to the next six. 

Let's see who's (slightly) better than Anil George...

Lisa Haydon as Vijayalakshmi for Queen

Given an author backed role, Haydon is a true reflection of how far Rani (Ranaut) needs to learn about the world to open her eyes and become the blooming butterfly she is at the end.

At first Haydon's character is shown to be a stereotypical party girl, but she's revealed to be more and Haydon carries forward all facets into her short but game changing performance. The first, Haydon learned French for the role in about a month and she fluently pulls of the accent and incorporates her dialogue into it. Rarely does an actor go that far in Bollywood, she's pitch perfect, she puts in the effort and that is truly commendable.

She switches between the party girl to the doting mother to the understanding friend so smoothly that her character comes of perfectly real and endearing. Like with Chintoo and Rani's Father, your hooked to Haydon not only cause she's stunning but coolly engaging on screen. Her presence is really felt and meant.

As she would say, Vijay nahi hua toh kya hua? Lisa Haydon toh hai!

Anushka Sharma as Jagat 'Jaggu' Janani Sahni for PK

Despite once again playing the perky (this time with a pixie cut to boot) character, Sharma is fun to watch in a performance right up her alley. She nails the points of mischievous antics she and PK get to in their intriguing adventure.

She works wonders with much of her characters annoyingly downgrading material and elevates it to a point that the emotional crux of the film barring the message hits the heart. It's a wonder to see an actor so capably handling the kind of melodrama the writers dole out here.

She also has some whip smart chemistry with her co-stars, giving each one the tools especially Aamir to work their performances from. PK is far from Ansuhka's best, as aforementioned it's a culmination of everything she's done so far as a marginalized actor but it's a boost that will hopefully help her upcoming big year.

Seema Pahwa as Amma for Ankhon Dekhi 

The firebrand that like keeping the family together, keeps the comedy rolling. Amidst a tender turn by Sanjay Mishra, Pahwa leaves her mark as the nagging, old, cranky matriarch of this close family. She's a highlights in the films most hilarious scene as she breaks down over her Husband's foolish insistence of his philosophy and due to it, losing his job. 

Another scene sees her fight with the younger woman of the house (her sister-in-law) when she gets burned, it's a small reaction that she perfectly makes believable while being melodramatic enough to enhance the dimensions of her character. 

Pahwa's not only a one trick pony though. Real human moments, allow her to express a wide range of emotions. When she sees Rishi (Kapoor) for the first time in a long time, she is genuinely moved and joyous. She relents upon him in desperate fashion to come visit, because she knows what it would mean to her senile husband. 

She walks on the tight rope over her daughter's boyfriend (Namit Das), treating him with care after having heard bad things about him and believed them, yet she also is snippy and careful to make sure he isn't as bad as the world says. 

In all these instances Pahwa wrings out everything from these scenes and makes you realize how hard she works to pull off the family vibe in this small city area. She instantly makes Amma relate-able and understandable. 

Huma Qureshi as Muniya for Dedh Ishqiya

There's these subtle shifts in tone and context that Qureshi brings to her delivery, that really keep you on the edge.

What are her motives? Where is she taking the narrative?

If it weren't for her firebrand performance, these questions would truly neither resonate nor allow the palpable tension in the film to engage the audience. She's witty at times and at times adds a lot to the foreground with her expressions but more so in the background.

It allows her to steal the show in key moments and really add depth to the characters around her especially Beghum Para. The way she moves her hands, the language and expressions she portrays when in her presence, those small expressions she gives towards the men.

It all really comes together thanks to the power packed revelation.

Qureshi is completely in tune with this film and that is the kind of top notch performance a director demands, and she delivers in spades.

 

Dimple Kapadia as Rosalina 'Rosie' Eucharistica for Finding Fanny

If there's a point in Finding Fanny that totally wrenches your heart.

Then it's the expression Kapadia gives when she's told she's empty inside. That her soul has just been washed away. It's the truest moment of the film, yet the one that hits hard.

Prior to that Kapadia plays Rosy like she has to, pompous, arrogant and pushy. Small layers reveal a tender heart, a touching relationship between the two widows (her and Angie) and an undeniably desperate sadness masked by an unhealthy pride.

It all washes away in the details of the film, in the revelations but never does Kapadia let the mask slip. Until that priceless moment, and she tears your heart into shreds and makes you instantly love the character.

Not pity her but know her pain .

It's a moment that makes you hate Pedro, a moment that makes you relish the sweetness of Freddie and Angie (towards her).

Above all it's a moment that defines Rosy and her whole arc.

Just a vacant expression.

To say so much with so little, only a great actor can do that.

What truths does that reveal about Dimple Kapadia's performance?

That's the answer for you to find (pun intended). 

Kalki Koechlin as Vishaka for Happy Ending

If there's anybody that tickles your funny bone throughout this atrociously made flick (by two amazing directors), then it's none other than the always enchanting Kalki Koechlin. 

As the clingy ex-girlfriend who wont go away, Koechlin pulls everything from her repertoire and rom-com stereotypes to equally parody and portray her character with infectious verve. She's genuinely touching in the moments where she confronts Yudi (Saif) for bein a terrible person but she also keeps in touch with the undercurrent of comedy. 

Her shining scene is towards the end when she in a heart breaking, heart warming and laugh out loud way reveals that Yudi is not obligated to be bound by her, cause she isn't pregnant. It's a scene where Kalki's expressions and delivery sell Vishaka's ditziness, sweetness and overall crazy cunning. 

Kalki has always been a fascinating actor, and hopefully some people will be bothered to check out this movie just for her. 

And the Winner is...

 Dimple Kapadia as Rosalina 'Rosie' Eucharistica for Finding Fanny

HIndie Award for Best Actor (Male) in A Supporting Role (Comedy/Musical)


Comedy has always been a position where a multitude of stunning character/supporting actors have shined. This year provides a mix of young talents mixing with experienced thespians, including an actor from my own university Whistling Woods International (Anil Mange). 

They all give some of the most hilarious performances with great flourishes. 

There were also a few who didn't make the cut;

Anupam Kher (Dawaat-E-Ishq): Kher is the shining beacon in a somewhat disillusioned film. He hits the right notes with the accent and makes a case for a great and abiding father. 

Sanjay Dutt (PK): It has been years since Dutt has shined on screen, re-teaming with Raju Hirani adds the required zest to his performance as he makes for quite a funny man for PK's early misadventures. 

Parth Balerao (Bhoothnath Returns): The young prodigy is fantastic as the mouthy street kid who meets Bhoothnath. He has a great knack for a sense of humor and like his character, he really takes it to stalwarts like Amitabh Bachchan and Boman Irani. 

Nawazuddin Siddiqui (Kick): Scenery chewing at its best, Siddiqui is a delight to watch in his first major commercial role and knocks it out of the park as the off-kilter, manic and mesmerizing villain of the piece. 

Now onto the nominees...

    
Vijay Raaz as Jaan Mohammad for Dedh Ishqiya

As Jaan Mohammad, Raaz is quick to pull off his refined comedic chops in the mustachioed villain formula that he's been playing oh so well for so many years. Yet somehow the actor, who through his understated career has transformed so brilliantly, despite his actions, brings a heart to a character who you can truly believe loves Beghum Para (Dixit).

There's genuine affection there and Raaz never fails to show it. His delivery is terrific as ever especially the slight distinctions he creates between his pretense as a soft poet and the ruthless criminal politician he truly is. Raaz has also mastered the art of swearing perfectly, on screen.

But the best he leaves for last, beaten, bruised and shamed; Jaan is revealed to be nothing but a man trying to acquire the status of royalty. His garbs are ripped of by his enemy Italvi (Pahwa) and he stands there, blood dripping from his head shamed. In the background 'Woh Jo Hum Main' plays (for the romance of the other characters), but Raaz matches that tone (intentionally or unintentionally) with a pitch perfect melancholic face.

At that point Jaan has lost everything, he has lost the fight and his true dignity but the method with which Raaz positions himself, his expressions and his head, then you truly believe that love he had for Para.

There's many such moments of genuine expression hidden through the film, that Raaz uses to reveal his character which he does oh so brilliantly, like always.

Rajat Kapoor as Rishi for Ankhon Dekhi

A man of many talents, Rajat Kapoor's first love will always be acting; and it shows.

As the stern and conflicted Rishi, Kapoor brings a great physicality to his role. He's staunch, upright in position and tight fisted. There's always a sense of a scowl on his face and his frustration clearly shows in his eyes.

Kapoor works well around the dialogue, revealing an intriguing dynamic with his brother and an equal amounts of sadness from leaving the house as well as remaining in it. Rishi's your typical middle class bread-winner and he plays him as such.

The little ticks are where Kapoor hits it right, it reveals a lot about the kind of admiration and love Rishi has for his elder brother. From the scene where he hates his brother's foolish ideology but more importantly people for mocking him, to when he questions his brothers pride for not visiting him in his new house.

He asks, couldn't his brother have been happy for him and hugged him. It's a moment of vulnerability that he genuinely conveys with just his eyes. Another is the finale, as Rishi breaks down crying and having a tearful reunion with his brother. It's a moment where Kapoor deftly peels the layers and removes all masks, to reveal how soft and family loving Rishi is. He makes the character endearing and relate-able.

It's apt after all that in his finest movie to date, Rajat Kapoor gives his finest performance.

Inaamulhaq as Aftaab for Filmistaan

In the purest sense, Aftaab becomes Sunny's shadow through the film. A true friend, who is willing to leave his home, his family and most likely die to makes sure that Sunny gets back. For that, the filmmakers could not have found a much more perfect actor then Inaamulhaq.

Already a surprise award winner at some Hindi film show, Inaamulhaq plays Aftaab with an infectious genius. Like with Sunny, he really makes you feel for Aftaab's passion for cinema. For watching it and making it.

He also blends this well with a smarts when it comes to avoiding the militants and convincing the army men. His struggle to decide between saving Sunny or the safety of himself and his family is beautifully conveyed in Inaamulhaq's body language.

Where he however shines, is in the rapport between him and Hashmi. The duo play off each other in such fantastic fashion, that they create a lump in your throat towards the ambiguous climax. Like with Hashmi, Inaamulhaq is one hell of a genuine find.

Rajkumar Rao as Vijay for Queen

From LSD to Queen, does anyone play an asshole so better and so different each time, then Rajkumar Rao?!

As the character that gets the ball rolling for Rani's transformative journey, Vijay as she would put it deserves a 'thank you'. With Queen, Rao plays him as a dolt, a man wanting both sides of the coin; a hot/good looking girl but also a simple/homely wife. Could he be anymore of an ass? Well Rajkumar is actually fascinatingly; real as Vijay.

You will find these people not just in Rajohri or Delhi, but around India. His constant accent weaves around a character trying hard to fit in with his foreign friends and then retain that Rajohri macho man attitude.

He sells his expressions perfectly, scenes to prove his love for his so called Queen to his rage and charm due to his thought of ownership over her and finally his regret and shame at losing her.

Queen might be Kangana's film, but without Rao, her arc would not have had that zing for us to cheer at the end. He is the perfect foil for the Queen of Bollywood of 2014.


  

   

Pankaj Kapur as Don Pedro for Finding Fanny

Don Pedro presents a great dichotomy and friction during the journey with the other characters in Finding Fanny. They're all looking for something, he's found it (wealth, Rosalina). There's is an emotional gain, so is his but tied to a materialistic purpose. 

It allows Kapur to play a character who is constantly out of tune with the others and their heavy arcs. In a base sense he gets to be the funny man (despite everyone being hilarious), his leering and somewhat lusty eye towards Rosalina makes for laugh out loud comedy. His exclamation of her soulless being and of his artistic fervor to make her into something, reveals a pain he wont understand due to his self obsession. 

It's these powerful bits that allow Kapur to really flex his acting muscles. The small ticks he brings to his performance are fantastic, he reacts to each situation with brilliance whether it be a biscuits dissolving into milk to a gun shot to the head. 

This gives Don Pedro a well rounded feel whose jarring with the others makes for a much more interesting chemistry then the fight and make up situation that the other four go through. As always Pankaj Kapur steals the show. 


 

Anil Mange as Abhinandan for Hasee Toh Phasee

In a year full of sometimes poignant, sometimes dark and sometimes touching performances, it's Mange who is a ball of laughter in the comedic genre. Scene to scene, he is a laugh riot.

From imitating Anu Malik, to poorly trying to make Meeta fall for her; Anil Mange as Abhinandan nearly steals the whole show. He's got some genuinely great chemistry with Chopra, where the two hit comedic vibes of each other.

He's a stellar discovery in a (as the terrible marketing puts it) cucking frazy film, as the cucking frazy lovelorn loser. His expressions, body language and above all beat box imitations have you rolling on the floor.

It's sad that this year saw a bigger breakthrough (that of Sharib Hashmi) cause Mange is an equally talented actor worth watching out for. Check him out as the scared Shiva in PK. 

Gopal Dutt as Jawwad for Filmistaan

(The man in green with the weapon, for those not in the know). 

Dutt is that type of an actor who can easily slip away from one's eye. It's cause he's so natural on screen and so there, that you take him for granted. On his IMDB page, there are only four films listed, yet I feel I have seen him in many more. 

As Jawwad, I truly believe that Dutt gets one of the better if so cliched arcs. Unlike Kumud Mishra's Mehmood, he is not so sure of this militant idea and his own religion's restrictions. On the other side unlike the two (Aftaab and Sunny), he does not indulge in the fun of cinema. 

Yet at it's core that's why the message works. Cinema binds together people of different cultures and ideologies. This internal conflict may not come out forthright, but a constant powerful expression lingers on Dutt's face that you feel yes he is having a change of heart or trying to stop one. 

It's truly powerful stuff from Gopal, that makes me question whether it's my love for the arc or that Dutt is so natural it doesn't feel like his acting, that I nominated him. 

No matter what, as a silent oft taken advantage of character actor, Gopal Dutt deserves this one. 


And the Winner is...

Pankaj Kapur as Don Pedro for Finding Fanny!

HIndie Award for Best Actor (Female) in A Supporting Role (Drama)

It hasn't been a year where you see female actors really succeed in quantity with the supporting role, especially in dramatic movies. It's a role even in the times of mother and sister roles, that women would get in abundance. 

While quantity hasn't been a factor with female characters this year, it has all been thankfully about quality. No wonder the winner here is the last supporting actor to be awarded. 

There's really nobody worth an honorable mention, so here are the nominees...

Neha Joshi as Taramati Waghmare for Hawaa Hawaai

Melodrama is a real hard part to crack, especially with the stigma it carries in Bollywood as a sense of bad acting. 

Yet in the final moments of this uplifting film, the young and talented Joshi pulls this off with aplomb and literally tears the film away from most of her supporting cast. 

As the mother on the outside of her husbands successes and failure, her sons aspirations and the duo's relationship, Taramati could have easily gone unnoticed yet Joshi doesn't allow that. In a film full of great performances, she fights for her space and shines. 

There are only a handful of moments where the viewer will notice Neha Joshi, but those are made profound by the impact of her expression of instances. 

She makes a big splash with a small pond and is one of the major reasons to catch this inspiring flick. 

Tannishtha Chatterjee as Kajri for Jal 

Let me ask a simple question, whose the best female actor of this past 2000's generation?

Priyanka? Vidya? Deepika? No!

It's Tannishtha Chatterjee. 

The fantastic actor has a highly acclaimed filmography, with a number of as yet unreleased critically lauded festival films. She's also shone in bit parts in films such as Anna Karenina, Road Movie, Brick Lane, Bhopal and Gulaab Gang. 

A few bad, a few good and a few uneven films, in which she has managed to really perform. 

Jal is one such uneven film, where no matter what Chatterjee bowls you over as the rejected woman who would do anything for her love Bakka (Kohli). 

A slightly sexist scene (if seen from one viewpoint) allows Chatterjee to really express her prowess as an actor. It's where she offers up herself to the villain (Mukul Dev) in favor of him raping Bakka's wife Kesri (Kirti Kulhari) because she would do anything for him. 

It's a scene where Chatterjee really sells not only her love for this man whose presumably murdered her brother, but also her anguish at letting her dignity slide. It's a conflicting and strong yet sad choice Kajri has to make, but it's Chatterjee who really gives weight to it. 

Chatterjee in my opinion is despite the limited I've seen of her, possibly the finest female actor working today from this generation that is. 

Tabu as Ghazala Meer for Haider

As Ghazala Meer, Tabu is the binding force of the whole narrative. As a metaphor for Kashmir, she is basically the crux for which Haider's revenge saga comes into motion. Khurram loves her and wants her, thus he eliminates her husband. 

Haider wants to now take out his uncle for the same reason. Behind them the real political and militant battle for Kashmir wages on. 

Spellbinding, mesmerizing and ethereal, Tabu is pure poetry in motion as the centerpiece of the conflict. She's top notch in each little facet of her acting, as such we are unsure of what she knows, what she hides and how actually she fits into any side of the equation and this is for a Hamlet reader. 

She really works wonders with the theme of ambiguity. 

An example of this is the scene of Haider dreaming of Roohdar and his dead father urging him to get his vengeance. It's a scene set in the place where Haider slept, with his mother beside him. Tabu lifts her head and gives an expression of such impactful realism, that you actually believe her husband might be alive saying this. 

Yet its nothing but a dream. 

Her chemistry with Shahid is off the charts, and she wonderfully pulls of her last questionable kiss on her sons lips revealing untold dark desires. Her eyes do all the talking when she confronts Haider at their burned home and as she looks in the mirror. 

Tabu has always been the most understated female actor, hopefully the success she has claimed with Haider pushes her into the stratosphere she deserves to rule over. 

 

Sharaddha Kapoor as Arshia Lone for Haider

There's one haunting moment in Haider that allows the young starlet to shine, despite being put up against stalwart performances. A moment of scenes that is. 

The first is when she begins to present signs of madness as she mourns the death of her father, Ghazala tries to talk to her about Haider but she is oblivious to her musings, rather singing a song. The second is a few scenes after, where she unravels the red scarf she had gifted her father and holds a gun with her. 

It's in those moments that Kapoor becomes Ophelia from Hamlet. The character that in a bloodshed war of revenge, loses her innocence and is forced to be the one to sacrifice everything including herself. She pulls it off amazingly. 

The other sticking point of her performance is how spectacularly she has a grasp over the accent and diction of her character and her roots. It's a scene of hilarity as she says Love-d and Kapoor is once again innocently luminous and genuine. 

Kapoor is proving to be another young female actor who has her acting right on the money, hopefully she avoids doing shrill annoying types like in Ek Villain and gets more chances with a multitude of directors who can steer her to power packed performances like this. 

Niharika Singh as Pinky for Miss Lovely

There's an Oscar nominated performance this year by a breakthrough actress that is chilling and scary but relies on one of the greatest things the role could demand.

An opacity.

Where the actor's expressions are so vague and so unrevealing, that we don't know where the character is leaning towards.

One such performance in Hindi cinema last year was Singh's in Miss Lovely. It worked for that film and it works for this one as well.

The strengths that Niharika Singh has as an actor come to the fore in this dreary period piece.

Her vacant eyes and luminous face constantly avoiding the viewers questions as to where this film is going and whether Sonu will get out. Those are questions that could have been exciting, but here become a stark examination of character.

Parallel to that is Niharika, working into the vision of her director and our mind's as a lurid dream and a melancholic nightmare.

The world calls such a film an art piece, then Niharika is the masterstroke.

She's hiding something, she's something else. Pinky's the most desirable, Pinky is a symbol for a better world.

Pinky is Miss Lovely and that is how Niharika pulls her off.

To do that in just your first film alongside Siddiqui . To do that with such stunning beauty. To do that at all.

Is an achievement worth tipping the hat for.

The icing on the cake is that Niharika Singh plays the ambiguity nearly as terrific as the best performance of Hindi cinema in 2014 (which you will know soon enough).

And the Winner is...

 

 Tabu as Ghazala Meer for Haider!

So that's it for the list of winners in the supporting category, here is the ranking of the best performances in each section:

4. Anil George for Miss Lovely (Male-Drama-Supporting)

3. Dimple Kapadia for Finding Fanny (Female-Comedy/Musical-Supporting)

2. Pankaj Kapur for Finding Fanny (Male-Comedy/Musical-Supporting)

1. Tabu for Haider (Female-Drama)

We'll see where the leading winner fit in. 

Up Next: From a smoldering turn as a young man hellbent on vengeance to a woman fighting to become the boxing legend she will one day be. From a wife of an aristocrat looking to break the shackles to a soft spoken man on a journey to find love...the Leading Actor Awards!

'Nuff Said

Aneesh Raikundalia