The Power of Character Writing: How Memorable Roles Win Hearts But Can Overshadow Actors in Cinema | Hindi movie news

Writing compelling characters can turn even a small role into a show-stealer, cementing its place in the audience’s memory. A well-written character, combined with excellent acting, becomes a cultural touchstone, causing audiences to cheer, laugh, or even cry.
Consider Arshad Warsi’s portrayal of Circuit in ‘Munna Bhai MBBS’ and its sequel, ‘Lage Raho Munna Bhai’. The role of Munna’s loyal yet humorous sidekick resonated with the audience thanks to Warsi’s impeccable writing and endearing performance. Circuit became synonymous with comic timing, loyalty and an undercurrent of vulnerability, making him one of the most beloved characters in Indian cinema. In conversation with Indian Express: Arshad Warsi revealed why he made the film. “I played Munna Bhai because it was Sanju (Sanjay Dutt); otherwise, even Raju (filmmaker Rajkumar Hirani) knows it (Circuit) is a stupid role. It’s really on paper; it was nothing. Even Makarand Deshpande would have said no to Circuit!’ The actor further shared that he accepts or rejects a character based on the potential of a script. ‘I listen to every script purely as an audience member. Would I like to see what I’m doing? It can be any genre; it can be anything, but it has to be something the audience would like to see. After listening to the story, it is your gut feeling that tells you whether you want to do that film or not,” Arshad added.
Similarly, Jim Sarbh’s Malik Kafur in ‘Padmaavat’ proved how nuanced writing can take even a supporting role to the next level. As Alauddin Khilji’s trusted assistant and lover, Malik Kafur was layered, unpredictable and utterly captivating. Sarbh’s portrayal added depth to a character that could have easily been reduced to a stereotype, earning him critical acclaim despite limited screen time. In one of the interviews, Jim Sarb also mentioned that his character Malik Kafur was already well written. “Most of it was written into the script. As soon as I read it, all these ideas about subtext came into my head. I wanted to do it immediately. That can only happen when the character is very clearly encoded in the words. Then I believe that because Sanjay (Leela Bhansali), sir and I got on the same page quite quickly about the character’s irreverence, we could sketch him with more clean strokes, and we could try to add layers and depth at every turn regarding that specific one scene, the line is already there: “Aur koi khidmat?” Sanjay sir and I played with the question of whether only the line was needed, or the gesture, or the line and the gesture together,” he told First Post.
Satish Kaushik‘s unforgettable characters, like Calendar in ‘Mr. India’, Pappu Pager in ‘Deewana Mastana’ and Mutthu Swami in ‘Saajan Chale Sasural’ testify to how writing and performance can create timeless cinematic moments. These roles were crafted with humor and heart, and Kaushik’s impeccable comic timing made them iconic. Even today, these characters remain etched in the hearts of audiences, showing how side roles can become crucial. Another example is Ashraf Ul Haq’s Smakiya in ‘Fukrey’, a seemingly minor character (a roadside drunk) who becomes an unexpected savior for the protagonists. . Despite limited screen time, Smakiya’s humor and wisdom made him a game-changer in the story. Bobby Deol’s silent, dialogue-less role in ‘Animal’ is another brilliant example. His character’s stoic presence and raw intensity added layers to the story and at times even overshadowed the lead role. Without a single line, Bobby Deol left an indelible impression and proves how powerful character writing can elevate performances above words. Omkar Kapoor’s portrayal of Kishan, the ‘Chota Baccha’, in ‘Masoom’ remains fresh in the minds of audiences even decades later. The character’s innocence and charm, combined with powerful writing, made it unforgettable. However, when Kapoor returned as an adult, his work failed to recreate the same magic. His childhood role was so impressive that it overshadowed all his subsequent appearances. Then there is the silent Sardarji from ‘Kuch Kuch Hota Hai’, played by child actor Parzaan Dastur. With just one line – “Tussi ja rahe ho?” – and a handful of expressions, Dastur managed to carve out a permanent place in the history of Bollywood.

Etimes approached filmmaker and writer Rumi Jaffery. He wants to share his thoughts on how strong writing helps enhance the film’s story. “From my experience, I have noticed that even after giving successful performances, actors sometimes disappear. Take my own example, my character ‘Coolie No. 1’ became a huge hit and people all over India started using expressions of that character:” Ae Jada Shaana mat ban”, the dialogue changed to “Ae jada Hoshiyaar chand samajhta hai kya?”, so much so that solo posters were printed for it.
Take Satish Kaushik for example; the characters, such as Pappu Pager and Sharafat Ali, became extremely popular. Be it Bade Miyan Chote Miyan or other films. People become popular when they play a character.
Sometimes a character gets a life of its own. People imitate styles, slogans and the actor’s mannerisms. Think of Johnny Walker, he was a legendary character, but you never saw it repeated in any other movie. Whenever he appeared in public, people would ask him to perform Surma Bhopali dialogues. The same goes for Rajendra Nath, who had a unique style.
Take Arshad Warsi’s Circuit from ‘Munna Bhai MBBS’. It was such a hit that it became a milestone in his career. But the challenge with iconic characters is that they don’t always guarantee long-term success. But it was only after Circuit that he really became known. However, not every actor has the same luck. Even if their character becomes a big hit, they may not benefit from it in the long run. The main reason is that although the actor may be talented, his personal choices or career decisions may hold him back. I have seen many actors who, after one hit character, become selective about roles. They may turn down smaller roles because they think they deserve something bigger or better. They forget that their identity is built on those smaller roles, and they become overly conscious of following their fans or demanding higher compensation.
Talent isn’t the problem, they clearly have it, otherwise they wouldn’t have delivered a hit in the first place. But somehow they miss the mark. Either they make bad career decisions or they fail to seize the opportunity.”
Further talking about the silent Sardar ji’s ‘Kuch Kuch Hota Hai’ character, he said, “The same goes for many child actors who shine in their youth but struggle during the transition to adult roles. About the child artist, they become quite famous on At a young age I noticed that during the transition period, when they are around 15 years old, they play neither a child’s role nor a young role in talent, luck and the choices you make.”

“Anupam Kher once told me that a producer wants his films to be the best, the filmmakers all want to make money and make a career out of it. Whatever they offer, be it a role, a hotel or an award. If they are in believe your worth, they’ll give you what you deserve. Sometimes actors think they’ve given you a hit, so now they just play lead roles or demand higher compensation, better accommodations or special benefits, if a producer doesn’t meet with you Under certain circumstances this means probably you don’t deserve it yet,” concluded Rumi.
When good writing is lacking
A character is not just a plot device; it is the core of a story. When writers put effort into creating layered, relatable, or intriguing personalities, they create opportunities for actors to shine. Whether it’s a lead character, a supporting character, or even a cameo, every role has the potential to resonate with the audience if written thoughtfully. However, when the writing falters, even great actors find it challenging to leave a mark. Poorly written roles lack an emotional connection, reducing the actor’s ability to deliver the magic they once delivered. For filmmakers, the lesson is clear: great cinema depends on great writing.

The writer of ‘The Family Man’. Sharib Hasmi in an exclusive conversation with ETimes said, “Writing is the backbone of any film or series. I think it is the most important part of the filmmaking process. So if the supporting character has to stand out in a film or series, it has to be exceptionally good are written. Yes, of course the actor brings many of his own qualities and traits to the character, but if it is boring and uninteresting on paper, ‘tab bade se bada actor usey bacha nahin’ In order for the supporting character to make his mark, he needs a character arc and the character must be an intrinsic part of the core story.
Characters like Circuit, Malik Kafur, Calendar, Pappu Pager, Mutthu Swami, Kishan, Smakiya, Abrar Haque and the silent Sardarji and many others in cinema remind us that genius does not always require elaborate backstories or extensive screen time. Thoughtful character development and strong dialogue can elevate even minor roles to iconic roles.