As Riteish Deshmukh turns director again with Raja Shivaji, we look at past actors who stepped behind the camera and delivered some of Hindi cinema’s most memorable films.
Key Points
- Riteish Deshmukh's second directorial venture, Raja Shivaji, a historical biopic, features him in the titular role.
- Many prominent actors, including Raj Kapoor, Aamir Khan, and Nandita Das, have successfully transitioned into direction, creating critically acclaimed and commercially successful films.
- Films like Raj Kapoor's Bobby, Ashutosh Gowariker's Lagaan, and Aamir Khan's Taare Zameen Par are celebrated for their cinematic impact and enduring legacy.
- Konkona Sen Sharma's A Death in the Gunj and Nandita Das's Firaaq are examples of actor-directors tackling complex social themes with critical acclaim.
Riteish Deshmukh turns director for the second time with Raja Shivaji, a historical biopic on the rise of Maratha king Chhatrapati Shivaji Maharaj.
Shot as a bilingual in Marathi and Hindi, the film also sees Deshmukh in the titular role, alongside an ensemble cast that includes Sanjay Dutt, Vidya Balan, Abhishek Bachchan, Fardeen Khan, Genelia Deshmukh, Bhagyashree, Mahesh Manjrekar, Sachin Khedekar and a cameo by Salman Khan. The film releases in theatres on May 1.
Having previously directed Ved (2022) in Marathi, Riteish belongs to a multi-faceted club of actors who have transitioned into direction, a list that includes notable names such as Raj Kapoor and his sons Randhir, Rishi and Rajiv Kapoor, Aamir Khan, Naseeruddin Shah and Pankaj Kapur among others.
Not all their directorial ventures have been successful, but some have stood the test of time as classics. In a few cases, these artists found greater identity behind the camera than in front of it.
Sreeju Sudhakaran looks at 10 standout Hindi films made by actor-turned-directors that can be considered classics.
This list focuses on artists who began as actors before turning to direction. Hence, notable names like Guru Dutt, Vijay Anand, Farhan Akhtar, and Rajat Kapoor (whose directorial debut in 1997 was preceded only by one acting credit) etc are excluded.
Bobby (Raj Kapoor)
The legendary showman of Indian cinema made only a handful of appearances as an actor before turning director and helming classics like Awara, Aag, Sangam, Barsaat, Mera Naam Joker, Boot Polish, Satyam Shivam Sundaram and Ram Teri Ganga Maili, among others.
While it is difficult to pick just one from that illustrious body of work, my soft corner lies with Bobby, the evergreen teenage romance that launched the careers of Rishi Kapoor and Dimple Kapadia.
This star-crossed love story revolutionised popular cinema at the time, becoming a cultural phenomenon and even setting fashion trends among the youth, particularly Kapadia's Goan styling.
The chemistry between the leads remains timeless and so is the soundtrack, and for a change, unlike some of the classic love stories of the time, Bobby went for a happy ending.
Mr India (Shekhar Kapur)
Another film personality who became far more renowned for his direction than his acting, Shekhar Kapur began his journey in cinema as an actor in 1974 before turning director with the heartwarming family drama, Masoom (1984), that won him widespread acclaim.
His most iconic Bollywood work remains Mr India, which continues to stand tall as one of the finest superhero films in Hindi cinema.
Starring Anil Kapoor as a do-gooder who can turn invisible, the film is celebrated for its enduring characters like Mogambo, along with memorable performances from AK, Sridevi, Amrish Puri and Satish Kaushik. Not to mention a fun soundtrack that features iconic numbers like Kate Nahin Kat Te, Karte Hain Hum Pyaar and Hawa Hawaii, and cult dialogues like 'Mogambo khush hua', and 'Calendar, khana lao'.
It also features future stars such as Aftab Shivdasani, Ahmed Khan (choreographer) and Karan Nath as part of the child cast.
Kapur would later go on to direct the hard-hitting Bandit Queen before venturing into Hollywood, but for many, the charm of Arun Verma and his spirited group of children still remains unmatched.
Paheli (Amol Palekar)
Amol Palekar was the thinking man's relatable hero during the rise of parallel cinema in the 1970s and ’80s, before transitioning into direction and delivering notable works in Hindi and Marathi cinema such as Ankahee, Thodasa Roomani Ho Jaayen, Daayraa and Anahat.
With Paheli, his sensibilities as an indie filmmaker were tested within a more mainstream framework. This romantic fantasy, starring Shah Rukh Khan and Rani Mukerji, is based on Mani Kaul’s Duvidha.
Palekar crafts a gentle yet empowering and passionate love story between a bride and a ghost, framed within striking visual storytelling. MM Keeravani’s music elevates the narrative with memorable songs like Dheere Jalna and Khaali Hai, while Shah Rukh Khan, also the producer, spares no effort in realising the film’s visual scale, including staging its desert-set climax in Mumbai.
Prahaar (Nana Patekar)
National Award-winning actor Nana Patekar directed only one film, but it carries the same fiery, socially-charged intensity that defines his performances.
In Prahaar, he plays an army major who trains cadets and forms a deep bond with one of them. As a man committed to safeguarding the nation’s borders, he is shaken when he confronts the deeper injustices within the country, where citizens are trapped within a broken system.
Also starring Dimple Kapadia and Madhuri Dixit, Prahaar stands as a solid directorial debut. It allows Patekar to channel his socio-political concerns into narrative form, delivering a film that, despite its period-specific tone, continues to resonate for its critique of systemic failure.
Not to mention, calling out the hollow glorification of soldiers, who are often celebrated in rhetoric but neglected in reality once they return to civilian life.
Lagaan (Ashutosh Gowariker)
Ashutosh Gowariker’s identity as a filmmaker is so strong that many forget he began his career as an actor alongside Aamir Khan in the campus drama Holi, before appearing in films like Salim Langde Pe Mat Ro, Kabhi Haan Naa, Kamla Ki Maut and Chamatkar, as well as shows like Bharat Ek Khoj, Circus and Woh.
His first two directorials, Pehla Nasha and Baazi, did not succeed at the box office, but his trajectory changed with his third film.
While I have a personal affinity for Swades, there is no denying the impact Lagaan created on Indian Cinema upon its release in 2001.
Gowariker took a significant creative risk by blending a pre-Independence period drama with a sports narrative, two genres that held little commercial favour at the time. The result was a landmark film, an ambitious and rousing spectacle powered by producer Aamir Khan’s performance and AR Rahman’s stirring soundtrack.
Remarkably, the film had concealed its central hook, of villagers challenging the British to a cricket match, during its promotions.
The payoff was immense, turning cinema halls into stadiums of collective excitement and earning an Oscar nomination for its effort.
Koi... Mil Gaya (Rakesh Roshan)
While Rakesh Roshan had appeared in numerous films as both a leading man and a supporting actor, he carved a far more enduring legacy as a director, delivering hits like Khudgarz, Khoon Bhari Maang and Karan Arjun, before launching his son Hrithik Roshan into superstardom with Kaho Naa Pyaar Hai.
It was his second collaboration with Hrithik, however, that truly tested him as a filmmaker. With Koi... Mil Gaya, Roshan ventured into science fiction, a genre he had not explored before, and crafted a warm, emotionally resonant entertainer.
Yes, the film borrows heavily from ET: The Extra-Terrestrial and Forrest Gump, but it adapts these influences effectively, turning the purple visitor Jadoo into a beloved cinematic icon while giving Hrithik one of the finest performances of his career.
Roshan followed this up with Krrish and Krrish 3, both successful expansions of the same universe.
Taare Zameen Par (Aamir Khan)
Taare Zameen Par remains a point of debate where Aamir Khan’s direction begins and Amole Gupte’s original vision ends. We might have had clearer answers had Aamir directed more films, but he has largely remained focused on acting and producing, even as murmurs around his intrusive involvement in the creative process continue.
Regardless of that debate, the significance of Taare Zameen Par is undeniable, both cinematically and socially.
A deeply-moving drama about the bond between a misunderstood child, played by Darsheel Safary, and his empathetic art teacher, played by Khan, the film brought conversations around dyslexia and learning disabilities into the mainstream.
It urged parents to reconsider labelling children as disinterested or lazy, and instead recognise the need for understanding, empathy and support.
In doing so, the film played a meaningful role in normalising discussions around child therapy, an area that, while still stigmatised, has gradually seen greater acceptance over the years.
Chachi 420 (Kamal Haasan)
Kamal Haasan is not strictly a Bollywood actor per se, but he has headlined several Hindi films, and notably, his directorial debut was in Hindi. A remake of his own Tamil hit Avvai Shanmughi (directed by KS Ravikumar), Haasan, who played the lead in both versions, stepped in to direct the film following creative differences with the originally chosen director.
The result is a breezy and entertaining adaptation, itself inspired by Mrs Doubtfire, with Haasan in terrific form as a desperate father, who disguises himself as an elderly nanny to stay close to his daughter, deceiving his estranged wife, played by Tabu, and her family.
The film makes excellent use of its stellar supporting cast, offering memorable parts to Amrish Puri, Nassar, Paresh Rawal, Johnny Walker and a scene-stealing Om Puri. It is also notable for featuring Fatima Sana Shaikh as a child artiste.
Kamal Haasan later went on to make the ambitious yet divisive Hey! Ram, the powerful Virumaandi in Tamil, and the cult Vishwaroopam, but nothing quite matches the charming frolic of Chachi 420.
Firaaq (Nandita Das)
Nandita Das made her directorial debut with a film that feels unlikely to be made in today’s climate. Set in the aftermath of the Gujarat riots of 2002 and banned in the state upon its release in 2008, Firaaq examines the lingering trauma of the violence through a series of interwoven vignettes.
Rather than focusing on the riots themselves, the film explores the emotional wreckage they leave behind, capturing stories of betrayal, guilt, vengeance and identity crises.
From the fractured friendship between Hindu and Muslim neighbours, to a woman grappling with guilt over her silence while her husband gloats over the rapes and murders committed, the narratives are stark and unflinching.
The film boasts a formidable ensemble cast including Naseeruddin Shah, Deepti Naval, Paresh Rawal, Raghubir Yadav, Shahana Goswami, Sanjay Suri, Nassar, Tisca Chopra, Dilip Joshi and a pre-fame Nawazuddin Siddiqui, all contributing to a haunting, thought-provoking cinematic experience.
A Death in the Gunj (Konkona Sen Sharma)
Like her mother, the formidable Aparna Sen, Konkona Sen Sharma transitioned into direction after establishing herself as a powerful performer.
Her directorial debut, A Death in the Gunj, features an impressive ensemble including Vikrant Massey, Gulshan Devaiah, Kalki Koechlin, Ranvir Shorey, Tillotama Shome, Jim Sarbh, Tanuja and Om Puri.
A black dramedy with shades of a murder mystery, the film quietly dissects themes of bullying, fragile masculinity and emotional isolation. It is most effective in its portrayal of Shutu, a sensitive and withdrawn young man played by Massey, and how a seemingly close-knit family gradually alienates him.
The performances across the board are exceptional, and the film received strong critical acclaim upon its release in 2016.
Konkona later directed a segment in Lust Stories 2, featuring Amruta Subhash and Tillotama Shome, which emerged as the most appreciated segment in the anthology.
Photographs curated by Manisha Kotian/Rediff
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