Along with expressions and mannerisms, it is the voice that makes a successful actor. But there are times when the film may demand that the performer just use facial expressions and body language, without any words, to emote - and that can test their calibre.
Blessed with a resounding baritone - and a fine singing voice too, Amitabh Bachchan was several times called to demonstrate his prowess in this respect - and never disappointed. As Big B turns 80 on October 11, here's a look back at his golden moments of silence onscreen.
Piku (2015) -In the Shoojit Sircar directorial, Amitabh Bachchan plays a supremely cantankerous father to Deepika Padukone, who is juggling home and workspace while trying to make time for dates. In the film, Big B's obsession with death and diseases is a major source of annoyance for Piku. The audience is aware of him making his final exit in the film. But still, when they are on their way to Kolkata, Big B is seen sleeping in the back seat, and for a moment he makes our hearts skip a bit as we think the inevitable moment has arrived. The scene is one of the best in Big B, Deepika and Irrfan Khan starrer slice of life drama.
Satte pe Satte (1982) - In this rollicking rural romance, the evil Bachchan, though a bit enfeebled by a jail stint, can still subtly radiates menace by the way he just bends to come out of the jail gate, take his first breath of freedom, and slowly make his way to where the evil genius is waiting.
Kaalia (1981) - After teaching Parveen Babi how to wear a sari by draping it on himself, Amitabh brings her home to introduce her to his sister-in-law (Asha Parekh). She promptly lands Babi with a cooking chore and plumps herself in the kitchen to forestall cheating. Bachchan tries to help her with mimed instructions on how to crack an egg but his exasperation leads to some unforeseen and embarrassing consequences for her.
Yaarana (1981) - While the scene in which country bumpkin Kishan (Bachchan) gapes in studded amazement at "transformation" his friend Bishan (Amjad Khan, in a rare non-antagonistic role) goes after travelling in a lift is funny enough, it pales before the part where Bachchan, lured to the city, is being given a makeover. Take the uproarious vignette where he turns the table on his etiquette instructor (Ram Sethi, a frequent supporting actor in Bachchan movies of the period) by daring him with a physical version of a tongue-twister - slaps both hands on the knees, take your right hand and touch your left ear, use your left hand to touch your nose, slap hands on knees again, repeat.
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Sholay (1975) - While Bachchan is most remembered for the set piece scene where he plays "matchmaker" for his friend Veeru (Dharmendra), there are a couple of episodes where he silently makes his presence felt without a word. The first is where he indicates to Hema Malini that she should be silent, and guides her towards the back of the deity's statue where Dharmendra is trying to play god literally and points. And there is the subtle matchmaking scene, where he just gazes at Jaya Bhaduri's room and her when she opens the window, while playing a mournful strain on his mouth-organ.
Deewar (1975) - While Zanjeer made Bachchan's name, Deewar burnished his credentials. Again in a film filled with cutting dialogue, there is the scene when Bachchan is invited by his criminal mentor, Davar (Iftekhar in a rare negative role) to succeed, and slowly stands, walks around the desk, lowers him into the chair, and plonks his feet on the table. Not a word is expressed but he conveys his rise effectively.
Zanjeer (1973) - This was the film that made Bachchan a household name and brought the term "angry young man" into currency. While the crisp dialogues of the film, especially the police station encounter, are known, there is one scene where the intense Inspector Vijay Khanna unbends a little too and romance flourishes as he and street performer Mala (Jaya Bhaduri), whom he has taken under his protection, stand at the window and shoot coy, secret glances at each other as they saw a streetside pair of singers belt out "Deewane hai, deewanon ko na ghar chahiye"
Anand (1971) - Playing a cynical doctor whose faith is restored by the terminally-ill patient (Rajesh Khanna), who never loses his optimism or joie de vivre, recall the scene where Khanna is on his house's balcony, singing Kahin Door Jab Din Dhal Jaye, Bachchan enters, climbs up the stairs, switches on the room's light, and then, just stands, arms folded, in the lengthening shadows. The intensity is palpable.
