Paresh Rawal is a name that instantly evokes laughter, thanks to his iconic roles in comedies like Hera Pheri, Hungama, and Welcome. With his impeccable comic timing, eccentric expressions, and the unforgettable character of Baburao Ganpatrao Apte, Rawal has earned the crown of Bollywood’s comedy king. But before he tickled our funny bones, he chilled our spines. The veteran actor was once Bollywood’s go-to villain—a master of menace whose presence could darken a scene with just a glare or a softly spoken threat.
Let’s rewind to the 1980s and 1990s, when Rawal’s versatility found its most sinister outlet. His sharp eyes, commanding voice, and a knack for playing morally twisted characters made him a villain supreme, standing tall alongside other legendary antagonists of the era like Amrish Puri, Gulshan Grover, and Danny Denzongpa.
The Early Days of Menace
Paresh Rawal began his journey in the film industry with minor roles in the late 1970s and early 1980s. His breakout as a villain came with films like Naam (1986) and Kabzaa (1988), where his performances reflected a calm, calculating threat. He didn’t rely on the typical loud villainy or over-the-top dramatics; instead, his cold detachment made his characters even more intimidating.
In Kabzaa, he played Veljibhai Soda, a ruthless land mafia don. His portrayal was soaked in realism, steering away from the caricature of villains with capes and cigars. It was the subtlety—the quiet way in which he conveyed power and cruelty—that set him apart.
The Villain Everyone Loved to Hate
Rawal’s ability to breathe life into grey characters was perhaps best seen in Baazi (1995) and Tamanna (1997). But it was Sir (1993), directed by Mahesh Bhatt, where Rawal delivered a chilling performance as the gangster Veljibhai, earning widespread critical acclaim. Here, Rawal brought a psychological edge to his villainy, giving the audience glimpses of humanity before plunging them into darkness.
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Then came Daud (1997), where his portrayal of Pinky—a menacing gangster with a comically weird side—hinted at the transformation to come. This was a character that blended darkness with humor, foreshadowing his eventual pivot to full-blown comedy.
The Master of Dual Shades
Perhaps one of his most powerful villainous performances came in Tamanna (1997), where he played Tikku, a eunuch who adopts an abandoned girl. Though not a villain in the traditional sense, his character struggles with societal prejudices and inner turmoil, showing Rawal’s depth and nuance as an actor. This performance won him the National Film Award for Best Supporting Actor.
His versatility allowed him to flip between villainy and pathos with ease. In China Gate (1998), Rawal played the opportunistic and traitorous Havaldar Barot. Even in ensemble casts filled with action heroes and tough guys, he stood out with his sharp performance.
The Transition to Comic Legend
While Rawal’s comedy career took off with Hera Pheri (2000), fans never forgot the weight he carried as a villain. His shift wasn’t due to limitations but rather a choice—a testament to his range. He could make audiences laugh until their sides hurt or silence them with a cold stare.
Yet, every now and then, he’s returned to his darker roots. In Table No. 21 (2013), Rawal stunned audiences once again as Mr. Khan, a seemingly polite game master who turns into a terrifying manipulator. The performance was a haunting reminder of his villainous past.
Conclusion: A King in Every Genre
Paresh Rawal might be the comedy king today, but his legacy as one of Bollywood’s most underrated villains remains untarnished. Whether playing a ruthless crime lord, a manipulative politician, or a deranged megalomaniac, Rawal brought authenticity and charisma to roles that could’ve easily been one-dimensional.
As fans cheer his comedic brilliance, it’s worth tipping our hats to the man who once ruled the dark alleys of Indian cinema with quiet menace. In a film industry that often typecasts, Rawal defied the mold—not once, but twice—proving he wasn’t just a king of comedy, but also a villain supreme.