Power of character writing: How memorable roles win hearts but can overshadow actors in cinema | Hindi Movie News Filmymeet

Compelling character writing can transform even a minor role into a showstealer, cementing its place in the audience’s memory. A well-written character, when paired with stellar acting, becomes a cultural touchstone—making audiences cheer, laugh, or even cry.
Consider Arshad Warsi’s portrayal of Circuit in ‘Munna Bhai M.B.B.S.’ and its sequel, ‘Lage Raho Munna Bhai’. The role of Munna’s loyal yet humorous sidekick resonated with audiences thanks to its impeccable writing and Warsi’s endearing performance. Circuit became synonymous with comic timing, loyalty, and an undercurrent of vulnerability, making it one of the most beloved characters in Indian cinema. Speaking to Indian Express, Arshad Warsi revealed why he did the film. “I did Munna Bhai because it was Sanju (Sanjay Dutt); otherwise, even Raju (filmmaker Rajkumar Hirani) knows that it (Circuit) is a stupid role. It really is on paper; it was nothing. Even Makarand Deshpande had 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 any script purely as an audience member. Would I want to see what I am doing? It can be any genre; it could be anything, but it should be something the audience would like to watch. After listening to the story, it is your gut feeling that tells you if you want to do that film or not,” added Arshad.
Similarly, Jim Sarbh’s Malik Kafur in ‘Padmaavat’ proved how nuanced writing can elevate even a supporting role. As Alauddin Khilji’s trusted aide 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 shared how his character Malik Kafur was already written well. “Most of it was written into the script. As soon as I read it, all these ideas of subtext blossomed into my mind. I wanted to do it immediately.That can only happen if the character is very clearly coded into the words.Then, I believe, because Sanjay (Leela Bhansali) sir and I got on the same page about the irreverence of the character quite quickly, we could sketch him out with more clean strokes, and we could try to add layers and depth at each turn. In regards to that particular scene, the line is already there, “Aur koi khidmat?” Sanjay sir and I played around with whether just the line was necessary, or the gesture, or the line and the gesture together,” he said to First Post.
Satish Kaushik’s unforgettable characters, like Calendar in ‘Mr. India’, Pappu Pager in ‘Deewana Mastana’, and Mutthu Swami in ‘Saajan Chale Sasural’, stand as testament to how writing and performance can create timeless cinematic moments. These roles were crafted with humor and heart, and Kaushik’s flawless comic timing made them iconic. Even today, these characters remain etched in the hearts of audiences, showcasing how side roles can become pivotal.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 wit and wisdom made him a game-changer in the narrative.Bobby Deol’s silent, dialogueless role in ‘Animal’ stands out as another brilliant example. His character’s stoic presence and raw intensity added layers to the story, overshadowing even the lead at times. Without a single line, Bobby Deol left an indelible mark, proving how powerful character writing can elevate performances beyond words.Omkar Kapoor’s portrayal of Kishan, the “Chota Baccha,” in ‘Masoom’ remains fresh in the minds of audiences even decades later. The innocence and charm of the character, coupled with strong writing, made it unforgettable. However, when Kapoor returned as an adult, his work failed to recreate the same magic. His childhood role was so impactful that it overshadowed all his subsequent performances.Then there’s 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 spot in Bollywood history.

Etimes contacted, filmmaker and writer, Rumi Jaffery, he has his views to share on how strong writing helps the film’s story to enhance. “From my experience, I’ve observed that even after giving hit performances, actors sometimes vanish. Take my own example, my character “Coolie No. 1” became a massive hit, and people across India started using phrases of that character, “Ae Jada Shaana mat ban”, its 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, like Pappu Pager and Sharafat Ali, became hugely popular. Whether it was Bade Miyan Chote Miyan or other films. People get popular playing a character.
Sometimes, a character gets a life of its own. People mimic styles, catchphrases, and the actor’s mannerisms. Think of Johnny Walker he was a legendary character, but you never saw it repeated in another movie. When he appeared in public, people would request him to perform Soorma Bhopali dialogues. The same goes for Rajendra Nath, who had a unique style.
Now take Arshad Warsi’s Circuit from ‘Munna Bhai M.B.B.S.’ 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 after Circuit’ he truly gained fame. However, not every actor has the same luck. Even when their character becomes a big hit, they might not benefit from it in the long run. The main reason is that, while the actor may be talented, their personal choices or career decisions might hold them back. I’ve seen many actors who, after one hit character, become selective about roles. They might turn down smaller roles because they think they deserve something bigger or better. They forget that their identity was built on those smaller roles, and they become overly conscious of their fan following or demand higher fees.
Talent isn’t the issue, they clearly have it, or they wouldn’t have delivered a hit performance in the first place. But somewhere, they miss the mark. Either they make poor career decisions, or they fail to catch the opportunity.”
Further talking about the ‘Kuch Kuch Hota Hai’ character of silent Sardar ji, 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 at an early age. I have observed that during the transition period when they grow older around 15 years. Neither they do a child’s role or a young role. This isn’t limited to child actors it applies to many artists. It’s a mix of 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 are offering, whether it’s a role, a hotel, or a price. If they believe in your value, they’ll give you what you deserve. Sometimes, actors think they have given a hit, so now they only play lead roles or they demand higher fees, better accommodations, or special perks. But the truth is, if a producer isn’t meeting your conditions, it likely means you don’t deserve it yet,” Rumi concluded.
When great writing is missing
A character is not just a plot device; it is the heart of a story. When writers invest effort into crafting layered, relatable, or intriguing personalities, they create opportunities for actors to shine. Whether it’s a protagonist, a supporting character, or even a cameo, every role has the potential to resonate with audiences if written thoughtfully. However, when the writing falters, even great actors find it challenging to leave a mark. Poorly written roles lack emotional connect, diminishing the actor’s ability to recreate the magic they once delivered .For filmmakers, the lesson is clear: great cinema relies on great writing.

The writer of ‘The Family Man’. Sharib Hasmi in an exclusive chat with ETimes said, “Writing is the backbone of any film or series. I feel it is the most important part of the filmmaking process. So if the supporting character has to stand out in a film or a series, it has to be extremely well written. Yes of course the actor brings in a lot of his own qualities and traits in the character but if it’s bland and uninteresting on paper, ‘tab bade se bada actor usey bacha nahin sakta…’ For the supporting character to make his mark, he needs to have a character arc and the character should be an intrinsic part of the core story. Only will he be able to shine.”
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 brilliance doesn’t always require elaborate backstories or extensive screen time. Thoughtful character development and strong dialogue can elevate even minor roles into iconic ones.