‘Main sadko pe aa jaunga': Shah Rukh Khan's Main Hoon Na co-star Kabir Bedi recalls losing work opportunities after son's death
Kabir Bedi is one of the international actors from India who has worked across continents. He was a part of a James Bond movie and shared screen with many Bollywood actors like Hrithik Roshan, Akshay Kumar, and more. But there was a time when he was struggling financially and lost work opportunities after his son's death. He also thought 'main sadko pe aa jaunga' (I will be homeless) when things didn't go as planned.
Veteran Bollywood actor Kabir Bedi is a well-known star, not just in India but abroad too. Even though he was able to turn the tables and end up being a successful actor, he had lost all hope in the 90s. While talking to BBC News Hindi, the Main Hoon Na actor shared, 'Ek point aaya jab ki mai tabah ho gaya tha (There was a point when I was shattered), not just financially but emotionally also because it came at a point when all my financial investments had turned against me.'
The senior actor stated that it was a difficult period in the late 1990s because at that time, his son with Protima Bedi, Siddharth, had died. The Khoon Bhari Maang actor didn't know what he was doing. He would go for auditions and wouldn't understand what he was saying. This led to him losing work and opportunities, and things just went downhill from here.
But one day, he thought to himself, 'Ye silsila agar aese he chalta raha toh mai bardaab ho jaaunga, sadko pe aa jaaunga. (If things continue like this, then I will lose everything and become homeless.)' He gave himself a little pep talk and reminded himself of his abilities that helped him come from Delhi to Mumbai, fly to Europe, and become a star. So, the Kacche Dhaage actor moved to England and slowly started rebuilding his life by working on one project at a time.
Some of the other popular movies of Kabir Bedi include Maine Dil Tujhko Diya, The Hero: Love Story of a Spy, Taj Mahal: An Eternal Love Story, Kites, Dilwale, Saheb, Biwi Aur Gangster 3, Berlin, and more.
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Indian Express
3 minutes ago
- Indian Express
Daily Briefing: Tariffs, talks and tightropes
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Indian Express
21 hours ago
- Indian Express
Is Farah Khan an accidental Marxist? What her end credits reveal about Bollywood's hidden labour
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The end product — the movie — is marketed and consumed as a singular, almost magical thing, its value disproportionately tied to the 'brand' most visible on the poster: usually a star, sometimes a director or the producer. But cinema is inherently collective. Actors, directors and even DOPs do not work in a vacuum, and their talent does not function in isolation. Every scene is the result of hundreds of invisible contributions — gaffers, focus pullers, location scouts, dressmen, and post-production assistants. And yet, to most of us, these people are as abstract as the hands that built our phones or stitched our H&M clothes. Bollywood, if anything, amplifies this hierarchy. Star culture has been its organising principle for decades. There are 'above the line' names and 'below the line' names, and the effort-to-reward disparity is disgusting to behold. That is why meta-narratives are slightly rarer — because Bollywood thrives on preserving glamour, not dismantling it. Khan's end-credit sequences join a tradition of films that examine the machinery of cinema itself. In Hollywood, Singin' in the Rain (1952) remains a cherished early example, chronicling the birth of the talkies while revelling in the messy, sweaty labour behind them. More recently, films like Quentin Tarantino's Once Upon a Time in… Hollywood (2019) and David Leitch's The Fall Guy (2024) both weave stories around stunt performers, centring their experiences as a lens to examine Hollywood's labour politics among other themes. Hugo (2011), La La Land (2016), and even The Studio (2025) may be love letters to films, but they also serve to demystify and deconstruct the business of movie-making by giving us alternate perspectives and unexpected truths. 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Unorganised and freelance labour still makes up a huge portion of the workforce, leaving many without benefits, job security, or bargaining power. Stars still command astronomical fees while everyone else earns barely enough to survive Mumbai rents. The fetishism is structural, and no amount of singing and dancing can obscure the exploitation behind it. To move from symbolism to substance would require larger conversations about profit-sharing structures, pay parity, enforceable caps on working hours that actually get upheld and accountability mechanisms strong enough to protect workers from the industry's entrenched hierarchies. That sounds utopian — and in the current climate, it probably is. But things usually begin with shifts in perception. For me, the trigger was stepping onto a set for the first time and finding out there are 'A caterers' and 'B caterers' that serve vastly different food to different segments of people on the set. For you, it could be reading this article. Khan's end credits (and films) don't answer the big questions, but they do make it fun to notice and recognise that the film we just watched wasn't conjured into being by SRK alone, but by a network of human beings whose names you now know, and whose faces you might just remember. And maybe next time, when the credits roll, you will keep watching.
Time of India
2 days ago
- Time of India
Did you know that THIS legendary actor declined to play a negative role in Shah Rukh Khan's 'Main Hoon Na?'
Farah Khan's 2004 directorial debut, 'Main Hoon Na', starring Shah Rukh Khan, became a huge hit with its mix of action, emotion, and music. Originally, Kamal Haasan was offered a major role but declined. Suniel Shetty played the antagonist instead, and the film remains iconic in Bollywood. In 2004, Farah Khan made a remarkable entry into directing with 'Main Hoon Na', which swiftly became a major hit. Shah Rukh Khan led the cast, alongside notable actors like Sushmita Sen, Zayed Khan, Amrita Rao, and Suneil Shetty. The film's unique combination of thrilling action, heartfelt emotions, and memorable music connected strongly with audiences. Popular songs such as "Tumse Milke" and the movie's title track quickly topped the charts, firmly establishing Farah as a noteworthy director in Bollywood. Farah Khan's revelation in a cooking vlog Farah recently appeared in a cooking vlog at actress Shruti Haasan's Mumbai home. While chatting, she revealed an intriguing fact: Her first choice for a major role in 'Main Hoon Na' was Kamal Haasan , who happens to be Shruti Haasan's father. The Chennai script narration experience The filmmaker recounted her visit to Chennai where she personally presented the 'Main Hoon Na' script to Kamal at his office. Although he listened attentively, he ultimately declined the offer in his typical manner. As Farah revealed, 'Kamal sir was the first choice for 'Main Hoon Na', but it was Suneil Shetty who ended up playing the role." She added, 'After I narrated the script, Kamal sir very sweetly asked me to leave. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Dwarka's New Hotspot: Excellent Investment Opportunity Omaxe state Learn More Undo " While Khan did not specify the reasons for his refusal, fans have long believed it might have been due to scheduling issues or creative disagreements. The film's success despite Kamal's refusal Although Kamal turned down the role, 'Main Hoon Na' went on to achieve tremendous success. The film marked Farah's impressive debut as a director after her career as a choreographer and combined classic Bollywood flair with heartfelt storytelling. The on-screen chemistry between Shah Rukh and Sushmita Sen received great appreciation, while the movie's focus on themes like family bonds, responsibility, and self-discovery deeply touched viewers nationwide.
