In Bollywood’s star-driven universe, it’s usually the heroes and heroines who hog the limelight. Yet, Indian cinema has long been propped up by a strong foundation of supporting actors, the sidekicks, villains, parents, comedians, and character artists who often steal the scene. These actors may not always get top billing, but many have become “secret superstars” in their own right, winning over audiences and critics alike. Their journeys are a testament to talent and charisma rising beyond secondary status. In this article, we celebrate those performers in Hindi cinema (with a few from other industries) who started in supporting roles and became beloved stars, some even moving up to lead roles, others remaining perennial supporting favorites. We will explore their impact, journeys, the evolution of their roles, and how the industry’s perception of supporting actors has changed over time.
The Unsung Pillars of Indian Cinema
Supporting actors are often called the unsung heroes of the film industry. They provide depth and realism to stories, making the cinematic world more believable and engaging. Think of a classic Hindi film and you’ll likely remember not just the hero and heroine, but also the lovable friend who provided comic relief, the terrifying villain who raised the stakes, or the affectionate parent who grounded the story. These characters may be “secondary” on paper, but they are pivotal in driving the narrative and elevating the lead’s performance. As the famous villain actor Pran once said, “It is the villain that brings out the hero. Unless you know the evil, how will you know the good?”. In essence, without strong supporting characters, our filmi heroes would shine far less brightly.
Historically, however, supporting actors did not enjoy the same level of fame or pay as the main stars. They were often typecast into specific roles, the comic sidekick, the evil schemer, the tragic mother, etc., and remained in those molds throughout their careers. Despite this, many of these actors delivered performances so memorable that their names became legendary. In some cases, their popularity rivaled or even surpassed that of the leads they supported.
The general movie-going audience in India has always had a special place in its heart for these actors. From quoting their witty one-liners to imitating their villainous catchphrases, fans turned several character actors into cultural icons. Their success might have been a “secret” in the sense that it was not always acknowledged by the industry’s star hierarchy, but on the ground level, viewers absolutely adored them.
Today, the contribution of supporting actors is better recognized than ever. They are no longer just fillers or background; they often drive subplots and sometimes even dominate the movie’s most memorable moments. It’s not uncommon now for a film’s success to be attributed as much to a side character’s appeal as to the hero’s charm. The journey of supporting actors transitioning to greater prominence, whether as celebrated character artists or as newly minted leads, is a fascinating evolution in Indian cinema.
From Side Roles to Center Stage: Supporting Actors Who Became Leading Stars
Some actors who started their careers in bit parts or supporting roles went on to become successful lead actors, proving that talent and perseverance can upend the typical casting hierarchy. These performers initially gained notice in secondary roles but later shouldered films on their own and won over the audience as protagonists. Here are a few notable examples of such journeys:
| Actor | Early Supporting Roles | Breakout as Lead | Outcome |
|---|---|---|---|
| Nawazuddin Siddiqui | Tiny roles in Sarfarosh (1999), Munnabhai MBBS (2003), and others. Often uncredited or minor parts for years. | Lead role as Faizal Khan in Gangs of Wasseypur 2 (2012); Also headlined The Lunchbox, Manto, etc. | Became a critically acclaimed leading actor, known for intense performances. Won multiple awards; now refuses minor roles. |
| Manoj Bajpayee | Brief appearances in films like Drohkaal (1994) and Bandit Queen (1994). | Scene-stealing role as Bhiku Mhatre in Satya (1998), officially a supporting role but hugely popular; later lead in Shool (1999), Gangs of Wasseypur (ensemble). | Won National Award for Satya. Regarded as one of India’s finest actors. Now leads both films and web series, with a massive reputation for versatility. |
| Irrfan Khan | Bit roles in the 1990s (extra in Salaam Bombay! got cut, minor TV roles). | Lead role in Maqbool (2004) and Paan Singh Tomar (2012). Broke internationally with The Lunchbox and Hollywood films. | Rose to global stardom, winning the National Award (Best Actor) for Paan Singh Tomar. Known for nuanced acting, became a marquee name despite unconventional looks. |
| Rajkummar Rao | Small parts in Rann (2010), Gangs of Wasseypur (2012), etc. | Lead role in Shahid (2013), which won him a National Award. Followed by leads in Citylights, Stree, etc. | Now an established leading man in Bollywood with a reputation for content-driven films. Balances mainstream hits (Stree) with acclaimed roles (Aligarh, Trapped). |
| Pankaj Tripathi | Minor character roles from 2004 onward (e.g., a brief role in Run, a memorable cameo as Sultan in Gangs of Wasseypur). | Gained fame in supporting roles (Fukrey, Masaan, Bareilly Ki Barfi), then led films like Kaagaz (2021) and headlined web series (Mirzapur). | Widely loved for his earthy acting style. Won a National Award (Special Mention for Newton). Now, often the main attraction in projects, even if in supporting roles. |
| Shatrughan Sinha | Started with villainous/supporting roles in late 1960s–70s (Sajan, Khilona, etc.). | Breakthrough as lead hero in Kalicharan (1976) and Vishwanath (1978). | Became a leading star of late ’70s and ’80s Bollywood. His iconic dialogue delivery (“Khamosh!”) made him popular both as a villain and a hero. |
| Vinod Khanna | Debuted as a villain in Man Ka Meet (1968) and played antagonists (e.g., Mera Gaon Mera Desh). | Transitioned to hero roles by mid-1970s, with hits like Main Tulsi Tere Aangan Ki (1978) and Qurbani (1980). | Achieved top hero status, at one point seen as a rival to Amitabh Bachchan. Later remembered both for suave villain roles and as a romantic action hero. |
These examples show varied paths. Some, like Nawazuddin Siddiqui, toiled for a decade in microscopic parts, “background” roles just to survive, before a major filmmaker noticed their talent. Nawazuddin’s gripping supporting turns in films like Kahaani (2012) and Gangs of Wasseypur led to him headlining critically acclaimed movies. He acknowledges that earlier he had to accept any role to stay in the industry, but after tasting success as a lead, he now “won’t do a small role again, even for ₹25 crore”. The industry, once skeptical about unconventional actors as protagonists, now writes films with actors like Nawaz in mind.
Others had a more rapid rise. Manoj Bajpayee’s ferocious portrayal of a Mumbai gangster in Satya was officially a supporting role, but it overshadowed the main lead and became the film’s highlight, so much so that it’s hard to remember Satya without thinking of Manoj’s character Bhiku Mhatre. That role earned him a National Award and turned him into a sought-after name. He soon started getting lead roles in hard-hitting dramas. Similarly, Irrfan Khan struggled on the margins for years, but once he got the right break, he carried entire films with ease and even made a mark in the West, proving that a former character actor could become an international star.
It’s worth noting that this trend isn’t brand-new. Even in earlier decades, actors like Shatrughan Sinha and Vinod Khanna made the leap from supporting or villain roles to hero status. In the 1970s, Shatrughan Sinha’s swagger and baritone caught audience attention when he was playing secondary roles (often outshining heroes on screen), eventually leading him to solo-hero success. Vinod Khanna, initially typecast as the bad guy, was able to reinvent himself as a charismatic leading man. And in South Indian cinema, a now-legendary example is Rajinikanth, who started his Tamil film career in the 1970s playing negative/supporting characters and within a few years became a reigning hero and one of India’s biggest superstars.
The journey from side roles to center stage usually requires exceptional talent, a memorable breakthrough performance, and sometimes a championing director or mentor. These actors also demonstrated range and audience appeal that could no longer be confined to supporting parts. As a result, they broke the mold, showing that a great performer’s destiny isn’t limited by initial typecasting. Their success has, in turn, inspired casting directors to take more chances on non-traditional leading actors, broadening the definition of what a “hero” can be.
Scene Stealers and Beloved Supporting Stars
Not every supporting actor wanted or needed to become a lead star; many remained in supporting roles yet achieved legendary status and immense love from the audience. These are the scene-stealers, actors whose presence alone could elevate a film, and who often became a major draw despite not being the protagonist. They span various categories: comedians who left us in stitches, villains who terrified and thrilled us, and character actors who became the heart and soul of their films. Let’s look at some of these beloved supporting superstars and their impact.
The Comedy Kings (and Queens): Hindi cinema has a rich legacy of comedic actors who provided comic relief in dramas and became stars in their own right. One of the earliest was Mehmood, often dubbed the “King of Comedy”. Mehmood started in the 1950s with tiny extra roles (as a bus conductor, a peanut seller, etc.), but by the 1960s, he was so popular that audiences would flock to a movie just because Mehmood was in it. He often had special comedy subplots and songs in films, and at a time when comedy was not even considered a main genre, he proved indispensable.
In fact, Mehmood’s name became a box-office draw: it was said that if a film’s credits ended with “…and Mehmood,” distributors would rush to buy it. He ended up working in over 300 films, winning multiple Filmfare Awards for Best Comedian. At the peak of his career, Mehmood was reportedly the highest-paid actor in India, out-earning many leading heroes of the era. In the late 1960s, he was charging around ₹7.5 lakh for a 2-week role, when superstars like Rajesh Khanna or Amitabh Bachchan hadn’t yet reached that figure for full movies. This staggering fact illustrates how a “supporting” comedian became as valuable as a hero at the ticket counter. People even joked that heroes felt insecure because Mehmood could steal the scene; he “made heroes insecure” by often surpassing them in audience adulation.
You May Also Like to Read
Following Mehmood, each era had its comic genius. In the 80s and especially the 90s, Johnny Lever emerged as the go-to comedian in Bollywood. With his elastic expressions and impeccable timing, Johnny featured in hundreds of films (300+ over four decades). He became the staple funny man every masala film needed. His characters, like Babulal (the bumbling butler in Baazigar, 1993) are fondly remembered even when the films themselves fade. Johnny Lever won multiple awards for comic roles. Importantly, his popularity at one point caused a bit of friction in the industry, lead actors would sometimes feel threatened by how much the audience cheered Johnny’s scenes, to the extent that some heroes allegedly got their scenes cut short out of insecurity.
In an interview, Johnny admitted that as his comic roles got huge responses, certain stars tried to ensure they got some of the jokes, diminishing the comedian’s part. This shows that by the 1990s, a supporting actor could hold so much sway that main stars felt the need to compete for the spotlight in comedy. Despite these challenges, Johnny Lever remains one of Bollywood’s most beloved comedians, and his legacy continues through the next generation (his daughter Jaime is also a comedian).
Several other comedians have delighted Bollywood fans: Kader Khan, who, besides acting in over 300 films, also wrote dialogues for countless hits, often played either the villain or the comic foil (sometimes both together), and became a cult favorite for his witty one-liners. Shakti Kapoor, known for his outrageous comic-villain roles in the 80s and 90s, made phrases like “Crime Master Gogo” and “Aauuu!” part of pop culture. Rajpal Yadav in the 2000s gained a reputation for enlivening any scene he appeared in, with an ability to be hilarious in even brief appearances.
Among actresses, Tun Tun (Uma Devi) was Hindi cinema’s first female comic star in the 1950s, and later actresses like Archana Puran Singh and Farah Khan (the actress) took on comedic supporting roles with success. These comedians proved that you didn’t have to be the hero to be the reason people watch a movie. Their comic timing and charm made them stars without the conventional trappings of stardom.
Iconic Villains and Vamps: In Indian cinema, the villain often gets a stylish entry and some of the most powerful dialogues, and many villain actors have achieved iconic status for their deliciously evil performances. Pran is a shining example from Bollywood’s golden age. So feared and effective was Pran’s on-screen villainy in the 1950s–60s that his very name became synonymous with the archetype of the bad guy. Reportedly, for many years, parents even hesitated to name their sons “Pran” because the name evoked his frightening characters! Pran played the suave, cigarette-toting villain who would torture heroes and terrorize heroines, and audiences loved to hate him.
His impact was such that by the late 1960s and 70s, Pran was billing above even some heroes in movies and was paid more than the top leads of the time. From 1968 to 1982, he charged incredibly high fees per film, eclipsing stars like Dharmendra and even Amitabh Bachchan for a while. This was unheard of, a testament to his box office pull as a character actor. Eventually, as he grew older, Pran also transitioned into positive supporting roles (like the lovable Malang Chacha in Upkar (1967) and the loyal friend Sher Khan in Zanjeer (1973)), winning the audience’s heart in a new avatar.
By the end of his nearly 60-year career, he had appeared in over 350 films and was so respected that he received the Padma Bhushan and the Dadasaheb Phalke Award (India’s highest film honor). Pran’s career showed that a consummate actor could become a superstar purely via supporting roles; he never needed to be the “hero” dancing around trees; in fact, he famously turned down lead roles because he found villain roles more interesting and heroes too generic.
Following Pran, the mantle of Bollywood’s favorite villain was carried by actors like Amjad Khan and Amrish Puri. Amjad Khan’s portrayal of dacoit Gabbar Singh in Sholay (1975) is the stuff of legend; his sinister laugh “Jo dar gaya, samjho mar gaya” lines became part of everyday lingo. Gabbar is arguably more famous than the film’s heroes; Amjad Khan instantly became a marquee name after Sholay. He continued to play menacing villains (and occasionally comedic roles) throughout the late 70s and 80s, forever remembered as the man who brought to life one of the greatest antagonists on screen.
Amrish Puri, with his booming voice and piercing gaze, was the quintessential villain from the 1980s through the early 2000s. Whether it was as Mogambo declaring “Mogambo khush hua!” in Mr. India (1987) or the tyrannical Thakur in Dilwale Dulhania Le Jayenge (1995), Amrish Puri had a knack for making villainy grand and memorable. He too rarely played the conventional lead (though in life he was a trained theater actor who could do any role), but his fame was global; he even played the antagonist Mola Ram in the Hollywood film Indiana Jones and the Temple of Doom (1984). Director Steven Spielberg was so impressed by Puri that he called him “my favorite villain” and said Amrish Puri was the best villain in the world.
Imagine that a Bollywood character actor is acclaimed as the world’s finest villain! That shows the level of artistry actors like Puri brought to “supporting” roles. These villainous superstars were sometimes hated by fans (for tormenting beloved heroes on screen), but it was a hate mixed with awe and admiration. When they got their comeuppance in the film’s climax, audiences cheered, not because they disliked the actor, but because the actor made the villain so convincingly despicable. In real life, many of these villains, like Pran and Amrish, were known to be absolute gentlemen, which perhaps made their skill at playing evil even more impressive.
Hindi cinema also had its share of iconic vamps and character actresses, the female equivalent of villains or memorable supporting ladies. Helen, for example, never played a traditional heroine, but as a dazzling dancer in cabaret numbers and as a femme fatale in countless 60s-70s films, she became a phenomenon. The audience would await her flashy dance number as a highlight of many films. Bindu and Aruna Irani often played the scheming sister-in-law or the vamp who tries to derail the heroine, and they did it with such flair that they became stars of that niche. Over time, both Helen and Aruna Irani also took on character roles (like mother or aunt) and proved their acting mettle beyond the glamour. They were acknowledged with awards and honors for enriching cinema with their presence.
Lovable Character Actors: Another category of supporting performers who became superstars in their own way are the actors known for fatherly, motherly, friendly, or other character roles. These are the figures who might not have the flashy parts, but they win you over with their warmth, humor, or gravitas. A prime example is Anupam Kher. He began his film journey with a lead role in a serious film (Saaransh, 1984, where he played a retired old man at the age of 28!), but he found his forte in supporting roles, especially comical or fatherly characters. In the 1990s, Anupam Kher was the go-to dad or uncle in many big films, often a source of comic relief (like the amusing father in Dilwale Dulhania Le Jayenge, 1995) or sometimes a stern elder.
He won as many as five Filmfare Awards for Best Comedian, showcasing how much those “side” roles were appreciated. His versatility made him a respected figure, and he remains a prominent actor internationally as well (he’s acted in Hollywood and won a BAFTA nomination for The Boy With The Topknot). Anupam’s contemporary Paresh Rawal followed a similar path: debuting as a villain in the 1980s, then absolutely nailing comic roles in the 90s and 2000s. Paresh’s role as the myopic, irritable but endearing Baburao in Hera Pheri (2000) is now part of Bollywood legend, he so thoroughly stole the show that many fans consider him the real star of that film. He too won awards for both negative and comic roles and eventually even headlined a film (OMG – Oh My God!) in 2012 as the lead. Actors like Paresh Rawal proved that a strong supporting actor can become the USP of a movie, with audiences flocking to watch them deliver their catchphrases and antics.
In the realm of parental figures, Farida Jalal and Reema Lagoo became the quintessential mothers of Hindi cinema in the 1990s. Farida Jalal, who herself started as a teenager in supporting roles in the 1960s, evolved into the affectionate mom or aunt everyone wished they had. Her performances in films like Dilwale Dulhania Le Jayenge (as Kajol’s mother, 1995) and Kuch Kuch Hota Hai (as the doting grandma, 1998) made her extremely beloved. Reema Lagoo, similarly, was known for playing the kind, understanding mother to the biggest stars (she was Salman Khan’s mom in Maine Pyar Kiya, Hum Aapke Hain Koun..!, and Shah Rukh’s mom in Kal Ho Naa Ho, among others). They weren’t leads, but their presence provided an emotional core to these films, and audiences felt a deep fondness for them. It was common to hear people say “Woh filmi maa kitni pyari hai!” (“That screen mother is so lovely!”) referring to these actresses.
Another notable name is Alok Nath, who became so famous for playing pious father figures that he inadvertently turned into an internet meme in India (for being overly “sanskari”, i.e., traditional and virtuous). Alok Nath had a long career in supporting roles, but it was his 1990s run as the benevolent dad or uncle in family dramas (like the patriarch in Hum Aapke Hain Koun..!, 1994) that made him a household name. Though often gently ridiculed for doing the same type of role repeatedly, that very typecasting underscores how much he owned that space. People still recall his on-screen persona with a mix of affection and amusement.
And we must mention the powerhouse character actors who brought gravitas: actors like Om Puri and Naseeruddin Shah, both leads in parallel cinema but usually supporting in mainstream, lent credibility to every project they touched. Om Puri’s minor roles in comedies like Hera Pheri or Malamaal Weekly became highlights thanks to his deadpan comic skills, while Naseeruddin Shah’s supporting turns (say, the stern coach in Iqbal or the quirky street singer in Kabhi Haan Kabhi Naa) always won critical praise. Though they had leading parts in offbeat films, in Bollywood masala films, they often were cast in supporting roles, and they made those memorable, winning several awards (including multiple National Film Awards for both, in various categories).
These supporting actors, be they comedians making us roar with laughter, villains sending a chill down our spine, or character actors making us tear up, became integral to Indian cinema’s success. Many of them enjoyed fan followings akin to the heroes. Movie buffs would remember their catchphrases, go to theatres expecting their scene, and even today, their legacy continues in reruns and internet memes. They demonstrate that a great performance has no small part. In fact, as legendary acting teacher Konstantin Stanislavski said, “There are no small parts, only small actors.” The actors we’ve discussed certainly were anything but small, they were larger-than-life in support.
Changing Industry Perception and Recognition
The evolution of these “secret superstars” has prompted a gradual but significant change in how the film industry views supporting actors. In earlier decades of Bollywood, the hierarchy was rigid: heroes were marketed as the sole face of the film, and the supporting cast got minimal recognition. They were often underpaid relative to the leads (sometimes shockingly so, considering their contribution). Over time, several factors caused a shift.
Firstly, the audience’s open love for supporting actors made filmmakers realize that these performers add tangible value. We saw how in the 1970s a villain like Pran or in the 1960s a comedian like Mehmood could command top billing and salary because the audience demanded it. By the 1990s and 2000s, awards ceremonies had introduced separate categories to honor supporting performances, Filmfare Awards began long ago to have Best Supporting Actor/Actress, and even created categories like Best Performance in a Comic Role and Best Performance in a Negative Role (these existed from the mid-1990s up to around 2007).
This was a formal recognition that comic actors and villains were crucial to a film’s impact. For instance, actors like Johnny Lever and Kader Khan bagged multiple Best Comedian awards, and antagonists like Amrish Puri and Nana Patekar won Best Villain awards, underlining that their work was being celebrated, not just overlooked as filler.
The film promotion style changed too: supporting actors began to appear on movie posters and in prominent positions in credits if they were popular. It became common to see an ensemble cast’s names all highlighted. For example, a poster might scream “Aamir Khan with Pankaj Tripathi” or “Introducing so-and-so”, acknowledging that having a respected character actor was a selling point. By the late 2010s, with the rise of ensemble films and web series, the notion of one or two “stars” carrying a project gave way to truly team-driven projects. Films like Lagaan (2001) or Dil Chahta Hai (2001) and, more recently, Gully Boy (2019) gained praise for their ensemble, where supporting actors received nearly equal glory as the leads.
You May Also Like to Read
Additionally, the financial dynamic shifted for some veteran supporting actors. As they gained clout, they could negotiate better fees. A recent trend (as of the early 2020s) is that seasoned character actors leading OTT (streaming) shows or films are getting compensation on par with some A-list stars. One report in 2023 noted that senior actors like Pankaj Tripathi, Neena Gupta, Shefali Shah, Jaideep Ahlawat, etc., who traditionally were supporting actors, have started commanding fees “as much as a mid- to top-tier female lead actor” and in some cases ten times what they earned a few years ago.
This dramatic rise is attributed to the content boom in streaming platforms, which place emphasis on strong acting and interesting characters over mere star power. OTT platforms have also reduced the box-office pressure and allowed more varied stories, meaning a film centered on a middle-aged couple (like Badhaai Ho, 2018, which had Neena Gupta and Gajraj Rao, both long-time character actors, in pivotal roles) can become a superhit and win awards. In Badhaai Ho, it was the older supporting actors who actually drove the plot and earned immense accolades, even more than the younger leads.
With such changes, one can sense a democratization of stardom. Directors today openly say that a film is incomplete without a great supporting cast. Casting directors have become mini-celebrities themselves by perfectly picking character actors that make a film authentic. The industry now celebrates these performers: for example, in promotional events or talk shows, supporting actors are given a spotlight to tell their stories, something quite rare in earlier decades.
Moreover, the cultural conversation has shifted; fans on social media often create buzz around supporting characters (“We want a spin-off movie about this side character!” is a common refrain when an especially charismatic side character appears). For instance, Siddhant Chaturvedi’s character MC Sher in Gully Boy was so loved that he overshadowed at times the lead (Ranveer Singh), leading to a flood of memes and calls for a sequel focusing on MC Sher. The filmmakers publicly acknowledged that Siddhant’s performance added tremendous value and effectively launched him into stardom. Such instances were rarer in the past but are increasingly normal now.
That said, some challenges remain. Typecasting is still an issue, many talented supporting actors find themselves pigeonhole (for example, an actor who excels as a friend may keep getting “hero’s best friend” offers endlessly). Also, in mainstream commercial cinema, the big star system still thrives, so supporting actors usually don’t get the same adulation or media coverage as the leads. But things are certainly far better than before: their professional dignity and standing have grown. Government honors (Padma awards) and lifetime achievement awards are now commonly bestowed on veteran character actors, underlining their importance to the arts.
The industry’s perception has evolved from seeing supporting actors as interchangeable crew members to valuing them as indispensable artists. With this has come better pay, meatier roles, and public recognition. It’s a positive feedback loop; the more they shine, the more writers create substantial parts for them, which in turn produces better cinema.
Beyond Bollywood: A Pan-Indian Phenomenon
While our focus is Hindi cinema, it’s worth noting that the phenomenon of supporting actors becoming “secret superstars” is seen across the Indian film industry. Indian cinema is vast, with Tamil, Telugu, Malayalam, Kannada, Bengali, and other regional industries each having their own constellation of beloved character actors.
In Tamil cinema, for example, the trajectory of Rajinikanth is legendary, he started in the 1970s often playing negative or second-fiddle roles (sometimes as the villain to Kamal Haasan’s hero), but his dynamic screen presence quickly propelled him to lead roles and eventually to the status of Thalaivar (leader), one of Indian cinema’s biggest icons. Interestingly, Rajinikanth has always acknowledged the importance of good supporting roles; even after becoming a superstar, he would share screen space generously with character actors, knowing their contribution enriches his films.
Tamil films also gave us comedic geniuses like Nagesh (a prolific comedian of the 60s, akin to Mehmood’s status in Hindi films) and the duo Goundamani-Senthil, who were so popular in the 80s–90s that some viewers would buy tickets just for their comedy tracks. The trend was such that Tamil filmmakers often inserted a comedy subplot unrelated to the main story, simply to feature these comedians and keep audiences entertained. That’s star power, even if it’s “supporting” on paper!
Telugu cinema’s shining example is Brahmanandam, a comedian who has appeared in over 1000 films (holding a Guinness World Record for the most screen credits by an actor). Brahmanandam seldom plays the lead, but his face on a poster guarantees laughs inside. At one point, he became a barometer of a masala film’s entertainment value; a movie without him felt incomplete to many Telugu audiences of the 1990s and 2000s.
His immense body of work and fan following demonstrate how a supporting actor can be a superstar in effect. Similarly, in negative roles, Telugu and Tamil cinema have celebrated villains like Prakash Raj, who, much like Pran or Amrish Puri, is so skilled that he seamlessly works across languages (he’s played the bad guy in Tamil, Telugu, and Hindi films, winning national awards for his performances).
Malayalam cinema has its share of character actor legends as well. The great Mohanlal actually debuted as a villain in 1980, and his talent was so evident that he turned into a leading hero and one of the two biggest stars of Malayalam films (the other being Mammootty). On the other hand, actors like Innocent (a comedian) and Nedumudi Venu (known for versatile character roles) became extremely respected figures in Malayalam cinema, winning multiple awards and love, without necessarily being “heroes” in the conventional sense.
These examples underscore that Indian cinema at large values supporting actors deeply. Each region’s film culture has its beloved supporting icons, often crossing over into other industries as well. In fact, many Hindi film character actors are borrowed from theater or regional films (for example, actors like Sayaji Shinde or Atul Kulkarni, who did remarkable supporting work in Marathi or South films, later became known in Bollywood too). The cross-pollination has enriched films and given these actors a wider canvas to shine.
The Everlasting Legacy of Cinema’s Unsung Superstars
As we reflect on the journeys of these supporting actors turned secret superstars, one thing becomes clear: stardom in cinema is not just about top billing or solo hero projects. It can be quietly earned through years of excellent performances, scene by scene, film by film, until the audience realizes that a film would be incomplete without these personalities. These actors have proven that every role counts; a great actor, even in a limited screen time, can create an impact that endures for decades.
Their legacy is multifaceted. For one, they have given us characters and moments we quote and cherish: think of Mogambo’s sinister satisfaction (“Mogambo khush hua!”), Circuit’s hilarious loyalty to Munna Bhai, or the emotional heft of a mother like Nirupa Roy (the classic impoverished mother from 70s dramas) crying “Mere bete aayenge” (“My sons will come rescue me”). These moments became the soul of their films. In many cases, the supporting actors’ contributions turned an ordinary story into something extraordinary and memorable.
They also paved the way for future talent. By earning respect and awards, they sent a message to new actors that one can choose a different path to success, you don’t have to debut as a hero or heroine to eventually become prominent. Many of today’s talented young actors are happy to take on supporting roles in big projects, knowing that a meaty supporting role can sometimes get more notice than a bland lead role. The stigma around being a “character actor” has lessened; in fact, in artistic terms, being called a great character actor is a badge of honor.
You May Also Like to Read
It’s important to recognize that these actors often had longer and steadier careers than the big stars. A hero or heroine might shine brightly for a decade or two, but a Johnny Lever or an Anupam Kher can continuously reinvent themselves over 30-40 years in varying supporting parts. Audiences grow up seeing them and form a special, enduring bond. When any of these veterans pass away or retire, there is a collective sentiment of loss in the film community, because they weren’t just supplementary players; they were part of the very fabric of Indian cinema’s storytelling tradition.
Another facet of their impact is how they expanded the range of stories that could be told. Writers and directors, knowing they had such dependable actors available, could craft complex stories with multiple strong characters. A film like Lage Raho Munna Bhai (2006) can have Sanjay Dutt as lead but it also gives Arshad Warsi (Circuit), Boman Irani (the antagonist Lucky Singh), and Dilip Prabhavalkar (as Gandhi) moments to shine – and each one of them delivered, making the film an ensemble success. This is a formula now often repeated, where the ensemble is the star. It’s a healthy shift from sole hero worship to a recognition of collaborative art.
Supporting actors may have been called “supporting”, but as we’ve seen, many of them turned out to be the strongest pillars holding up the edifice of Indian cinema. Their passion for their craft often exceeded the material they were given, and they turned stereotypical roles into something unique and unforgettable. Bollywood and other industries are finally giving them their due, and audiences have, in truth, loved them all along.
These secret superstars remind us that cinema is a team effort, a beautiful mosaic of performances, where sometimes a smaller tile shines the brightest. The next time you watch an Indian movie, pay close attention to those secondary characters who make you laugh, cry, or shudder; you might just be witnessing a superstar in the making, hidden in plain sight. After all, spotlights eventually find those who consistently deliver brilliance, no matter where they stand on the stage.