Rajkummar Rao: From grit to groove
As Rajkummar Rao promotes his latest Bollywood release with Wamiqa Gabbi, titled 'Bhool Chuk Maaf', a family comedy directed by Karan Sharma and produced by Dinesh Vijan, one cannot help but notice the spring in his step lately.
In a typical film helmed by Rajkummar Rao, do you remember noticing his dance moves? Chances are that his dynamic acting prowess left little time for you to notice his grooving self. Lately, the ace actor has another kinda goal up his sleeve: cementing his identity as a dancer in contemporary Hindi cinema. A quiet dance revolution is taking over, if you haven't noticed it yet, and Rao is leading the game. And how!
For over a decade, Rao has been the go-to name for nuanced storytelling, known more for bringing an emotional depth to his characters by way of transformative acting. However, if one were to go through his filmography in recent times, it wouldn't be difficult to notice that Bollywood's method man has found his beats, and he's now grooving to a new rhythm.
Take his spooky charm in 'Stree', or retro-romantic throwback in 'Vicky Vidya Ka Woh Wala Video', Rao is now entering a space that has traditionally been reserved for the mainstream 'hero material'.
In the sleek and glossy setting of 'Kati Raat', a song from 'Stree 2', Rao stands shoulder-to-shoulder with Shraddha Kapoor and Varun Dhawan, both seasoned dancers, and yet commands his own presence, with unforced ease.
In 'Mere Mehboob', a retro-tinged track alongside Tripti Dimri, Rao leans into classic Bollywood romance. As a result, his movements are fluid and controlled, offering less flash and more finesse.
Perhaps Rao's most noteworthy delivery is 'Chor Bazari Phir Se' from 'Bhool Chuk Maaf', a clever reimagining of a song from 'Love Aaj Kal'. Now, decades later, he inhabits the grown-up version of that world, dancing with Wamiqa Gabbi in a track laced with nostalgia.
One could safely say that Rao’s dance journey began with the Stree franchise. Before that, we knew him as the face of indie cinema: as that unforgettable protagonist from 'Trapped', the lead from 'Shahid', and the assertive (yet vulnerable) constable from 'Bheed', among others.
In songs like 'Milegi Milegi', he exudes a quirky charisma, in 'Aao Kabhi Haveli Pe', he balances horror-comedy with sharp timing opposite Kriti Sanon, and in 'Kamariya', a garba-inspired track with Nora Fatehi, Rao holds his ground despite the high-octane choreography.
The best part of watching him is to notice how he adapts, without making a conscious attempt at conquering the screen. In doing so, he makes dance an extension of character, not a break from it.
As more actors straddle realism and entertainment, Rao’s approach points to a broader genre-fluidity, and the versatile ability to be able to groove to a chartbuster without appearing vain in the larger scheme of things.
For an actor once known for restraint, watching him loosen up to the beat is not just entertaining, it’s refreshing too.
Entertainment