The top most embarrassing films of Amitabh Bachchan


Amitabh BachchanThe dramatically vibrant journey through life has its own share of ups and downs. With all its twists and turns, spells of joy and that of sorrow, moments of success and those of defeat, the passage is one of immense enlightenment and knowledge exposing each and every fellow traveler through the rigors of trial and error. The B town legend Amitabh Bachchan in spite of commanding overwhelming popularity and awe inspiring reverence is not an exception to the universal law.

1. Kabhie Alvidaa Na Kehna

Despite the film’s reasonable amount of success, the role portrayed by the legendary actor of Bollywood fell well short of his signature enormity. As a playboy seeking to flirt with Kiran Kher, it won’t be demeaning to say that he ended up making complete mess of himself as the so called ‘sexy Sam’ or Samarjit Talwar, ever ready with his titillating comments.

2. Jhoom Barabar Jhoom

Equally unimpressive was his cameo in the film Jhoom Barabar Jhoom. Despite the best possible intention of projecting the legendary superstar in a magical garb, one could hardly make out the role’s actual significance. Except serving to scare children with his fantastical gestures, Mr. Bachchan could hardly manage to leave the desirable impact expected of someone as exalted as the Big B.

3. Aag

Bollywood with its ironies big and small came up with one of its worst remakes in Ram Gopal Verma’s ‘Aag’. Contradictorily its original version happened to be the phenomenally successful extravaganza of Ramesh Sippy’s Sholay.In enacting the role of Gabbar the veteran superstar submitted himself to one of the worst forms of caricature. In keeping with the maxim of ‘Better late than never’, the erring superstar was quick to admit his mistake.

4. Bbuddah Hoga Tera Baap

The role encapsulated by the legendary superstar is once again a misfit from the point of view of Big B’s branded glory and élan. With due respect to individual opinion which is bound to differ from person to person, the role upholding the hero’s trademark dialogue and action centric histrionics fails to produce little or no conviction.

In spite of Big B’s well acclaimed stature, it can neither t be claimed nor expected that he rises beyond erroneous judgments. After all he isn’t a divine embodiment of quintessential perfection. Even with a few odd exceptions his all encompassing sway over the pulse of film going public is undeniable.


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