What the press
has to say
AFTERNOON DESPATCH & COURIER, [JUNE 3,1996] BY KAMALA RAMCHANDANI.
…but, without a doubt it was Boman Irani who, as with his cameo
role in Roshni, stole the show with his portrayal on an elderly
parsee,from body language to shuffling feet. Not for a moment
did he forget his characterization. With never a false note, he
compelled one to watch him, with his laid back true to life depiction.
is truly a gifted performer whose versatility is amazing.
Times Of India, [MAY 23, 1996] BY JITEN MERCHANT:
…but the balance of power becomes even, thanks to Boman Irani’s
magnificent Dhunjisha. This is one of those characterizations
whose sheer ‘rightness’ cannot be described in words- nor could
they do justice to moments such as his heartbreaking attempt to
persuade his building committee chairman to let him stay, or his
half crazed attack on the drug dealer. As such, it goes straight
into this critic's short list of the most memorable performances
he has seen.
…Boman Irani`s brilliant portrayal of the bumbling & weak
Dhunjisha who's almost given up the fight for getting a fair treatment
on his forced retirement.
AFTERNOON DESPATCH & COURIER
…it was Boman Irani who, as with his cameo role in ‘ROSHNI’,
stole the show with his portrayal of an elderly Parsi, from
body language to accent to shuffling feet. Not for a moment
did he forget his characterization, whether during the humorous
or more philosophical moments. With never a false note, he compelled
one to watch him with his laid back true to life depiction.
Irani is a truly gifted performer whose versatility is amazing.
TIMES [DUBAI], NOVEMBER 2, 1996.
…veteran actor Sudhir Joshi and new found acting talent Boman
Irani excel in their roles. Boman needs special mention for
a finely controlled performance which has the makings of a classic.
INDIAN EXPRESS, 16 MAY 1996
…the other wise healthy & robust Irani gets in to the psyche
of his character a while before performance & what further
helps his mental make-up is his physical dressing: once he slips
into the “sadra”, shirt, maroon skull cap and, pink framed plastic
glasses, he almost magically transforms into Dhunjisha.
…young thirty five year old Boman Irani as the 75-year-old Dhunjisha
Batliwalla was perfect in every nuance, every shuffle, every
Parsee quirk including the hitching up of his khaki ankle length
trousers with his elbows from time to time.
& GUARDIAN SEPTEMBER, 26 1998- NIC PAUL ON SHOW IN DURBAN.
Boman Irani MK Gandhi is a far cry from Ben Kingsley’s grease
painted little saint: he's a tall & imposing figure who displays
little of the humility Attenborough’s version of the story gave
us, and this version of the man, unsurprisingly, is the more interesting.
GOOD LIFE, FRIDAY SEPT. 18 1998 BILLY SUTTER (DURBAN) FOR
MAHATMA vs GANDHI.
…Boman Irani noted in India as much for his photography as for
his acting, has a commanding presence in the title role, convincingly
& movingly transforming from energetic & angry, young
barrister to bald, frail & softer voiced political icon.
EXPRESS - KAMALA RAMCHANDANI
…but it was the cameo role that stole the show- Boman Irani made
one sit up & take notice with an incredibly stylish rendering
of ‘put your money where your mouth is’. He has a with it voice,
an elegant dancing technique & tremendous stage presence,
& we wish we had seen more of him.
JUNE 1995 - ARATI KUMAR
…but there were some instances of genuine laughter from the
audience- Boman Irani was on stage. Superb as the politician,
screamingly funny as a pimp, he stole the show.
…the only performer who really shone was photographer Boman
Irani who handled his cameos with great ease.
INDIA, JUNE 19 1995
…and except of some rare flashes of creativity- such as the
visual media & Boman Irani’s dance sequence, `Put your money
where your mouth is`, Roshini falls quiet flat.
…and the star of the show was Boman Irani, his double role was
a double treat for Calcutta when the park's annual supper brought
in Raell Padamsee’s `Family Ties`- 2.
INDEPENDENT, (DURBAN, SOUTH AFRICA), SEPT. 27TH 1998 – ROBERT
Boman Irani plays the Mahatma, uses his hands incessantly, describing
graceful curves and arcs in the air: a kind of parallel dialogue
with his voice and body. The movements break the line of the body,
create a shimmering effect, a magic around him. It contrasts with
his portrait of Gandhi in later life looking oddly like a Maribou
stork supported on a stick.
back lighting is red or has projection of filtered light, through
the outlines of branches. It is haunting to look at; like the
swirling hands of Irani as Gandhi, it worked paradoxically.