Shefali Shah’s journey through the film industry is nothing short of compelling, marked by choices that defied norms and a patience that eventually paid dividends. Known widely for her recent acclaimed performances in ‘Delhi Crime’, ‘Darlings’, and ‘Ajeeb Daastaans’, Shah has been in the limelight majorly for playing roles that oscillate between strength and vulnerability. However, her career trajectory has been unique and intriguing, owing to the long hiatus she took and the critical roles she declined.
In the early phase of her acting career, Shefali Shah was cast in roles that portrayed her as significantly older than her actual age. This trend was notable when she depicted the mother of Akshay Kumar and the wife of Amitabh Bachchan in the 2005 film ‘Waqt’, despite being much younger than these characters in real life. This role bracketing seemed to pause her presence onscreen when she mysteriously vanished from the cinematic world, only to resurface a decade later in Zoya Akhtar’s ‘Dil Dhadakne Do’ in 2015.
The decade-long gap between her appearances led to curiosity, which was addressed by Shah at the India Film Project. She revealed that during that time, she consciously chose to prioritize her family, devoting her time to raising her children. She also brought to light how most of her career involved waiting for the ‘right project’ rather than working non-stop. This decision culminated in an unexpected contemplation when ‘Dil Dhadakne Do’ was offered to her.
Despite her reservations about playing yet another maternal character, she ended up accepting the role of Neelam Mehra, which she initially found to be the second-best character in the script next to the family dog Pluto. Interestingly, Shah humorously confessed her desire to play Pluto, citing an imagined lack of aesthetic appeal on her part. Post-film, she was lauded for transcending the perceived weakness of the role on paper, with the film fraternity recognizing her performance as among the most impactful in the film.
But that was not the end of turning points for Shah. She was soon offered roles in two acclaimed movies, ‘Neerja’ and ‘Kapoor & Sons’. Both opportunities had the potential to steer her career in a new direction, yet she bravely refused both. Emphasizing her foresight, Shah mentioned she was aware that accepting these roles might typecast her permanently. She rather chose to wait for something undefined yet more substantial.
Her patience found its reward when the landscape of Indian cinema experienced a seismic shift with the advent of over-the-top (OTT) platforms. This was a game-changer for Shah, as it introduced her to projects like ‘Delhi Crime’, where filmmaker Richie Mehta entrusted her with the leading role at the age of forty. This experience reinforced her belief that there need not be a ‘shelf life’ for an actress’ career.
Recently, Shah’s versatility was on display in ‘Three Of Us’, alongside co-star Jaideep Ahlawat, where she portrayed a woman reconnecting with her roots while grappling with dementia. This role, like many others, provides evidence of her expansive range as an actress, solidifying Shah’s position as a force to be reckoned with in the industry.
Shefali Shah’s narrative is inspiring for its insistence on quality over quantity, for her determination to break free from typecasting, and, most significantly, for demonstrating that an actress can take the lead and captivate an audience, regardless of perceived traditional limitations within the film industry. Her story stands as a testament to the viability of late bloomers in a realm where youth is often over-emphasized, carving a space for more meaningful representation of diverse age groups on screen.
