But what started bothering fans changed into when they started to note how rajkummar rao has been gambling the identical type of character in nearly each film.
From Shaadi Mein Zaroor Aana, Stree, and Badhaai Do to Bareilly Ki Barfi, Rao regarded being stuck portraying the small-metropolis guy whose overwhelming uselessness is inexplicably packaged as harmless appeal.
The secret at the back of these characters' appeal is never pretty discovered, nor does Rao play them as especially impossible to resist. In fact, in most of these films, not only are the protagonists indistinguishable from each other, but they may also be borderline repulsive.
Poor Alia, still clueless about Ranbir's massive secret?
Take his trendy film Bhool Chuk Maaf, for example. His performance lacked freshness, and his individuality already felt stale.
His man or woman, Ranjan, in the film has no awesome qualities or footing. He would not have a single redeeming trait, but one way or the other, it's characters like Ranjan that Rao seems interested in these days.
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There is not anything wrong with gambling on such roles. The difficulty arises when an actor with Rao's range maintains recycling the same man or woman type simply because it was as soon as nicely obtained.
Barring a couple of films wherein he played police officers, like Badhaai Do and Bheed, Rao has largely remained trapped in this small-metropolis recurring. Eventually, he turns out to be the poster boy for cinematic underachievers.
His repeated portrayal of these idler, manchild characters has led to fears of him being typecast, and for an actor as talented as him, it is disheartening to see some other skilled performer caught in a loop. It's approximately time he returned to his roots, no longer for our sake, but for his personal.
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