Mansoor Khan: There was doubt whether Aamir Khan could become an actor- exclusive! , Hindi film news

As Aamir Khan arrives at the age of 60 on March 14, his cousin and filmmaker Mansoor Khan offers a rare glimpse in his shared history, both individual and professional. Aamir’s success directed the film, WitnessMansoor played an important role in shaping his early career. In this special conversation, he reminds of Aamir’s childhood, his early struggle as an actor, and creative fight behind some of his most prestigious films. He also explains how Qsqt developed, including dramatic decisions, which maintains its tragic end.
One of the most famous actors of Indian cinema, Aamir Khan’s journey from a shy, reserved boy is no less than notable, and is better to tell this story than someone who has known him since childhood? There is an intimate and clear discussion with Mansoor Khan on the cinematic heritage of his magnificent cousin here.
Your brilliant cousin is getting 60 this week. This is quite a phenomenon, will you not agree?
This is actually an event. He is seven years younger than me, but we belong to the same generation. I don’t spend much time with him because I live outside Mumbai. However, due to the film, I am directing for his sons Junaid and Sai Palvi, I am in contact with him more often. He is very busy, and our paths do not cross often, but when I visit Mumbai, we make a point to meet it. We are very close since childhood.
What was Aamir as a child?
He was very shy, very rarely spoken, and was quite reserved. As he grew up, I went abroad, and he stayed here, so I was unaware of how much he had changed. However, he was always a very reserved person. I suspected whether he could become an actor, especially in Indian cinema, where a certain degree of expression is required. He even admits that when he now sees the ‘doom to do not do the doom’, he is running on his performance.
You have mentioned once Juhi Chawla The ‘doom of doom was better than Aamir in the doom. Even he accepts it?
Yes it is true. He himself accepts it. But he has come a long way since then.
How did the ‘doom to do not do with a doom’?
Mansoor Khan: My father, Nasir Hussain, was writing a romantic film. Aamir was helping him at that time, and Javed Akhtar suggested that Aamir should be in front of the camera instead of it. This inspired my father to see Aamir differently, and perhaps it inspired him to put him in the lead role. He was writing ‘Qayamat SE Qayamat Tak’ as a sad love story with Aamir. Meanwhile, I was writing ‘Jo Jeeta Wohi Sikander’ keeping Aamir in mind.
Was the two films being developed together?
Yes, we worked in different offices – both my father and I write our related scripts. My father’s script was completed long ago, while I was much more complicated. Additionally, I was not a regular film audience, so I had little understanding of the expectations of the audience.

After all, how did you take ‘doom to do not do with doom’?
My father suggested that I direct it. He was working with my sister and Aamir as co-authors and sounding boards, while I was calling completely in the project at that level. When I asked him about the film, he said that it was a love story. I replied that almost every film is a love story. I was trying to get away from that mold. While ‘Jo Jeeta Wohi Alexander’ included elements of love and romance, it was mainly about the responsibility of learning a boy, in which the game was serving as a medium for his development. However, my father insisted that I listen to the script. Once they recited it – especially the preamble, which established enmity between the two families – I was occupied by them, which the characters were well defined. This convinced me to direct the film.
‘Qayamat Se Quayamat Tak’ was a departure from Nasir Hussain’s general style, mainly focused on music and light romance. would you agree?
Absolutely. He mainly focused on creating a luster romance. Most of his films followed a similar story structure. However, ‘Baharon’s Sapne’ was quite different from its normal work, as ‘was’Yadon’s BaratHe initially conceived ‘Qayamat SE Qayamat Tak’ as a sad love story in the vein of ‘Romeo and Juliet’ or ‘Laila Majnu’. He firmly established the family conflict, making a tragic end unavoidable. However, he was hesitant because he had changed the tragic end of ‘Baharon’s Sapne’ after watching the reactions of the audience in theaters first. He later regretted changing it when watching the film on television. After the ‘doom to do not do with the doom’, he accepted the story and the importance of being true to the characters. He also believed that ‘Baharon Ke Sapne’ could be considered a classic that he maintained his original tragic end.
Did you shoot ‘Qayamat Se Qayamat Tak’- two ends for a sad and one happy?
Yes. When I appreciated many aspects of the script, I felt that some scenes were cloured and underdeveloped in a few moments. My father and I had many discussions – sometimes logic on these elements. Aamir and my sister often worked as mediators. Even when we were about to start shooting, the end was not finalized. My father left it to me to write the conclusions. When I finally sat down to write, I spontaneously moved towards a tragic end and was quite satisfied with it. However, I realized that I could not only present this version to my father. Therefore, I also prepared an alternative pleasant end.

During the shooting, my father often called to ask if I filmed a pleasant end. He was apprehensive seeing his previous experience. He knew that I was bent towards the sad end. I assured him that I would first shoot the sad end and then move towards a pleasant end.
So, you first shot the sad end and then happy one?
Yes. But when we were shooting for a pleasant end, something felt. We were shooting out of the sequence, and when I gave cu for action, no one – either Dilip Tahil or Bina – will start laughing. That reaction indicated that the pleasant end felt artificial and highly dramatic. There was a lack of organic authenticity of tragic end. Finally, I don’t think I also finished shooting a pleasant end. I firmly believed in a sad end and realized that it was only one who did justice to the story. After seeing the parts and editing them, I showed only tragic versions during private screening.
Was your father still uncertain about the tragic end?
Yes. During the screening, he sought opinion from senior family members, while young viewers, including Aamir’s sisters and his friends, loved the tragic end. However, the elders were completely opposing it. Finally, he trusted and went with a sad end.
When the sad end proved to be a big success, was he proud of you?
He never said this clearly. I asked him years later, but he did not directly answer. However, when he returned from the theater, he was excited about Aamir’s growing popularity. He was focusing more on Aamir’s career than me because he knew that I was not keen to continue in the film industry. His priority was Aamir’s success, and in this regard, he was very happy.