Aamir, Amitabh: WORST films of Bollywood's BEST Actors

No matter how illustrious a career an actor has had. There's always a film they all wish they hadn't done. 

Versatile powerhouses of talent and endurance, they’re regarded as Hindi cinema’s most trustworthy forces -- a standing the likes of today’s toast -- Ranbir Kapoor, Nawazuddin Siddiqui and Rajkummar Rao are destined to acquire in days to come.

Doesn't matter how complex, experimental or central a role is, they tackle it with thought and significance often emerging as the 'expectedly' terrific attribute of a film.

Yet even the astute cannot foresee how a seemingly exciting script may transpire into complete catastrophe.

After listing the ghastliest of our finest leading ladies, we look at the worst of Bollywood’s most respected actors.

Amitabh Bachchan, Ram Gopal Varma Ki Aag

Doesn't matter how intently one associates the ‘angry young man’ epithet with him, Amitabh Bachchan's superstardom could never keep him away from gratifying the artist within.

And that's how he balanced an Alaap with an Amar Akbar Anthony in the same year.

When the stress of rat race vanished, he savoured his new innings in author-backed roles, which allowed him test his talents like never before.

Of course, he went a little too extreme there by agreeing to portray Gabbar in Ramgopal Varma's remake of Sholay.

We all know how that ended.

Check out the first part here!

Think Irrfan Khan and such fine films come to mind – The Lunchbox, The Namessake, Paan Singh Tomar, Sahib Biwi Aur Gangster Returns.

Even if you look at his lesser projects (and there are quite a few of those), the man is so uniformly good, it's easy to believe his repertoire is devoid of misses.

The eternally in-form actor's presence isn't enough to endure the god-awful supernatural snake horror/fantasy, Hisss starring Mallika Sherawat.

Most actors would love to steal Naseeruddin Shah's resume.

One can breathlessly rattle off a long list of the actor’s best works -- Nishant, Aakrosh, Bhumika, Bazaar, Katha, Sparsh, Masoom, Albert Pinto Ko Gussa Kyon Aata Hai, Jaane Bhi Do Yaaron, Ijaazat, Mirch Masala, Mirza Ghalib, Sarfarosh, Ishqiya.

At the same time, he could shake a leg in a typical Bollywood set-up in Tridev's chartbuster Oye Oye underscoring his wide appeal.

The love affair continues for this legendary veteran with Dedh Ishqiya.

Having said that, his reckless selection of films can often leave his best of fans confounded.

And his dreadlock-sporting Boos in the deservedly slammed Jackpot is right on top of that list.

Squandering a talent of his calibre in a mess like this is nothing but sacrilege.

Playing his perfectionist card by carefully picking one project at a time, giving it his undivided attention are well-known traits of Bollywood’s Mr Dependable.

Quite early in his career, following back-to-back turkeys like Love Love Love and Daulat Ki Jung, AK began to value the importance of investing his energy on films that matter, which enhanced his artistic growth reflected in films like 1947: Earth, Lagaan, Dil Chahta Hai, to name a few.

The audience trusts him, something few superstars can boast of. And that’s why it is particularly painful to witness his judgement backfire in the ultra shoddy, Mela -- a doomed reworking of Nasir Hussain’s Caravan from start to finish.

Another actor who's taken a conscious approach to work in unique films and expand his range is Anil Kapoor.

Hero, zero, cad, clown, tycoon, tapori, star or simpleton -- the Ram Lakhan star channelled them all with his everyman appeal.

But he too faltered with David Dhawan’s grossly vulgar, Andaz.

To think it's a dramedy about a bunch of naughty students and their charismatic teacher but Dhawan's oversexed treatment punctuated in double-meaning songs sent Kapoor's 'serious actor' reputation for a temporary toss.

Even after 20 years, the embarrassment lives on.

What do Jaane Bhi Do Yaaron, Khamosh, Chameli Ki Shaadi, Maqbool and Matru Ki Bijlee Ka Mandola have in common?

The wonderful artistry of Pankaj Kapur.

Though he never fit Bollywood's 'hero' prototype, Kapur's command on every medium -- films, television, theatre speaks volumes of his exquisite ability.

And while he's simply incapable of delivering a bad performance, his mild-mannered daddy to Kareena Kapoor in the shrieking romance, Main Prem Ki Diwani Hoon is one film he could do without.

He won a National award for his portrayal of a tubby teenager infatuated by his schoolteacher in his debut, Mera Naam Joker.

But his charming antics in Bobby cemented his lover boy image with a fabulous taste in sweaters till he hit his 40s and decided to call it a day.

Ever the natural, Rishi Kapoor hit the path of rediscovery in his senior avatar playing roles that explored unseen facets of his potential -- Luck By Chance, Do Dooni Chaar, Agneepath, Student of the Year, Aurangzeb, D-day.

Sadly, the terrific actor got it terribly wrong (and admitted it too) with the worst film of last year -- Besharam that teamed him up with wife Neetu and son Ranbir Kapoor.

'Mark idhar hai,' insists Paresh Rawal and there’s no refuting it either.

Be it Sardar, Sir, Tamanna, Andaz Apna Apna, Hera Pheri, Mumbai Meri Jaan or the recent Oh My God, where he played the main lead, here's one actor who’ll throw a surprise every now and then.

But even he is reduced to a screaming moron in that travesty co-starring Mallika Sherawat and Rahul Bose -- Maan Gaye Mughal-E-Azam.

What a drag!

From Bollywood's Saaransh, Daddy, Karma, Maine Gandhi Ko Nahin Maara, Dilwale Dulhania Le Jayenge, Lamhe, Chaalbaaz to international hits like Bend it Like Beckham and Silver Linings Playbook, Anupam Kher has many a feathers in his hat.

Regardless of his unquestioned acting chops and illustrious career, Kher's resume is filled with a big chunk of forgettable fare.

And the recent entrant in that infamous lot is the Deol baloney -- Yamla Pagla Deewana 2, which features him dressed as loon in Lucius Malfoy's wig who refers to himself as Dude and cracking witless jokes that wont make a four-year old laugh.

As the imposing presence headlining some of our best films (Ardh Satya, Jaane Bhi Do Yaaron, Aakrosh, Paar, Dharavi, Droh Kaal, Tamas) in addition to acclaimed international projects (Gandhi, East is East, City of Joy), it would be unfair to overlook his past achievements in light of recent disappointments like Kamal Dhamaal Malamaal and Policegiri.

The unparalleled intensity of Puri lend heft to mainstream dramas like Ghayal and Gupt while his flawless comic timing seasoned the proceedings of Chachi 420, Hera Pheri and Malamaal Weekly.

But his rock solid presence is dumbed down to play a ludicrous ‘baba’ with bisexual tones in the offensively bad, Buddha Mar Gaya.