Written by Anas ArifMumbai | January 1, 2026 05:56 PM IST 3 min readAsrani left the world late last year, in October, and his absence is one that will be felt for a long time to come. Most popularly remembered as the iconic “Angrezon ke zamaane ka jailer” from Ramesh Sippy’s Sholay, Asrani’s career stretched across nearly six decades, during which he appeared in an astonishing range of films and roles. While Sholay cemented his place in popular culture, some of his finest and most nuanced work came under the direction of filmmakers like Hrishikesh Mukherjee and Basu Chatterjee, who understood his rare ability to balance humour with humanity.The veteran comedian, who would have turned 85 this Thursday, also appears posthumously in Sriram Raghavan’s war drama Ikkis, which released in theatres today. One of his final screen appearances, the film carries a sense of farewell, made all the more poignant by the fact that Raghavan, a self-confessed cinephile raised on the grammar and spirit of Bombay cinema, chooses to honour Asrani right at the very beginning of the film.Asrani Tribute in IkkisThe war drama, which also stars Agastya Nanda and Jaideep Ahlawat and is set against the backdrop of the 1971 Indo-Pak war, starts with a tribute to Asrani in its opening credits. Against a black screen appears a still of the actor in his iconic jailer avatar from Sholay, smiling directly at the audience. The caption that accompanies the image reads: “We will forever be your prisoners.” The tribute in the opening credits of Ikkis features a still of Asrani from Sholay.Asrani Shared the Screen with DharmendraThe film becomes especially poignant when Asrani shares the screen with the late legendary Dharmendra, who passed away exactly a month after him, making Ikkis his own swan song. (The opening credits also carry a tribute to him). Just before the interval, the film pauses for a devastating exchange between the characters played by the two legends. Asrani appears in a brief cameo as a Pakistani resident suffering from Alzheimer’s, while Dharmendra plays an Indian war veteran. Their conversation turns to undivided India, childhood friendships, and the life they once shared before Partition tore them apart.Tragically, Asrani’s character cannot remember who Dharmendra is, nor can he fully comprehend that Partition ever happened, as he battles Alzheimer’s. Indeed, there could be no more fitting way to begin 2026 than watching two giants of Indian cinema reflect, on what we once were, while also questioning the trauma, violence and divisions that have followed since.Anas Arif is a prolific Entertainment Journalist and Cinematic Analyst at The Indian Express, where he specializes in the intersection of Indian pop culture, auteur-driven cinema, and industrial ethics. His writing is defined by a deep-seated commitment to documenting the evolving landscape of Indian entertainment through the lens of critical theory and narrative authorship. Experience & Career As a core member of The Indian Express entertainment vertical, Anas has cultivated a unique beat that prioritizes the "craft behind the celebrity." He has interviewed a vast spectrum of industry veterans, from blockbuster directors like Vijay Krishna Acharya, Sujoy Ghosh, Maneesh Sharma to experimental filmmakers and screenwriters like Anurag Kashyap, Vikramaditya Motwane, Varun Grover, Rajat Kapoor amongst several others. His career is characterized by a "Journalism of Courage" approach, where he frequently tackles the ethical implications of mainstream cinema and the socio-political subtext within popular media. He is also the host of the YouTube series Cult Comebacks, where he talks to filmmakers about movies that may not have succeeded initially but have, over time, gained a cult following. The show aims to explore films as works of art, rather than merely commercial ventures designed to earn box office revenue. Expertise & Focus Areas Anas's expertise lies in his ability to deconstruct cinematic works beyond surface-level reviews. His focus areas include: Auteur Studies: Detailed retrospectives and analyses of filmmakers such as Imtiaz Ali, Anurag Kashyap, and Neeraj Ghaywan, often exploring their central philosophies and creative evolutions. Cinematic Deconstruction: Examining technical and narrative choices, such as the use of aspect ratios in independent films (Sabar Bonda) or the structural rhythm of iconic soundtracks (Dilwale Dulhania Le Jayenge). Industrial & Social Ethics: Fearless critique of commercial blockbusters, particularly regarding the promotion of bigoted visions or the marginalization of communities in mainstream scripts. Exclusive Long-form Interviews: Conducting high-level dialogues with actors and creators to uncover archival anecdotes and future-looking industry insights. Authoritativeness & Trust Anas Arif has established himself as a trusted voice by consistently moving away from standard PR-driven journalism. Whether he is interrogating the "mythology of Shah Rukh Khan" in modern sequels or providing a space for independent filmmakers to discuss the "arithmetic of karma," his work is rooted in objectivity and extensive research. Readers look to Anas for an educated viewpoint that treats entertainment not just as a commodity, but as a critical reflection of the country's collective conscience. ... 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