There have been many moments in Indian cinema where actors have let go of their salaries for bigger and better purposes. Recently, in an interview, Vivek Oberoi revealed that he has decided to donate his fees for Nitesh Tiwari’s much-awaited directorial, 'Ramayana'.The film, which stars Ranbir Kapoor in the lead, will reportedly see Vivek essay the role of Vibhishan, Raavan’s brother.
In an interview with Hindustan Times, Oberoi revealed that he is donating his entire fees for a purpose close to his heart. He said, “I told Namit that I don’t want a penny for this, I want to donate it to any sort of cause that I believe in, which is kids with cancer. I told him I want to support you because I just love what you’re doing and I think that this will take Indian cinema on the global stage with a bang."
Did you know that Amitabh Bachchan reportedly worked on Black (2005) for free—purely out of admiration for Sanjay Leela Bhansali’s work? His performance as the blind and ageing teacher, Debraj Sahai, remains one of the most moving roles in Indian cinema, and it’s poetic that it was born out of pure artistic love.
We all have loved and appreciated Shahid Kapoor’s acting skills in ‘Haider’, but did you know that he did not even charge money for his brilliant performance? The actor refused to take a fee for Vishal Bhardwaj’s ‘Haider’.
The film, an adaptation of Shakespeare’s Hamlet, was dark, layered, and risky by commercial standards.
Fans were delighted to spot Shah Rukh Khan in the 2000 Tamil film ‘Hey Ram’. But very few know that SRK did it for free! He appeared in Kamal Haasan’s film because he simply wanted to work with the great actor!
It wasn’t about screen time or box office—it was about being part of something meaningful.
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Shah Rukh Khan in 'Hey Ram'. (Photo:Raaj Kamal Films International)
Nawazuddin Siddiqui in Nandita Das’ Manto’ was brilliant and mind-blowing. He was so dedicated to the film that he worked on ‘Manto’ without charging a fee, as the film, based on the life of writer Saadat Hasan Manto, deeply aligned with his own artistic ideals.
Nawazuddin Siddiqui in Nandita Das’ Manto. (Photo: HP Studios)
These instances remind us that cinema isn’t merely entertainment; it’s an exchange of belief, emotion, and purpose. Don’t you think such gestures make art more meaningful?
