700 failed auditions, mounting debts: Sharib Hashmi says wife kept his acting dream alive | Bollywood News

7 min readMumbaiJul 30, 2026 11:02 AM Around two weeks ago, a short film titled It’s Only 47°C quietly dropped on YouTube. Directed Tej Sisodia and backed Naseeruddin Shah, Anushka Shah of Civic Studios, and climate researcher Harish Borah, the 16-minute film takes on the urgent issue of climate change. At its centre is everyone’s favourite Sharib Hashmi, who plays a traffic policeman enduring the blering heat in an almost dialogue-less performance, carrying much of the film on his shoulders. Known largely for popular shows like The Family Man and Asur, Hashmi occasionally steps away from such tent-pole projects to take on shorts like these. Asked what drew him to It’s Only 47°C, the actor told SCREEN in an exclusive chat:
‘The poor have no role in global warming’
“It was a no-brainer for me. I don’t think anyone would say no to a film like this. What it has to say is so urgent. And then Naseer saab called me and said he was producing this short. That call alone was enough. He could have asked me to do anything, and I would have happily said yes.” What also stood out to Hashmi was the film’s perspective. Through the lives of four or five ordinary people, It’s Only 47°C shifts the focus to those who contribute the least to climate change but bear its harshest consequences. “The poor have no role in global warming, yet they are the ones most affected it. That, for me, was the most nuanced aspect of the script, and it immediately drew me in.”
Hashmi revealed that the film was shot over just three days. He arrived at the location two days in advance to train with real-life traffic police personnel, as most of his scenes directing traffic were filmed in a guerrilla style, with him managing actual traffic on the roads. “I was handling real traffic, and that was an amazing experience. I reached two days earlier and trained with the traffic police. I tried to learn as much as I could from them. But on the day of the shoot, it was still very tough because managing real traffic isn’t easy. Somehow, we pulled it off.”
Sharib Hashmi in a still from It’s Only 47°C.
‘I have a lot more to offer as an actor’
The actor added that while shooting, several commuters recognised him despite him being in character. “Quite a few people recognised me. Some were waving at me while I was managing the traffic. The next day, a few of my friends even sent me pictures of me standing there and directing traffic.” Despite leaving a lasting impression in a string of such short films and independent projects, Hashmi agrees, audiences have only seen a fraction of what he is capable of. “I know I have a lot more to offer, but I haven’t got those opportunities yet. So I’m just waiting for that moment. Having said that, I’ve enjoyed every project I’ve been a part of, from Filmaan to The Family Man. Each one has brought something new to the table and given audiences a chance to see a different side of me. I’m grateful for the journey I’ve had so far and for whatever God has given me. Many actors, who are way more talented than me, haven’t even get to come this far.”
If Hashmi is an actor capable of effortlessly holding an audience’s attention, he is an equally gifted writer. One of his finest writing credits, unfortunately overlooked many, is the 2020 film Ram Singh Charlie. Directed Nitin Kakkar and co-written Hashmi, the Kumud Mishra-starrer follows a circus performer whose life is upended after the circus shuts down. Asked what drew him to a story like Ram Singh Charlie, Hashmi said the seed of the film came from Kakkar, before the two developed it together into something deeply personal.
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“The idea was Nitin’s. He shared it with me, and we started developing it together. In many ways, the film became our tribute to our fathers, who may not have been considered successful the world’s standards. The sad part is that if someone isn’t seen as successful, their story often goes untold. But very few people realise that simply participating in life is equally important. That’s what we’re taught in school, but somehow we forget it as we grow older.” The actor-writer says the film emerged from a deeply personal place, making the writing process an emotional one. “It came from a very personal space. Nitin and I would often cry while writing it. I’m incredibly proud that the only film I’ve produced is Ram Singh Charlie. It also captures the dilemma of every art, how do you stay true to your craft while also fulfilling your responsibilities towards your family?”Story continues below this ad
‘I left my job to pursue acting’
Hashmi says he has lived through the very dilemma Ram Singh Charlie explores, that of an art caught between pursuing a dream and providing for a family. “I left my job to pursue acting, and sometimes you get overwhelmed the two roles you’re expected to play: running your household while also staying committed to your art. My family had to go through a lot during that phase.” The actor recalled one of the most difficult periods of his career, before Filmaan. After nearly 700 unsuccessful auditions, mounting debts had begun to shake his faith in the path he had chosen. “It was a very tough time. There came a point when the debts were piling up, and I told my wife, ‘I did all of this for nothing. I shouldn’t have chosen this path.’ My son wanted to learn martial arts, and I didn’t even have the money to pay for his classes. I felt everything was going in vain. But my wife stopped me right there. She said, ‘Never say that again. Your dreams are not yours alone, they belong to all of us. If you say all our sacrifices were for nothing, it will break my heart. You should be content that you’re at least trying.’”
Sharib Hashmi in a still from Filmaan
When Filmaan released in 2014, the India-Pakan dramedy won widespread critical acclaim and enjoyed an impressive theatrical run, firmly putting Hashmi on the industry’s radar. But the breakthrough, he says, did not translate into the steady stream of opportunities he had hoped for. “Filmaan definitely made me a known face in the industry, but it didn’t lead to the kind of work I was expecting. I did get a few offers. I was supposed to do a film with Nikkhil Advani as the lead, but it got shelved. There was another film backed Anees Bazmee, starring Sharman Joshi and me, but that too never saw the light of day. I was also doing a number of independent films, but many of them couldn’t be completed because of budget constraints. Some are still unreleased. Even when a few did make it out, like Darbaan, hardly anyone watched them.”
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Anas Arif is a prolific Entertainment Journal 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 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 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 consently 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. … Read More

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