Heeramandi’s Taha Shah Badussha Recalls Running Behind Karan Johar’s Car For An Audition, “He Saw Me, Stopped The Car…”

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Taha Shah Badussha On Karan Johar(Photo Credit –Instagram)

Taha Shah Badussha gained popularity with his performance as Nawab Tajdar Baloch in ‘Heeramandi’. Created by Sanjay Leela Bhansali, the courtesan period drama series was released on Netflix on May 1, 2024. It also stars Manisha Koirala, Sonakshi Sinha, Aditi Rao Hydari, Richa Chadha, Sanjeeda Sheikh, Fardeen Khan, Shekhar Suman and Shamrin Segal.

In Heeramandi, Taha Shah Badussha’s character is a lover boy who also fights for the country’s independence. Fans are smitten by Taha’s charm as Tajdar, and he has become the internet’s favourite in no one. All eyes are now on what he will do next. But reaching this career stage has been quite a journey for the actor. In an interview, Taha talked about running behind Karan Johar’s car for an audition.

 

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Taha Shah Badussha On Running Behind Karan Johar’s Car

Many aspiring actors dream of working with directors like Karan Johar, Sanjay Leela Bhansali, and others. Taha Shah Badussha also dreamt of the same, and when he got an opportunity, he didn’t let it go away. Taha revealed that he ran behind the car of Rocky Aur Rani Kii Prem Kahaani’s director and, after the audition, landed the role in the Gippi movie.

“He saw me, stopped the car and offered some water. He called me the next day to audition for the film Gippi by Dharma Productions. That’s how I got the role,” the Heeramandi star told The Week. The actor then appeared in movies like Barkhaa, Baar Baar Dekho, and Ranchi Diaries.

 

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Taha Shah Badussha made his acting debut in YRF’s Luv Ka The End, which also stars Shraddha Kapoor. However, the film didn’t do well. In the same interview, the Heeramandi star was asked how YRF launched Ranveer Singh and how his career took out amazingly after the release of Band Baaja Baarat. About the same, Taha stated, “Ranveer did an amazing job in the film. Also, the target audience was much larger. The film’s hyper-localisation (with its Delhi slang and locations) changed the way films were being made.”

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