Reel Icons, Real Warriors: Indian Actors Who Served in the Indian Army

Bikramjeet Kanwarpal came from a military background—his father was an army officer. He joined the Indian Army in 1989, served till 2002, and retired as a Major.

In 2003, he made his acting debut, and his early roles often carried the gravitas of someone who’d held command in real life. On screen, when he donned a uniform, you sensed the real thing behind the performance. His army training showed up in the ease with which he carried himself and the clarity with which he delivered authority. He appeared in popular films like Page 3, Rocket Singh: Salesman of the Year, Murder 2, and Aarakshan, along with several television shows, often portraying senior officers or officials with remarkable authenticity.

Sadly, his journey ended early—he passed away in 2021 due to COVID-19 complications.

Mohommed Ali Shah served as an officer in the Indian Army (including postings on the Line of Control and with the Assam Rifles) before entering acting.

His transition from duty uniform to film set isn’t just cosmetic: you can detect the military habits in his screen presence—steady posture, measured dialogue, calm under pressure. When such performers take on soldierly roles in film or television, their experience brings texture beyond the script. His roles in films like Haider benefit from his real-life army experience, especially in roles set in conflict zones.

Rudrashish Majumder is among the more recent examples: he served in the army (joining in 2011, retiring in 2018) before stepping into Bollywood with films such as Chhichhore and Jersey.
For him, the switch from regiment to rehearsal is still rooted in the same principles: prepare thoroughly, respect the chain of command (in this case, the director), show up on time, deliver your lines as you would orders. It’s the same foundation; only the uniform changed.

Before becoming a household name as Shakuni in Mahabharat (1988), Gufi Paintal served in the Indian Army during the Sino-Indian War of 1962, posted on the China border. It was a time when the young engineer answered the call of duty and experienced firsthand the challenges of a soldier’s life.

After leaving the army, Paintal transitioned to modelling and later to television, where his portrayal of Shakuni earned iconic status. His screen presence—poised, deliberate, and commanding—reflected the discipline ingrained by military service. Beyond Mahabharat, he acted in films such as Des Pardes (1978), Dillagi (1978), and Suhaag (1979), and continued to mentor younger actors throughout his career. His life story is a rare blend of patriotism and performance.

Before joining the cinema, AK Raveendran—popularly known as Maj Ravi—served in the Indian Army and was part of the elite National Security Guard (NSG). A decorated officer, he participated in counter-terrorism operations and intelligence assignments that shaped his worldview. For his exceptional bravery and leadership, he was awarded the Sena Medal (SM) for gallantry. His military experience became the foundation of his filmmaking.

After retiring, Maj. Ravi entered Malayalam cinema, where he directed and acted in powerful war dramas, including Keerthi Chakra (2006), Kurukshetra (2008), Kandahar (2010), and Picket 43 (2015). Each film blends cinematic emotion with operational accuracy, often drawing inspiration from true incidents from his own service. Through these works, he introduced audiences to the realism and brotherhood of soldiers, bringing the ethos of the armed forces onto the screen with unmatched authenticity.

While not a career serviceman, Nana Patekar has a long association with the Indian Army, including training with the Maratha Light Infantry and receiving an Honorary Captain rank in the Territorial Army. He’s known for immersing himself in military drills and field routines—prep that shaped his taut, no-nonsense screen persona.

As actor-director of Prahaar: The Final Attack (1991), he portrayed a commando instructor with documentary-like rigour, popularising a tougher, more pragmatic depiction of soldiers in Hindi cinema. Later roles in films like Tiranga (1993), Krantiveer (1994), and The Attacks of 26/11 (2013) carried that same clipped cadence and mission-first intensity, reflecting a deep respect for the armed forces even as he worked from the world of film.

The journey of these men—from the rigours of training grounds to the creative chaos of cinema—embodies a rare duality. They remind us that storytelling and soldiering share a core truth: both demand discipline, courage, and an unflinching eye for detail.

When these veterans salute on screen, it carries the weight of memory, not mimicry. Their authenticity deepens the audience’s connection, turning scenes into tributes. For them, art is not an escape from service—it’s a continuation of it, through a different uniform.

These actors prove that valour doesn’t retire; it evolves. Whether under the harsh desert sun or the blinding glare of studio lights, they continue to serve—this time, not on the front lines, but in the hearts of those they inspire.

Also read: Battle of Saragarhi Remembered: Bollywood, Books and Beyond