Preetisheel Singh D'Souza has shared a behind-the-scenes look at the prosthetic transformation built for Danish Iqbal’s character Bade Sahab in Dhurandhar: The Revenge, revealing that the team created two sharply different versions of the same man. One was designed to show him in his prime, projecting authority, style and power. The other showed the same figure years later, weakened by illness and decline.

“Bade Sahab! For Dawood Ibrahim in Dhurandhar, played by Danish Iqbal, we had to build two sharply contrasting versions of the same man,” Singh D'Souza wrote in her post. She said the older version reflected a “fragile, worn-down” man who had been “slowly poisoned,” while the younger version had to carry the look of a commanding presence.

The transformation depended on extensive silicone prosthetic work, a sparse wig, layered skin darkening and texturing, wrinkles, eye bags, the removal of eyebrows, and detailed colouring across the scalp and body. The result was meant to make the change in age and condition visible on camera without breaking the performance or turning the character into a caricature.

Singh D'Souza also praised Iqbal for how he handled the process, saying he brought both versions together “with remarkable control,” making the transition feel “seamless and lived-in.” That kind of praise matters because the makeup could only work if the actor could carry the shift from one state to the other under layers of prosthetics and paint.

Singh D'Souza is a National Award-winning makeup and prosthetic designer whose studio, Da Makeup Lab, has become known for large-scale transformations in Indian cinema. Her recent work on the Dhurandhar films has drawn attention for its realistic detailing, and this latest reveal shows how much of that effect was built before the camera ever rolled.

The tension in the reveal is simple: the film is not just asking viewers to see one character at two points in life, but to believe both versions as the same man. That is a harder task than a straightforward disguise, and it leaves the final judgment not with the makeup team alone, but with how convincingly Iqbal can carry the character when the film reaches audiences.