It was the best of times.

While we rode the perpetual wave that was Shahrukh Khan, it was a period when all three Khans were at their peak. Salman Khan was the demigod of his times; and then there was Aamir Khan. Mr. Perfectionist. A tag he carries till date. Known for his penchant to sign a film a year, Aamir Khan’s movies always hogged the hype. He had carved out a niche of excellence for himself. He wasn’t about going topless in every other scene, he couldn’t wave his arms and have leading ladies rush into his embrace of charm and sincerity. No, he was about living and breathing his role. He was the actor Khan, not just one of the three superstar Khans.

And nowhere was it more evident than in Sarfarosh, a 1999 action thriller by John Matthew Matthan. A movie with a superlative plot, a narrative cloaked in realism, brutal set-pieces that don’t leave anything to the imagination — and most importantly, a brilliant performance from the two principal leads and a host of very talented support staff, each of them showing their true acting chops before time typecast them in the roles we know them for.

Sarfarosh tells the story of ACP Ajay Singh Rathod, fighting arms trafficking and the rise of local militias that attempt to threaten the peace. In all of this is the legendary ghazal singer from Pakistan, Gulfaam Hassan, with whom ACP Rathod forms a very close bond over time. Their stories intertwine as the narrative proceeds towards its natural conclusion, and every single step in this story is absolutely splendid. There is not one moment where you lose focus, lose interest. You cannot wait for the story to end, as much as you want the tale to continue. You need to get your answers, but the story is so damn interesting that you can’t let go. This is the hallmark of great storytelling. You’re in it, totally, you’re part of the narrative now.

From the looks of it, Aamir Khan shouldn’t fit into the role of a dashing, bold, hands-on ACP. He doesn’t seem built for the part. But for the life of me, there is no Aamir Khan in the movie — just ACP Ajay Singh Rathod. He is truly the driving force of the movie, and you cannot help but root for him. Aamir Khan in Sarfarosh reminds you why he is Mr. Perfection, why he does one film a year (that’s what he did back then, a trend that he has gone on to magnify currently). Everything about the movie seems to be likeable because Aamir Khan was in it.

And then of course, is Naseeruddin Shah, the ghazal maestro from Pakistan, who had to migrate during Partition. He floats in and out of the scene like a wizard, he brings in gravitas, he builds his character so magnificently, that the eventual turn breaks you. And his character is written down to the T, his rationale carries the weight of his actions, he isn’t just ordinary black and white. As much as Khan is the life that drives this movie, Shah is the essence of the movie. Movies like these remind you who Naseeruddin Shah truly is.

We also had the national crush of the 90s, Sonali Bendre in the movie. She isn’t essential to the story, but she has been blended in perfectly. Mukesh Rishi in such an out of character role that your heart goes out to Saleem, a victim of unnecessary profiling, but a beacon of courage that will stand up come what may — a man who has no quit in him. And a plethora of absolutely memorable characters with killer names like Mirchi Seth, Haji Seth, Sultan, and Veeran — all of these make Sarfarosh a movie you can keep coming back to.

Whenever you find the time next, when you can squeeze in a couple of hours to do absolutely nothing, switch to watching Sarfarosh. Even if you’ve watched it before. It doesn’t matter. It’s just one of those movies. It’s thrilling. It’s engaging. It’s fun.