Sneaking into the limelight

Possessing perhaps the greatest deadpan expression since Buster Keaton, Indian-born Kumar Pallana stole every scene in which he appeared in the 2001 comedy “The Royal Tenenbaums” as Gene Hackman’s loyal, albeit eccentric, valet.

And he even manages to upstage Oscar winner Tom Hanks in Steven Spielberg’s comedy “The Terminal” as Gupta, an airport janitor with a deep, dark secret and a mistrust of everyone.

Though Pallana’s movie career spans only the past decade, the energetic 85-year-old has been performing most of his life, making money for his family by traveling in India, Kenya and South Africa to perform feats of balance and yoga.

Pallana brought his skills to New York in 1946, where he developed a one-man show, juggling rings, spinning plates, doing rope tricks and magic. As Kumar of India, he toured Paris, London, Madrid, Casablanca and Las Vegas in the 1950s and ‘60s and even performed on “The Mickey Mouse Club” and “The Ed Sullivan Show.”

He and his family eventually settled in Dallas, where he and his son operated a yoga studio/cafe called “The Cosmic Cup,” whose regulars included University of Texas students Wes Anderson and Owen Wilson. When it came time to make their first film, “Bottle Rocket,” they gave Pallana a part. He’s also appeared in Anderson’s “Rushmore” and “Tenenbaums.”

Though he’s a man of few words on screen, the self-educated Pallana talks a blue streak in person.

Your family was involved in fighting for freedom from British rule in the 1930s.

When I was 12, my brother was into politics. He was a freedom fighter, so he was captured. In those days, they could beat you up and take your house [if you were arrested]. My father lost his business. My father was a car dealer. We had servants and cars. So when he was captured, our house was locked up and we had to leave.

Did you start to perform after your brother was arrested?

In 1935-36 I left my home and traveled in India. I had to do some shows to help my family. When I left the home, I don’t have any education that I can work in the office or anything. I had an interest -- if only I can become a singer or an artist to help my family. I wanted to become an actor, but it was very hard. When you don’t have the education, you don’t [know] that you had to train to act, dance or go on the stage. So when I left home and went to the Bombay [movie] studio, I couldn’t get into the gate. I started traveling, and I started doing shows in the schools -- not in the streets. I think family pride had something to do with that. I started balancing one plate and doing handstands.

You get to do your juggling and plate-spinning in “The Terminal.” Was that scene written in the script for you?

Tom said, “Let’s put it in.”

You couldn’t get into a movie studio in Bombay in the 1930s, and here you are working with Hanks and Spielberg.

They have energy. I worked with other people [in the film industry], but some people have the ego -- they chant “me, me. me.” But [they are] the other side of the coin ... so humble and so kind. It’s like working with a family.

How did you end up in Dallas?

I moved because my wife didn’t like the show business. She said I don’t like our children to be gypsies. We ended up in Dallas. I don’t know. It was just a destiny.

Did you get any work in Dallas?

The Dallas agent used to call me. They had what they called a stag party with strippers. So they used to call me in, in case the police come. I would then juggle and do my act [if the police showed up].... I used to work with a lot of

burlesque shows.

Burlesque shows?

It is job, dear.

You got your second career due to Owen Wilson and Wes Anderson.

They would come in [the cafe] and talk to me. They said they were shooting a movie and are you interested in being in it. I said yes. They were nice kids.