Dawood Ibrahim Kaskar’s remaining ancestral properties were auctioned in Ratnagiri district, India, marking a significant development in the ongoing legal proceedings surrounding the notorious figure. The auction took place on [insert date], under the Smugglers and Foreign Exchange Manipulators (Forfeiture of Property) Act (SAFEMA), following multiple failed attempts since 2017.
Four agricultural plots, registered in the name of Ibrahim’s mother, Amina Bi, were auctioned. The reserve prices for these plots were set at ₹9.41 lakh, ₹2.33 lakh, ₹8.08 lakh, and ₹15,440. The auction attracted two prospective buyers, one from Mumbai and a local resident from Ratnagiri.
All four plots were ultimately purchased by the Mumbai resident for prices slightly higher than the reserve prices. This auction is part of a broader effort to reclaim properties linked to Ibrahim, who has been accused of being the mastermind behind the March 12, 1993 Mumbai terror attacks, which resulted in 257 fatalities and involved the use of 12 high-intensity bombs.
In a related development, in January 2024, Ajay Shrivastava purchased two of Dawood Ibrahim’s ancestral properties for ₹2.01 crore, further indicating the ongoing legal and financial ramifications of Ibrahim’s criminal activities.
In popular culture, Danish Iqbal is portraying a character inspired by Dawood Ibrahim in the film ‘Dhurandhar: The Revenge.’ Iqbal has expressed the challenges of embodying such a complex character, stating, “Dawood’s character has been played by so many people earlier. Some really big names and good actors have done this character, so I had to find some new things, some fine lines, and some more depth in the character.”
To prepare for his role, Iqbal observed elderly individuals in hospitals, saying, “I observed lots of old people and how they talk. I went to a couple of hospitals and visited a few relatives.” His character, Bade Sahab, is depicted as an old, sickly, and bedridden man, which required extensive preparation.
Despite concerns about being unrecognizable due to heavy prosthetics, Iqbal emphasized the importance of the performance, stating, “It’s such a kind of performance that people are lost in the talent and the craft of acting.” He added, “I have to do a scene, and I have to portray a man who is old and physically unfit and is going through a particular disease.”
The auction of Ibrahim’s properties and the portrayal of his character in film reflect the ongoing public interest and legal scrutiny surrounding his legacy. As these developments unfold, they continue to evoke strong reactions from various sectors of society.