Shah Rukh Khan-Playing on altogether different pitch!

When stardom will ever recount its evolution, SRK shall be used as an apt example to prove the colossal heights that stardom can grant. In the post-Amitabh era,when the order was being re-established, a boy with unruly hair rose like a shooting star to lay his claim to the throne and successfully did. In this post of mine, I will elucidate on why SRK was the Numero Uno and still is and how his recent movie’s performances cannot be called unsatisfactory using any argument.
When Industry was still debating whether Anil Kapoor or Sanjay Dutt would be the claimant to the throne of numero uno , a guy in a span of 3 years changed all the competition to such an extent that the parameters too got an overhaul. SRK by portraying negative roles in Darr ,Baazigar and Anjaam suddenly changed the essence of character portrayals in Bollywood.And if you don’t think it was a risk, then mull over this-- Aamir Khan supposedly refused Darr thinking negative role would harm his choco-boy romantic image. In a conventional world,which actor would start his career on a negative note and take the risk of being branded as an anti-thesis to the hero.But SRK did! Therein lies the first example of the desire to win over the world.Risk is seen more by its potential to break you rather than by its potential to make you.Precisely why as of today Aamir is revered much.He tries to define roles,may not please everyone but does make an earnest endeavour to do so.It is to be noted that Darr(1993) grossed around 10.75 crores nett that surpassed the Sanjay-Salman starrer Saajan(1991) which grossed 10.00 crores nett . Add to it a highly unconventional subject according to the then standards. Note that Darr(1993) also was ranked third in the list of Top 5 movies of the year behind Beta and Khalnayak. Baazigar was placed fourth. If you are acquiring third and fourth place respectively right during your debut years taking on stalwarts like Sanjay Dutt,Anil Kapoor,Sunny Deol, you certainly become the perfect candidate to lay hands on the throne. Mark it,the years 1991-1994[ Post Saajan to Pre-HAHK] were disastrous for Salman to say the least.SRK thus emerged as the strongest man to present his case for the seat left vacant after Amitabh’s downfall.
Hum Aapke Hai Kaun is considered as the watershed moment for Indian Box Office.It changed the dynamics of business. It was a remake of Nadiya Ke Paar[a yesteryear Barjtaya classic] in an urban setting. But 1994 gave way to 1995 where a piece of cinema called DDLJ arrived.It did around 8 crores nett less than HAHK,raking in approximately 62 crores way back in 1995 but more than that it changed the way Bollywood would make movies for atleast the next 14 years. And this is the era that many call the Romantic Era of Bollywood and is synonymous with SRK. This is the achievement of the man—He changed the game before anyone could play it. Amidst the great masala pictures of 90’s namely--Ghaatak Ghaayal,Damini,Ziddi,Khalnayak—SRK slowly took the essence of Bollywood from the streets of the then Bomaby to the lush green valleys of Switzerland.He took the effective charm away from muscular fights to opening the arm to embrace his ladies.Singularly he played a pivotal role in re-designing the rules of Bollwyood for the next decade or so.KKHH,Pardes,Yes Boss,Mohabbatein followed. Not to say that others did not do successful romantic films but none were as impactful as SRK’s. Raja Hindustani was a monster Hit but then as of today its importance vis-à-vis DDLJ is a matter of extreme doubt.DDLJ is iconic in all senses,right from depicting the union of NRI-sensibilities with Indian culture and also combining the old world romance with the contemporary charm.It was a thesis that changed the way girls wanted their mento be. The film had its effects deep in the socio-cultural arena of people’s life.No other film in recent memory till 3 Idiots has that distinction. Gadar was again a monster Hit,so was Dhoom 2 but none of them weaved themselves into the mindset of Indian population to an extent that romance would automatically mean Raj-Simran.
With Devdas,Kal Ho Na Ho,Kabhi Alvida Na Kehna,Chalte Chalte,Veer Zara,Rab Ne Bana Di Jodi and Jab Tak Hai Jaan , SRK has literally owned the genre.None can even dare stand close to him. No other contemporary star can boast the same about any other genre. If Salman is doing Masala well,then even Akshay and Ajay are not far behind. Infact it would not be blasphemy to say that “Singham” was a much better Masala product than say Bodyguard if talked strictly in cinematic language. If Aamir can boast about making films on sensitive issues that affect the society then he certainly is the leader,no doubt and respect given but he is not the only one. With new crop directors coming up,films like Udaan,Black Friday,Gulaal also showcase issues that do touch an important chord with our daily lives. SRK with his Swades produced a classic that till today is revered as a discourse on acting and cinema-making. It raised pertinent issues regarding NRI-outlook towards India and took a detailed account of it. The NRI Raj who changed himself for an Indian girl’s love in DDLJ in some sense returned as Mohan Bhargava in Swades but albeit in a far more mature mould.Even in Swades Mohan returns but more importantly for the love of the soil.With Chak De India,he showed how the national sport can be glorified if someone like Kabir Khan does take it upon himself to challenge the system.CDI touched everyone’s lives,its effect wasn’t only restricted to sports but beyond it. It was a tutorial on how to regain what one has lost and how to redeem pride.More than hockey,it was about life and its intricacies.With My Name Is Khan,he took us on a riveting journey where love could heal all wounds and the conviction displayed in this theorem was totally absorbing.No wonder it won hearts all around the world. Thus in short SRK is the only actor to own a genre,namely romance, in a manner to eclipse all others with also hefty contribution to other genres.

Let us now talk about some BO numbers. In 1997, SRK’s DTPH[Super Hit] grossed 29 crores approximately and Salman’s Judwaa[Hit] grossed 15 crores. The difference was showing. Koyla, a below average fare by SRK grossed 12 crores,just 3 crores less than Judwaa which was a genuine Hit.More importantly SRK’s above average flick Yes Boss grossed just 5 crores less than Judwaa in the same year. The trend was clear. SRK’s grosses were increasing manifolds.Even his above average flicks were earning almost similar to what other star’s Hit films were earning. In 1998 Kuch Kuch Hota Hai re-affirmed this by taking the Box Office by storm. Imagine this- Pyar Kiya to Darna Kya grossed just 16.5 crores nett whereas KKHH crossed 45 crores nett at Indian Box Office. The difference had widened.Aamir with his Ghulam at 12 crores was too far behind. With all honesty it is imperative to note that the year 1999 was owned by Salman with three of his films making the top 3 of the year-HSSH,Biwi No.1 and Hum Dil De Chuke Sanam.This feat will be replicated to an extent this year when Dabangg2 can make it with ETT right there at the top. But then the unimaginable happened. The new millennium gave birth to a new star Hrithik. All comparisons of Salman-SRK[Aamir was far behind on BO fronts till Ghajini happened] drifted to SRK-Hrithik.SRK replied back with grit. He amassed 8 out of Top 20 grossing movies in the last decade—a feat that reminds you of Amitabh’s dominance but on a relatively smaller scale. I will list the movies in Top 20: K3G,OSO,RNBDJ,Mohabbtein,Devdas,CDI,Main Hoon Na,Veer Zara. The rest 12 are divided between Aamir[3],Hrithik[4],Salman[1],Sanjay Dutt[1],Sunny Deol[1],Akshay[2]. No other star has ever shown such a complete dominance over Box Office for over 14 years as SRK. Salman had his darkest patches twice in his career[1991-1994] and [2002-2009].In the latter period barring few genuine hits like Maine Pyaar Kyun Kiya and Partner Salman had nothing to talk about till Wanted happened. Innumerable flops mixed with a few average fares marred his times. It is to be noted that as of today when the naysayers are calling SRK finished,his films still do 100 crores+ in India and overseas you don’t count anyone after him. Such was not the case with Salman, he failed to deliver constantly even at a lower level during his worst phases. Marigold,LD,Veer,Shaadi Karke Phas Gaya Yaar,Lucky,Dil Ne Jise Apna Kaha,Tumko Na Bhool Paayenge,Kahin Pyaar Na Ho Jaaye,Kyunki,were outrightly rejected. SRK’s Ra.One even though a highly panned film netted 115 crores in India and that was just say 35 crores less than Salman’s biggest hit by then! SRK even in his worst phases[there never has been many and for long] performs at a fairly decent level.Case to be reflected upon is Baadshah which did around 15 crores in 1999 and ended up being an average flick.1999 was not one happening year for SRK.
SRK is playing on a different pitch.He can easily amass bigger grosser by remaking south flicks as every one is busy doing so but even though a few experiments have gone haywire,the fact that he chooses not to bow down to the BO demands and pressure makes him Numero Uno.One is just not Number One by some BO figures over a short span of time,it also needs attitude,intelligence,wit,presentation and articulated thoughts.SRK has it in abundance.He has some 20 years of unparalleled success in contemporary times behind him.Even umpteen disappointments won’t deter him. Thus you see his calm self doing what he wants to do. Salman has no option other than to do films for BO as most of his last decade has been in doldrums. Even when SRK is doing Masala with Rohit Shetty,he chose not to remake any south flick.That is an attitude worth 100 crores at Box Office. To re-apply an already successful formula is an easy way to get success but to dabble in various subjects and garner hits is far more difficult. MNIK,Ra.One,Don 2 and JTHJ—vastly different from each other and barring Ra.One all of them critically and commercially praised. SRK does not minimize risks.He is playing like a man who has 100 centuries behind him and still is looking to execute a shot he always wanted to. Respect for Aamir stems up precisely for the same reason.He not only dabbles in vrauous subjects but also carries them to safety at BO.Although most of Aamir’s films in 90’s are blatant copies of Hollwyood flicks but in recent times he has made a name for himself whereby he is known as the master of innovation. Barring Dabangg,Salman’s rest masala filmography in recent times does not adhere itself to longevity.Dabangg is iconic but rest of them are not.And here SRK creeps in with an effort to give us a classy thriller in Don 2 and a classic romance in JTHJ.
Those who say SRK is over must re-check facts. They say SRK hasn’t been able to breach even Ghajini’s gross in India. Ghajini couldn’t ever cross K3G’s adjusted gross even after 8 years of release.Here only 3 years have elapsed and the trumpet is on!! The lion always knows how to prey,the strike comes at the right time. SRK’s overseas success story is a legend of sorts.He owns more than 90% of those Blockbusters there. Overseas collections of his films are more than almost 85% of film’s domestic collections.That says it all!

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