Posted:
Why Salman, Aamir couldn't have pulled off Chennai Express
Rajesh Naidu, TNN | Oct 5, 2013, 02.40 PM IST
In the film Chennai Express, one constant refrain that Shahrukh Khan mouths is: Don't underestimate the power of the common man. Going by the box office collections of the film, which though varies but is believed to be top grosser of all times in Hindi cinema, it seems that the film's commercial success has driven home the point that it is a tad difficult to underestimate the power of this entertainer.
There are two interesting things about the film, which have worked in its unabashed acceptance among the masses. First, it is an intelligent and practical decision taken by Shahrukh Khan as he steps into the massy-entertainment genre, which has been fiefdom of his formidable peer Salman Khan. In the film, instead of playing a larger-than-life character, which is powerful and invincible and typical of a mass-entertainer, he is playing his age with copious resemblance to the common man who feels vulnerable, makes silly decisions, mixes morality with unadulterated human emotions and above all who always needs guidance than the calculated and preemptive heroes of mass entertainers. Second, it is the treatment of the mass-entertainer genre in the film. The film has been made within the confines of his well-known romantic image, which viewers have seen and accepted more prominently in films such as Dilwale Dulhaniya Le Jayenge andMohabattein.
This film throws up certain relevant questions: Has Shahrukh Khan found his niche, which would separate him from other two khans? Does the concept of niche ever applicable on him? A plain answer is No. What makes Chennai Express work is the overarching theme of his film career, which has always prospered and reached heights merely for his selection. And that theme is: He has been an entertainer throughout. Whether it be his indulgence in the romantic or drama genre. This could be understood by following the journey of the three Khans"Aamir, Salman and Shahrukh, in the last twenty-five years.
The beginnings
Unlike the post-independence 1950s triumvirate Dev Anand, Dilip Kumar and Raj Kapoor, where each one had a distinct identity and tendency towards a particular genre of cinema since the early years of their career, the 90s decade was a bit peculiar. In the 1950s, Dev Anand would be known for his swashbuckling romantic image which had shades of an underdog but also very likeable though far from being pitiable. Raj Kapoor was quite content in modeling his characters after the inimitable Charles Chaplin and could easily talk to the poor with as much affinity as he could hold forth with the classes. On the other hand, Dilip Kumar emerged as a tragic hero who could be withdrawn, poised, struggle with vagaries of life and in dealing with these strong emotions would end up an Albert Camus-like character. Come 1990s and the fountain of bubbling romance started by the release of Qayamat Se Qayamat Tak became a supreme theme. All the three Khans"Shahrukh, Aamir and Salman, for a long time remained associated with the romantic genre till the fag-end of the 90s decade. Till such time, all the three Khans had their own cult classic recorded in the annals of Hindi films.
On one hand, Shahurukh Khan had Dilwale Dulhania Le Jayenge, on the other hand Salman Khan had Maine Pyaar Kiya and Aamir Khan had Qayamat Se Qayamat Tak. For a long time, the three Khans worked in romantic and drama genres. Even in the drama genres, their films had required dose of romance to categorise them as romantic dramas. Films such as Dil, Dil Hai Ke Manta Nahin, Hum Hain Rahi Pyar Ke, Raja Hindustani, Rangeela worked for Aamir Khan, while films such as Baaghi: A Rebel for Love, Saajan, Hum Aapke Hain Koun..!, Khamoshi: The Musical and Jab Pyaar Kisise Hota Hai worked for Salman Khan. On the other hand, forShahrukh Khan films such as Raju Ban Gaya Gentleman, Baazigar, Dil To Pagal Hai, and Dil Se, worked strongly in consolidating his image as a romantic hero. So, for a long time, unlike 1950s triumvirate, the three Khans took a long time in carving a niche for themselves.
It was only in the last five years it became apparent in the selection of films of all the three Khans as to who wants to tread which kind of cinema. Among the three Khans, it was Aamir Khan who showed early inclination for different roles and being extremely choosy with films such asLagaan, Sarfarosh and Dil Chahta Hai.
Carving a niche
In the last five years, it is quite clear that Salman and Aamir Khan have been successful in creating a niche for themselves. Salman Khan has emerged as a star of mass entertainers, which are low on content quotient and suit well his brawny physique. And the mere box collections of his films are testimony to the fact that he is uncontested hero of the masses. On the other hand, Aamir Khan who does films infrequently has also made it big by selecting content-oriented and entertaining films. His films quite lucratively have also been top-grossers on the box office. In fact, Aamir Khan starrer Ghajini was the first film in 2008 to make Rs 100 crore on the box office. So, even when new stars such as Ranbir Kapoor, Ranveer Singh and others were accepted well, Salman and Aamir Khan would continue to have strong following due to the type of cinema they are associated with.
Interestingly, Shahrukh Khan has always been consistent in roles which would have shades of romance. This could have worked against him given the fact that a romantic hero especially in Hindi films has a shelf life. Even when he did films such as Mohabttein, Kuch Kuch Hota Hain,Veer-Zaara, Kabhi Alvida Naa Kehna and Rab Ne Bana Di Jodi, he had very little scope for experimenting and it was his romantic image that worked more than anything else in these films. His constant associations with select production houses such as Yash Raj and Dharma Productions has worked well and he did very few films outside these production houses. Even when he did little experimentation with films outside these production houses a few films worked.
To his advantage, these films have strong acceptance value but they never created a niche. Even in Chennai Express, he does not shy away from playing his age with the same peculiarities which are associated with his most films in past. Even here just like Dilwaale Dulhaniya Le Jayenge, the heroine's parent have already fixed her marriage with someone else and the hero comes and wins the parent's heart and he happily gives her hand to him. Intelligently, these things are woven in the mass entertainer format and it has worked. And just like his earlier films, he confidently marketed the film on a huge scale. Only this time the exception being his film traversed many a country and shown many a language. And he had to do this. It shows his openness to go any length to being what he is known for: He is a pure entertainer. He does not need a niche. He never aimed for niche.
There are two interesting things about the film, which have worked in its unabashed acceptance among the masses. First, it is an intelligent and practical decision taken by Shahrukh Khan as he steps into the massy-entertainment genre, which has been fiefdom of his formidable peer Salman Khan. In the film, instead of playing a larger-than-life character, which is powerful and invincible and typical of a mass-entertainer, he is playing his age with copious resemblance to the common man who feels vulnerable, makes silly decisions, mixes morality with unadulterated human emotions and above all who always needs guidance than the calculated and preemptive heroes of mass entertainers. Second, it is the treatment of the mass-entertainer genre in the film. The film has been made within the confines of his well-known romantic image, which viewers have seen and accepted more prominently in films such as Dilwale Dulhaniya Le Jayenge andMohabattein.
This film throws up certain relevant questions: Has Shahrukh Khan found his niche, which would separate him from other two khans? Does the concept of niche ever applicable on him? A plain answer is No. What makes Chennai Express work is the overarching theme of his film career, which has always prospered and reached heights merely for his selection. And that theme is: He has been an entertainer throughout. Whether it be his indulgence in the romantic or drama genre. This could be understood by following the journey of the three Khans"Aamir, Salman and Shahrukh, in the last twenty-five years.
The beginnings
Unlike the post-independence 1950s triumvirate Dev Anand, Dilip Kumar and Raj Kapoor, where each one had a distinct identity and tendency towards a particular genre of cinema since the early years of their career, the 90s decade was a bit peculiar. In the 1950s, Dev Anand would be known for his swashbuckling romantic image which had shades of an underdog but also very likeable though far from being pitiable. Raj Kapoor was quite content in modeling his characters after the inimitable Charles Chaplin and could easily talk to the poor with as much affinity as he could hold forth with the classes. On the other hand, Dilip Kumar emerged as a tragic hero who could be withdrawn, poised, struggle with vagaries of life and in dealing with these strong emotions would end up an Albert Camus-like character. Come 1990s and the fountain of bubbling romance started by the release of Qayamat Se Qayamat Tak became a supreme theme. All the three Khans"Shahrukh, Aamir and Salman, for a long time remained associated with the romantic genre till the fag-end of the 90s decade. Till such time, all the three Khans had their own cult classic recorded in the annals of Hindi films.
On one hand, Shahurukh Khan had Dilwale Dulhania Le Jayenge, on the other hand Salman Khan had Maine Pyaar Kiya and Aamir Khan had Qayamat Se Qayamat Tak. For a long time, the three Khans worked in romantic and drama genres. Even in the drama genres, their films had required dose of romance to categorise them as romantic dramas. Films such as Dil, Dil Hai Ke Manta Nahin, Hum Hain Rahi Pyar Ke, Raja Hindustani, Rangeela worked for Aamir Khan, while films such as Baaghi: A Rebel for Love, Saajan, Hum Aapke Hain Koun..!, Khamoshi: The Musical and Jab Pyaar Kisise Hota Hai worked for Salman Khan. On the other hand, forShahrukh Khan films such as Raju Ban Gaya Gentleman, Baazigar, Dil To Pagal Hai, and Dil Se, worked strongly in consolidating his image as a romantic hero. So, for a long time, unlike 1950s triumvirate, the three Khans took a long time in carving a niche for themselves.
It was only in the last five years it became apparent in the selection of films of all the three Khans as to who wants to tread which kind of cinema. Among the three Khans, it was Aamir Khan who showed early inclination for different roles and being extremely choosy with films such asLagaan, Sarfarosh and Dil Chahta Hai.
Carving a niche
In the last five years, it is quite clear that Salman and Aamir Khan have been successful in creating a niche for themselves. Salman Khan has emerged as a star of mass entertainers, which are low on content quotient and suit well his brawny physique. And the mere box collections of his films are testimony to the fact that he is uncontested hero of the masses. On the other hand, Aamir Khan who does films infrequently has also made it big by selecting content-oriented and entertaining films. His films quite lucratively have also been top-grossers on the box office. In fact, Aamir Khan starrer Ghajini was the first film in 2008 to make Rs 100 crore on the box office. So, even when new stars such as Ranbir Kapoor, Ranveer Singh and others were accepted well, Salman and Aamir Khan would continue to have strong following due to the type of cinema they are associated with.
Interestingly, Shahrukh Khan has always been consistent in roles which would have shades of romance. This could have worked against him given the fact that a romantic hero especially in Hindi films has a shelf life. Even when he did films such as Mohabttein, Kuch Kuch Hota Hain,Veer-Zaara, Kabhi Alvida Naa Kehna and Rab Ne Bana Di Jodi, he had very little scope for experimenting and it was his romantic image that worked more than anything else in these films. His constant associations with select production houses such as Yash Raj and Dharma Productions has worked well and he did very few films outside these production houses. Even when he did little experimentation with films outside these production houses a few films worked.
To his advantage, these films have strong acceptance value but they never created a niche. Even in Chennai Express, he does not shy away from playing his age with the same peculiarities which are associated with his most films in past. Even here just like Dilwaale Dulhaniya Le Jayenge, the heroine's parent have already fixed her marriage with someone else and the hero comes and wins the parent's heart and he happily gives her hand to him. Intelligently, these things are woven in the mass entertainer format and it has worked. And just like his earlier films, he confidently marketed the film on a huge scale. Only this time the exception being his film traversed many a country and shown many a language. And he had to do this. It shows his openness to go any length to being what he is known for: He is a pure entertainer. He does not need a niche. He never aimed for niche.
0