Book Extract: Shah Rukh Khan - Legend, Icon, Star

As a superstar who lives his life in the glare of cameras and headlines, much has been written about Shah Rukh Khan-his passion, his craft, his humility and the love he spreads around. But beyond the films, the news and the star persona is a man who has come to mean many different things to his ever-growing legion of fans.

Whether as Rahul Raichand or Raj Malhotra, Mohan Bhargava or Rizwan Khan, Aman Mathur or Kabir Khan, the many roles that 'King Khan' has embraced for his films have become forever etched in the minds of countless moviegoers. This book presents portraits of the star's inspirational life and unearths what he means to people in every corner of the world-be it a taxi driver in Paris, an Irishwoman in London, three generations of women in a family in Pakistan or screaming fans across Europe, Asia, the US, the Middle East and, of course, India.

As much a paean to Shah Rukh's career as a tribute to the actor himself, this book is a dream compendium of intimate stories, fan accounts and never-before-seen photographs of the man who rules the hearts of more than half the world's people-the star, the icon, the legend, Shah Rukh Khan.

Mohar Basu is an entertainment journalist who has previously worked as a film critic for too. Her work focuses on the dynamics of the Hindi film industry. Her stories include in-depth coverage of censorship in films and OTT platforms, the 2016 ban on Pakistani actors in India and their eventual return with the rebirth of the Zindagi channel in 2020, and the systemic culture of sexual harassment in Bollywood, among others. Basu's reporting has contributed to industry changes, such as the creation of safe spaces at casting agencies and talent-management companies. In 2024, she was recognized by the Indian Achiever's Club in their ‘40 under 40' list for her piece on the toxic nature of Indian paparazzi and the rising tide of vitriol on social media. Shah Rukh Khan: Legend, Icon, Star is her first book. It includes first hand fan accounts (sourced from all over the world) and her insights and commentary on the phenomena that is SRK.

The following extract has been taken with permission from Shah Rukh Khan: Legend, Icon, Star.

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Risk Hai Toh Ishq Hai, Baby

Unlike mainstream Hollywood films that typically focused on the individual—a hallmark of Western capitalism—Swades showed the power and integrity of the collective. It suggested that to thrive, there must be a dismantling of social barriers and a capacity for self-criticism. While Mohan may not be a revolutionary on a broader political scale, he was someone who sought purpose and direction in a world that labelled itself a post-modern global village. Swades became a powerful message for educated Indians abroad, most of his NRI fan base, urging them to consider the impact they can have on their homeland.

With this newer clutch of films, Shah Rukh had started making his audiences think. It had been nearly a decade since DDLJ hit home with the desi crowd, and now he nudged them to do more than just reminisce through rose-tinted glasses about the home they had left behind. Shah Rukh said in an interview, ‘This generation of the educated middle class is the future of our country. That is what Swades highlights. We want to show that the educated people from our country can bring about change, if they want to. If you have achieved everything in life and believe in genuine patriotism, you should not just say we are Indians and we’re Bharatiya. Instead, you should help the illiterate.’

According to him, true patriotism of the current era lies in making tangible contributions to society. Shah Rukh’s character, Mohan Bhargava, is portrayed as a complex individual with strong convictions, embodying the heroism of someone who abandons a prestigious position in the US to confront his internal struggles and contribute to his homeland. This narrative of personal growth and discovery underscores the essence of the film.

Whether it was showcasing unwavering devotion in Veer-Zaara or social awakening in Swades, his films became a canvas for his evolving voice as an artiste. Aware of his immense fan base, he put the power of cinema to use. By weaving relevant messages into stories that resonated with the audiences, he sparked conversations about critical issues. At thirty-nine years of age, he became the voice for a generation, using his stardom to inspire and provoke thought.

But the numbers told a different story. Swades was made on a budget of Rs 22 crore but grossed only Rs 16 crore in India. Its rights were sold for Rs 15.5 crore, yet its share was barely Rs 9 crore, resulting in a loss of around Rs 6.5 crore, roughly 40 per cent.

Despite this, in 2004, Swades had the fourth-highest opening after Veer-Zaara, Main Hoon Na and Mujhse Shaadi Karogi. Upon its release, however, its viewership declined. A report on Rediff read, ‘It is a Rs 300 million, three-and-half-hour-long moral science lesson.’

The film was too sophisticated for the average audience, who preferred more action-packed entertainment. Cinema had to help them escape into a world that was grander than theirs. The audience didn’t wish to ruminate or see on screen the hardships of their day-to-day lives—the film was thus deemed boring.

The year 2004, however, belonged to Shah Rukh— there was acclaim for Swades, and commercial success for Veer-Zaara and Main Hoon Na. Everyone expected him to win the National Award that year, but he lost out to Saif Ali Khan for Hum Tum. Shah Rukh later made a jab at an award function when he told Hum Tum director Kunal Kohli, ‘Hum Tum was very nice. … I should have got it but that’s another story.’ Shah Rukh got what he wanted from Swades. He didn’t do the film for the money, the acclaim or even the awards. History has been kinder to Swades than audiences and critics the year of its release. Shah Rukh perhaps knew that. He said, ‘If one is looking for a deeper meaning in life, money gets a secondary or incidental status. What’s really important is to pursue our dreams and desires. I desire to make a film that truly entertains. If it makes a lot of money, great, but I can’t do a movie only for money’s sake. The objective is the film and the creativity that goes into making it. The money is peripheral. If it were otherwise, it would be like passing off the side dishes as the main course!’

I spoke to Zehan Motlekar, who moved back to rural Maharashtra after spending over a decade in the US. A techie by profession, his job had driven him to the point of burnout. He talked about how Swades inspired him to make the change. ‘I was watching Swades one evening when I decided that if I had to change something about my life, I had to do it immediately. Swades wasn’t just a film, it was a wake-up call for many of us. We all eventually decided to reject the relentless American life and return home. Not all of us are capable of great changes, but like Shah Rukh Khan says, one should be a man who tries their best. I am not Mohan Bhargava, but my life should benefit my country first. Swades inspired a whole generation to rethink their responsibilities and the meaning of true patriotism. Scenes such as when Mohan drinks water from a village boy’s pot, or when he lights up a bulb with sheer ingenuity are more than cinematic moments on a 70-mm screen. They are reflections of the real challenges that India faces and the quiet heroes who work to overcome them.’ He spoke about how this role by his favourite actor made an entire generation want to make a difference. ‘As a fan, Shah Rukh’s portrayal in Swades showed me that being a hero isn’t about grand gestures, but about making a difference in whatever capacity you can. It raised our expectations of cinema and of ourselves. Shah Rukh set the bar higher— not just in terms of acting, but in his choice of stories that matter. In Swades, he didn’t just play a role—he became the voice for a generation that believes in change, and for that, we’ll always hold him in the highest regard.’ With Swades began a wave of conscientious cinema. Lagaan had elements of patriotic fervour, but it was a period piece. Swades was contemporary and spoke to global audiences in a more intimate fashion.

What started with Swades gave way to Rakeysh Omprakash Mehra’s Rang De Basanti (2006) and then Shah Rukh’s own Chak De! India (2007).

In his career, Shah Rukh was deeply affected by the failure of three films—Dil Se.., Swades and Zero. We’ll discuss the last one in a later chapter, because that’s a story that needs to be told at length—every time you beat Shah Rukh to the ground, he bounces back more gloriously than before.

Mohar Basu Shah Rukh Khan: Legend, Icon, Star HarperCollins India, Gurgaon, 2024. Hb. pp.308. Rs. 799