Hindi Film 101: Shahrukh’s Filmography, Part 3!

Happy Tuesday!  Once again, I am going through Shahrukh’s filmography film by film in chronological order.  Because it is an interesting case study for how a career progresses, and how the industry has changed, over the past 25 years. (part 1 here, part 2 here)

Non-Usual Disclaimer: This list is from Wikipedia, so blame them if there is anything wrong, not me!

(if I have written about any of these films, you can just click on the title to link back to the previous post)


Hum Tumhare Hain Sanam (2002):  I left off last time with K3G.  After a period of box office flops, plus the rise of Hrithik, Shahrukh was firmly back on top.  And his “follow-up” film wasn’t a follow up at all, it was an old film that had been made off and on for years.  This poor film got caught a bit in the changes of the industry.  When it started, all the big names worked 3-4 films at once as a matter of routine.  Bringing together an amazing all star cast of Salman, Shahrukh, and Madhuri (plus an Aish cameo) was possible because schedules could adjust to it.  But then after filming started, the industry shifted.  Suddenly the big names were doing one huge film at a time instead of multiple small ones.  They could no longer afford to give a week here and a week there to a smaller film like this.  And so it was delayed and delayed and delayed, and finally released years later, and years after this kind of small overly dramatic masala type film was in style.

Devdas (2002):  Hum Tumhare Hain Sanam was the last of the old version of film, and Devdas was one of the biggest of the new version.  Huge budget, huge star cast, and filming that went on and on and on and on.  And a huge story, not a silly little masala romance, but a big EPIC love story.  The kind of star cast and huge budget and epic story that would come to be associated with Indian films internationally.  But not the kind that actually makes the most money internationally, Devdas was an exception.  And Shahrukh knew that, which is why he generally has avoided films like this since then.  Modern day NRI romances, that’s all.

Shakti: The Power (2002):  This is one of two “friendly appearances” Shahrukh made in 2002.  Just like his spat of friendly appearances back in the 90s, it is both a sign that his star power was back and people wanted him, and that he was underbooked.  That is, he was focusing so much on Devdas, and before that on K3G, that he didn’t have time for another full role, but could easily and happily do a cameo for an old friend.  Of course, it is also a sign of how responsible he is to his old friends in the industry, willingly doing these roles.

Saathiya (2002): The other cameo.  I’m not sure why Shahrukh agreed to be in Shakti, there must be a connection I am not seeing.  But I know why he was in Saathiya, it was a favor to Mani Ratnam and Yash Raj films.

Chalte Chalte (2003): This was a re-positioning year.  He had the success of K3G and Devdas at his back, he had broken out in the global scene, and the industry itself had taken huge leaps forward in the past few years, artistically (Dil Chahta Hai), critically (Lagaan) and in terms of box office (K3G).  Shahrukh was not yet at the forefront of those changes.  First he had to clean up unfinished business, his company Dreamz Unlimited was in debt, he needed one more guaranteed hit before he could close up and start fresh with a new business for this new era.  Chalte Chalte was that hit.  A reliable rom-com plot, with a reliable heroine (Rani Mukherjee), and surrounded by a reliable supporting cast (Jonny Lever, Satish Shah, etc.).  Aziz Mirza (the 3rd partner in Dreamz Unlimited) was directing, Farah was doing the songs, the budget was small, the story was simple, no way it wouldn’t hit.  But they still had to play it safe, thus the last minute switch of heroines from Aish to Rani, after Aish’s personal life (Salman making a scene) spilled out onto the sets.  Rani wasn’t quite as famous yet, but was a reliable and professional actress that Shahrukh could trust.  And he lucked out, Saathiya came out between the time she was signed and the movie released and her career took a leap forward.

Kal Ho Na Ho (2003): This film seems experimental, but it really wasn’t.  His 3rd collaboration with Karan, he knew it would be a hit, and while the style was modern, the plot was straight out of every classic film ever.  A good movie, a solid hit, but still more about setting up the changes in 2004 than anything new from 2003.

Yeh Lamhe Judaai Ke (2004):  An interesting lesson in how the industry works!  Or fails to work.  This is a terrible movie that Shahrukh and Raveena Tandon and Mohnish Behl and regular 90s actors all started back in the 90s.  And then the money ran out and they walked away, and refused to come back.  Which sounds very selfish, and also very odd, because actors are always working for no money just because they made a promise!  I think it’s not so much that the money ran out, as that they felt like the producer cheated them, and so they left.  And it seems like the producer would be the type to cheat them, considering that he tried to release the film without their permission, promoting it as a “Shahrukh Khan” picture although Shahrukh refused to even come back and complete the dubbing for it.

Main Hoon Na (2004): And here’s the pay off for that repositioning!  3 major releases in one year, 3 major hits, each perfectly calibrated to take advantage of this new industry reality.  Main Hoon Na, the first one, used the new global popularity of Shahrukh and his star power to resuscitate his producing dreams.  A new company, Red Chillies.  With a new kind of business plan.  Not simply a small banner focused on making inventive films, but a diversified business.  The VFX wing (which would go on to be one of the most reliable profit makers for the company) was launched with the action scenes here, and Farah Khan was launched as well, a new director with a new vision.  But the plot underlying the film was simple and reliable, a Ram-Lakshman story.

Veer-Zaara (2004): This is a very very old-fashioned film with a very very modern release strategy.  Massive global release and publicity surge.  Riding on the back of both K3G, and Lagaan.  Re-introduced Shahrukh, and Indian film, to a global audience.  It wasn’t a record breaking hit on the level of K3G, but it also proved that you don’t have to be a record-breaking hit.  You just have to be heavily promoted and released, and you will make a profit overseas.

Swades (2004): This is not an old-fashioned film, this is very new-fashioned.  Unusual plot, unusual songs, very unusual acting.  It’s such a restrained performance, without the bells and whistles we usually associate with “great acting”, that it is hard to see how unusual this is.  It turned out to be a smart career decision, Swades did well in box office and critically.  But it was also a throwback to those earlier films Shahrukh took just to stretch his acting.  Well, and also as a favor to an old friend, he and Ashutosh used to be roommates when they were both young television actors on the way up.

Paheli (2005): This was a failed attempt to combine all the successes of the previous year in one film.  An unusual artistic type of plot, a global release strategy, and plenty of VFX.  Only, it just wasn’t as good of a story.  There were too many things which weren’t fully explored (Juhi and Sunil’s love story, the relationship of Ghost-SRK to everyone else in the family), and others which were too simple (the love triangle never really seemed to have any twists and turns).  But, from the career perspective, this wasn’t a “failure” the way the earlier films had been failures.  Red Chillies was financially protected, the rights sales were enough to cover the cost.  And Shahrukh was protected in his career, films were being signed earlier and earlier now, he had another 3 already lined up and the failure or success of Paheli had no effect on them.

Kabhi Alvida Na Kehna (2006): Another Karan movie!  Only, a “different” Karan movie.  Shahrukh may not have known it when he signed the film, and the audience didn’t know it when they went to see it, but this was not the “Karan Johar” film they were expecting.  Instead of happy family love, it was about lying to our loved ones, living lives of compromise, and generally being miserable and unpleasant people.  This was not a good commercial or critical decision for his career, poor commercially because the audience didn’t like the darkness.  And poor critically because the critics couldn’t handle this confusing mixture of tones.

Don: The Chase Begins (2006): Another film that should have been easy to understand and know what to expect, and just wasn’t.  It wasn’t the same as the original Don, and it wasn’t the same as Farhan’s last few films either.  And it wasn’t the same kind of villain role that Shahrukh had played before.  It just didn’t fit with anything!  Really, 2006 is the year of things that don’t fit.  I guess, now that the global box office tricks had been cracked, there was no need to try to make things fit.  You could just do your odd film and know that people would see it because it had a wide release, and Shahrukh Khan was in it.

Chak De India (2007): That guarantee of box office in 2006 led to odd films that didn’t quite fit in or fulfill their promise.  But in 2007, it lead to incredibly imaginative films that spread off in directions never before imagined and created massive hits.  Chak De, India first, who would have thought that a Shahrukh Khan film with no romance and hardly any songs would be a hit?  Especially a sports story.  Especially a sports story about a female team.  And yet, it was.  Because Shahrukh’s name guaranteed it got the kind of release and promotion that would allow everyone to find and appreciate it.

Om Shanti Om (2007): Another Red Chillies success!  A massive massive record breaking success.  And a very odd film.  Now, we have all become so used to it, “oh yes, Om Shanti Om“, but if you pretend you had never seen it before, it would be very odd!  A reincarnation-revenge-romance, that’s fine, that’s normal, that’s Karz.  But the whole meta backstage in jokes type of thing, that is very unusual.  The only other film I can think of that goes to such an extent is Guddi, and that was more of a small scale comedy, not this big budget mega-movie, betting on people being able to understand and enjoy the “joke”.  In terms of Shahrukh’s career, notice that it is once again using the Red Chillies VFX wing in a way that not only fully utilizes them, but also serves as a bit of an advertisement for what they can do.  And it also rings in a new era in Shahrukh performances, when he has become so big that he can no longer ignore his own existence, if that makes sense.  This is one of a string of films in which Shahrukh will play a variation of himself, or deconstruct a variation of his own public identity.

Bhoothnath (2008): Another one of those “favor” roles.  I was going to say that these kinds of parts are how you tell the 90s actors from later ones, but then I remembered all those times our “new” kids had similarly played these sort of roles.  I guess this is one thing that hasn’t changed in the industry, you do favors for people who did favors for you, and the world keeps turning.

Kismat Konnection (2008): Speaking of favors, this is a slight little rom-com, but it was directed by Aziz Mirza, and so Shahrukh agreed to do the narration.  His first narration job.

Rab Ne Bana di Jodi (2008): Remember how I talked about Shahrukh playing meta-roles, playing and deconstructing his own identity?  That is what is happening here big time!  Shahrukh, the real person, literally has conversations with Shahrukh, the filmi-fantasy.  It was also a modest hit, but by this point that was old news.  A movie had to be a record breaking hit, or a massive flop, before it had any effect.  Since 2002, Shahrukh had just been accepted as a guaranteed hit maker everywhere in the world any time a film came out.

28 thoughts on “Hindi Film 101: Shahrukh’s Filmography, Part 3!

  1. I have to say Swades is my absolute favorite. K3G introduced me to Shahrukh and then I saw Chalte Chalte. K3G blew me away with its over the top song and dance numbers and Chalte Chalte gave me romance in a quieter setting. And then I saw Swades. I can’t put my finger on why I like it so – maybe it’s the back to the roots story or maybe it’s the AR Rahman songs. But it’s my go-to playlist on the road. I also loved Chak de India for its female-oriented sports story. Sure it features SRK but he lets the women shine when they need to.


    • It really was a great era for his career. On Thursday I’ll start getting into the sort of Ra.One zone. Those movies are fun, but when compared to what he was doing just a few years earlier, they are depressingly unimaginative. I’m glad he’s back to the artsier more character role kind of films with Fan and Raees and Dear Zindagi. Hopefully his next few will stay more in that zone and less in the over the top zone.

      Also, welcome! Thanks for commenting.


    • That makes perfect sense. Supposedly that’s why he agreed to be in Army too.

      On Tue, Jun 6, 2017 at 1:35 PM, dontcallitbollywood wrote:



  2. Rab Ne Bana di Jodi was only a modest hit? I always thought it was blockbuster, maybe because it’s one of my favorites SRK movies.


    • I should say, it was a hit grading on a curve. One of the top films of the year, definitely. But this was the return of Shahrukh and Aditya Chopra together, the expectations were sky high. And it wasn’t a record breaker, or even the top film of the year. If you are looking at Top Blockbuster Massive Hits in SRK’s filmography, it doesn’t make it into the top 5, barely makes it into the top 10.

      But for anyone else, it would have been the crown jewel of their filmography.

      On Tue, Jun 6, 2017 at 2:05 PM, dontcallitbollywood wrote:



      • Didn’t RNBDJ come out almost immediately after the 26/11 Mumbai terror attacks? I’m thinking that also made a difference in terms of the film’s box office.


        • It probably had some effect. But not as much as it could have, thanks to years of the box office for Shahrukh films being spread out globally and nationally, and not so Bombay focused. I don’t remember reading about protests or anything for it (although I might have just missed that), that seems to be what really kills the box office more than anything else, especially if it is picked up nationally, because the theaters won’t even play the film in that case.

          On Tue, Jun 6, 2017 at 7:49 PM, dontcallitbollywood wrote:



          • I doubt it made any difference outside of India but I doubt people in India would be very enthusiastic about a movie if it came out only two weeks after a national tragedy. I don’t think there were any protests or anything, though it mentions on wikipedia that Adi Chopra and Shahrukh debated whether or not to postpone the film after the attacks.

            Also I know a lot of people who just write off RNBDJ just because Taani doesn’t recognize Suri without his mustache. That annoys me a lot because this is just a plot device and the story is much deeper than that!


  3. RNBDJ was my second Indian film and my first SRK viewing and cemented my interest/love of the genre. In fact, I rarely watch Hollywood much but I look forward to each new Indian release. I’m certainly enjoying ready your take and find myself agreeing with much of it. Keep up the good work!


    • I did not know that! To The Internet!

      I’m back! Oh cool, so in real life it was a couple, not just a hot guy. And she was raised in the US, not just here for college.

      On Tue, Jun 6, 2017 at 7:03 PM, dontcallitbollywood wrote:



  4. I’ve always thought it was a cool story. Obviously I’d love to know how Bilgaon is doing now and of course how Aravinda Pillalamarri and Ravi Kuchimanch are faring.

    One thing I took away from Chak De India is the variety of ethnic groups from all over India, some of whom you rarely see in a Bollywood film.


    • Swades is my favorite SRK movie too. You know it did’nt do well at box office, though it had an excellent storyline and good starcast. I still believe its the best SRK has acted in a bollywood movie (there are others too :)).


  5. I actually loved Paheli, mainly for its costumes, dances, sets and its general folk-tale vibe. I had no problem with the Juhi Chawla – Suneil Shetty story, but I did feel sorry for the original Shah Rukh and was not satisfied with the resolution of the triangle.( Though my opinion could be biased, because I love the songs, and because I am partial to Amol Palekar:).)


    • Maybe it’s just because I love Juhi and Suniel so much, but I really wanted there it be a little more to their story, for it to be tied in a little more clearly to the rest of the film.

      But yes, the main problem is the resolution of hte love triangle! Why make us sympathize with the original Shahrukh, if he is just going to be erased and never matter?


      • I love Paheli, it’s one of my TOP 5 Indian movies, but I always skip the ending because I hate it. One of my favourites scenes from this movie is durning Khaali Hai Tere Bina song when Shah Rukh holds sheet with Rani’s footsteps. It’s so heartbreaking and haunting. Think that with all beautiful colors, songs and scenes that was the one I remembered better after I have watched this movie for the first time. Original SRK has changed and he doesn’t deserved this ending.


        • I feel like they were heading towards a different ending and then somehow lost it. It seems so clear, looking at the film as a whole, that the ending should have been real Shahrukh and ghost Shahrukh merging together. That real Shahrukh’s love made him compatible with Ghost Shahrukh, and that Ghost Shahrukh has been pretending for so long to be real Shahrukh that he had truly become him in some ways.

          And then you get this lovely metaphor about how Rani’s desire gave birth to his love which came to her in the form of a ghost and stayed with her until her husband returned and then it all came together. But no, instead we get this odd ending with poor real Shahrukh’s spirit trapped in a bag in the desert.

          On Wed, Jun 7, 2017 at 3:06 PM, dontcallitbollywood wrote:



      • I’ve always preferred to believe that the ghost and the husband merged together and became the “perfect” man/husband/lover that every woman wants. I can therefore watch the ending of the movie knowing that Kishanlal and the ghost both live on in a symbiont relationship and neither ceases to exist.

        Liked by 1 person

        • Totally agree Pamela. Paheli is mostly a parable over woman’s desire. The adolescent bride dreams the dreams she is committed to have; to respect, serve and obey her husband; but in her heart she is a woman with a full desiring life. Remember the first song when she is anxious for the “night with no sleepl, but instead she finds herself married to hansome young a man who is married to HIS parents greed for wealth. Then a ghost comes to life only out of love and desire for HER, willing also to diappear if she so asks. Here is the PAHELI, the DILEMMA, she faces; to wait for her husband who left her for his family business, or give herself of her own will to that stranger that only loves her! She anwers as a mature grown woman assuming her desire: “ I couldn’t stop the one that went away, how can I stop the one that wants to stay”!
          For this fable it was imperative to have it surrounded by a fairytale light and Amal Patekar made of Rani and Shah Rukh a thing of perfect ethereal beauty embodying the very real desire of a woman for an eternal lover.
          Yes, if the dream wins she gets the perfect husband deserved by her brave choice.
          But; in the original folk tale the ghost is trapped forever, the husband comes back and she will live closed in the rich house “with empty eyes and empty heart” to leave it only once; to her funeral ground.
          God forbid all films be rational and true to life…
          The original story is DUVIDHA ; based on a Rajastan folk tale by Vijaidan Detha translated by Christi Merrill.


  6. Pingback: Hindi Film 101: Shahrukh’s Filmography Continues! Where Do You Go When You Reach the Top? | dontcallitbollywood

    • I hadn’t seen it! And that is awfully cute.

      There’s no way to message me direct on wordpress, but I put up a kind of general conversation post on Wednesdays and Mondays, if you want to say something that doesn’t really fit in any comment.

      And I see every single comment, and respond to all of them (as soon as I am back at a computer)


  7. Pingback: Hindi Film 101 Index | dontcallitbollywood

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