Discussion Post: Let’s Talk About Shahrukh’s Construction and Deconstruction of His Identity!

You ready to put on your “SRK Fan/Expert” hats? Time for a discussion post! In which we can all debate the topic which we know and care about the most.

Emily and Procrastinatrix and I have been kicking around the comments the idea of Shahrukh deconstructing his star identity with his latest burst of films. This is an idea I’ve been kicking around since grad school, back then the example I used was Rab Ne Bana Di Jodi, but there have been SO MANY since then!

I tried to break down his recent films but I couldn’t find a strong pattern. Until I realized I was looking at this wrong, it’s not a straight chronological line. Shahrukh in his entire career has been building, maintaining, and deconstructing his identity film by film by film.

Here, I’ll show you what I mean:

Don 1: Building an identity as an action hero

Don 2: maintaining an identity as an action hero

Raees: deconstructing his identity as an action hero

You see? And Don 1 came out right after Kabhi Alvida Na Kehna, which was deconstructing his romantic identity. But Dulha Mil Gaya came out after Kabhi Alvida Na Kehna and relied on his romantic identity. There is no straight line, it is back and forth.

So, here’s my discussion idea. For Shahrukh as a romantic hero, what 3 films would you pick for building the identity, maintaining, and then deconstructing?

For me, I think I would pick:

Building: Gotta be DDLJ

Maintaining: Paheli. I don’t like it, but it is the purest expression as him as a romantic

Deconstructing: Hmmm. Rab Ne I guess? I’m torn! There are too many!

You can feel free to jump off on this idea with other more specific concepts. Like, for instance, Shahrukh as the Perfect Husband. Shahrukh as the Perfect Movie Star. Shahrukh as the Comic Hero. You can also come up with multiple sets of three. But you have to pick three! Those are the rules, that I just made up.

Or of course you can talk about anything else you like on this topic, pick the film you think most clearly deconstructs him, talk about why you think he has had this career long pattern of building himself up just to tear himself down, anything at all.

Now, go have fun! Be fans!


23 thoughts on “Discussion Post: Let’s Talk About Shahrukh’s Construction and Deconstruction of His Identity!

  1. Shah Rukh playing a superstar: Billu,Om Shanti Om, Fan. In Billu he is a huge star who is nice and humble and remembers his roots (like a homogenized version of himself). In Om Shant Om he is a parody of the pampered star kid who becomes a star for no reason but then reforms (but never becomes a good actor, just nicer) and then Fan where he bravely plays a version very very close to himself, but not quite.


    • Yes! I love it!!!

      None of them are charactures (sp?), just that Billu is the best possible version of the star and star life (humble, kind, sincere), Om Shanti Om builds on that by expecting us to accept the parameters of stardom without needing the introduction Billu gives us. And then Fan tears it all down, reveals that “Billu” couldn’t really be the totally sweet and kind person he appears and still have survived as a star.

      Jumping off of that, what do you think about “Shahrukh as a version of himself”? Oh Darling Yeh Hai India, the Brechtian wall breaking as he plays “Hero” and establishes that identity. Gaja Gamini as he relaxes into it and plays with the idea. And then Fan, that blows up any previous conceptions as Shahrukh as the charming almost formless entertainer who exists to dance through films and serves others. You could probably throw Luck By Chance, Shahrukh Bole Khoobsurat Hai Tu, and Love Breakups Zindagi in here too,

      On Tue, Jun 4, 2019 at 9:47 AM dontcallitbollywood wrote:



  2. The patterns you point out make it clear why Shah Rukh sometimes chafes over the implication that at some point in his career he only did loverboy roles, because that’s really not the case. I’ve really appreciated Claudia’s thoughts also on how Shah Rukh shows us his vulnerabilities as a star with scenes like the empty arena in Fan or not being able to perform in front of his former co-actors (and us, the audience) in Zero.

    Patterns of three–I could do this all day, but will start with a few while I’m between meetings. I’m not going to stick with building/maintaining/deconstructing though. More like building/variation on a theme/variation on a theme. Just cause it’s more fun.

    Angry, inept lover who wants to be better and sometimes succeeds: Chalte Chalte, KANK, Chennai Express (alternates: HTHS, Happy New Year)

    Visionary, inspirational leader: Swades, Chak De, Raees (I almost put Asoka, but we really don’t see much of him as a leader in that movie, and he’s only visionary at the end.)

    Spoiled prep who becomes a better person through love and the school of hard knocks: Yes Boss!, PBDHH, K3G (alternate: DDLJ)

    Lover obsessed to the point of destruction: Darr, Dil Se, Devdas (alternate: Fan)

    The stuff of (many) women’s dreams: Paheli, RNBDJ, JHMS,

    Innocence lost: RBGG, Maya Memsaab, Dil Se (alternate: Dilwale–even though he’s a gangster he is 100% open and innocent with Kajol in the beginning)

    Action Jackson!: One 2 Ka 4, Main Hoon Na, Happy New Year


    • I love all of these ideas and I have to address them in intense detail! (it’s rainy out and slow at the office today, perfect for me to overthink my fandom)

      Angry, inept lover: part of what makes Shahrukh-the-lover so powerful is that he builds an idea of himself as a regular person and then a lover. His character in Chalte Chalte is not “man who loves Rani”, he is an ambitious trucking company owner, a guy who struggled to build his own life in Bombay, someone at the center of a warm group of loyal friends. And then he is overwhelmed by his love for Rani and, sometimes, resentful of how that relationship has taken over his life. It makes the love for more real and more powerful than if he had been someone who set out to fall in love, or was ready to fall in love. It’s most explicit in KANK, where he is actually married to someone else, but a lot of his films build in this kind of internal tension to the character, fighting against his own feelings.

      Shahrukh really needs to do more visionary leader roles. I feel like he holds back on that, like he is almost afraid to reveal that side of himself. Asoka is a good example, he shows every mistake Asoka makes, every flaw, but stops just as he achieves greatness. In the few films where he plays the leader, he is always careful to keep the leader and the person separate. His coach in Chak De was a great coach and leader and hero to his team. But inside he just wanted to return to his house with his mother. In Raees he went too far in that direction, we got few scenes of triumph and many scenes of him with his family and friends. If the film had committed to the idea of him as a social leader, a politician, a hero for his community, it might have been stronger.

      Spoiled Prep: Shahrukh gets a lot of grief for being the new liberal NRI hero, but I think that is because people didn’t watch the whole movie. Ultimately those roles are about the emptiness of those standards. Yes Boss is the most explicit, but even in K3G, ultimately he leaves London and returns to India.

      To me this feels like related to the Angry Inept Lover role, just taken to extremes. There is a line between the hero of Dil Se and the hero of, for instance, Deewana. Or Maya Memsaab. His argument as an onscreen person is that love is the most powerful force in the universe, love can overwhelm the self. In the lighter films, we have the tension of the self and the lover fighting against each other (KANK, Chalte Chalte, even DDLJ when he resists admitting the depths of his feeling for Kajol because he doesn’t want the heartbreak). But in the darker films, the self loses the battle and is destroyed by the lover. Fan is an interesting one, because Gaurav never really fights against his destruction, he welcomes it. Which is perhaps a greater statement on fandom, we love someone who will never and can never love us back, who will inevitably disappoint us, we are embracing hopeless heartbreak.

      Agree about the “Stuff of dreams”. But again, the self and the lover fight each other. He is the figure of fantasy for women, but it is a destructive kind of life, the ghost wants to become real, Harry wants to be seen for who he is, and so on. RNBDJ is a really interesting one because Shahrukh-the-actor is consciously playing two fantasies at once, the romantic hero fantasy, and the Real Loving Perfect Man fantasy, that is his level of understanding for female desire. And we also get an explicit argument between the two characters, a discussion of how it is easy to play the empty fantasy man but it destroys your soul if you are not seen for the full person you are.

      I would add to Innocence Lost Raees and Yes Boss. Shahrukh has an innate confidence in his onscreen presence which evokes someone who thinks he knows everything, thinks he understands how the world works. It’s powerful in these “innocence lost” kind of roles because we are tricked, just like the character tricks himself, into thinking he has it all figured out. When he loses his innocence so, in a way, does the audience.

      I think Shahrukh works least well as an action star, and I suspect that is also why he likes playing an action star. His deepest emotional moments as an actor relate to personal betrayals, the lost or found love, the friendship ended, etc. etc. The Action Hero does not have that, he is always perfect and wise and right. In One 2 Ka 4, the moments when he is betrayed by the woman he loves play so much more powerfully than any vengeance story or action sequence. Don only works because he is consciously holding back, not allowing the character to feel anything really real. Main Hoon Na works because, ultimately, the action sequences don’t matter, the action plot doesn’t matter, any more than a song sequence in another film. It is truly a story of emotion and family more than anything.

      Ooo, that was fun! Give me some more!

      On Tue, Jun 4, 2019 at 10:20 AM dontcallitbollywood wrote:



      • What a fun conversation!

        Re: Raees and leadership–I think because he was essentially running a home-based business, any scenes with him and Zeeshan and the rest of his friends–even when they were still working for the other guy–is a leadership scene. Another reason why the flipped dynamic with Mahira bossing him/him wanting to please Mahira is so yummy. I’d dearly love to see him play more leadership roles. But not biopics.

        Spoiled prep: agreed. He sells the idea that you can be modern, urbane, liberal, metrosexual even, and still be good at heart, with good Indian values, even if you go astray once in a while. Just as you say in your posts about DDLJ.

        Innocence Lost/Innocence Lost subverted: I think Bauua and Aafia both fit in this category of someone who thinks they have themselves and “it” all figured out, but who really don’t. Babita is the only character of the three who is lost and knows she’s lost.

        Action: only Don, Don 2, and Raees really work for me as straight action. Don/Don 2 because he fights so dirty which is perfectly in line with his character, and Raees because the fights are beautifully choreographed and kind of stylized in a way that matches the tone of the movie really well. I like the “action” he does in other movies–like the three I initially mentioned in this category–because it’s another facet of the general OTT-ness of a movie like Happy New Year. Hence the “Action Jackson!” to indicate a certain level of cheesiness.

        I’ll try to think of some more. Hope others join in! (come on lurking SRKians!)


        • Aryan in Fan is my favorite action role, even though it’s not the point of the character. The chase and fight sequences are just really imaginative and well choreographed. In terms of the character, think he’s most badass in Don 2. Raees the character I find really sexy and I like a couple of the fight sequences, but others bug me because they’re too kung fu flying ropes style and it feels out of sync with the gritty vibe.

          Main Hoon Na is the classic image, though. In terms of character types, that iconic SRK on the rooftop is the image all later action hero SRKs are measured against.

          Liked by 1 person

          • Agree, except the iconic action image from MHN is clearly his arrival, gun upraised, through the broken glass and sparks.

            On Wed, Jun 5, 2019 at 9:55 PM dontcallitbollywood wrote:



          • Shah Rukh’s physical performance in Fan, as both Aryan and Gaurav, is just unreal. The whole chase scene on the side of the hotel building, wow. And the train sequence in the deleted scenes is really great. I only just recently watched it. I’m sorry they cut it.

            I like that both Aryan and Gaurav learned fighting for/from movies. And I recall how pleased Shah Rukh was when some interviewer noticed that Aryan grimaces with pain from punching Gaurav during the end fight. He’s so into those realistic touches when hitting or being hit. Such a nerd!


          • All of their fights are so good, just as fights. And then you add on the way Shahrukh is playing the physicality of the two characters differently, and the technical challenge of combining two shots seamlessly, and they are amazing.

            On Thu, Jun 6, 2019 at 6:45 AM dontcallitbollywood wrote:


            Liked by 1 person

      • Have been thinking about good dads/bad dads too.

        Good dads: KKHH, RaOne, MNIK

        Bad dads: One 2 Ka 4, K3G (not as extreme as the others but what a grump!), KANK

        Good sons to moms/good sons to dads: so many! can’t pick 3.

        Disappointing sons (at least temporarily): KHKN, K3G, Asoka (alternate: PBDHH)

        Has he ever played a truly bad son?

        Good brothers: K3G, Main Hoon Na, Dilwale (alternates:Karan Arjun, Trimurti, MNIK)

        Bad brother: English Babu Desi Mem (how I hate that movie)

        Have never seen Josh–does that fit in either the good or bad brother category?

        Intervening angel as a lead: KHNH, Paheli, MNIK

        Intervening angel as a guest: Shakti, Luck By Chance, Tubelight (alternates: several cameos/guest appearances but I’m calling out ADHM–he’s just so cute in it, and it was nice to see him and Aish together again, even briefly–and Dhanak, where he doesn’t appear at all).


        • Oh, really interesting topic! Let me add a new thought to it, perhaps the “good Dads” are Shahrukh trying to recreate his own father onscreen. Especially since he tends to be a father to sons. And perhaps the “bad Dads” are Shahrukh working through his own worries about his anger and the pressure he puts on his kids.

          Where would you put Fan? Aryan is introduced solving a dispute between the kids that adore him. But later in the film, his daughter can’t tell the difference between him and an imposter. And he seems to spend most of his life with his family compartmentalized away from the rest of his life. It’s one of those small differences between Aryan and the real SRK, the real SRK takes his kids with him on location and stuff, so there is more overlap between his family life and his work life.

          Josh fits in the “good brother” category. Also “troubled brother”, but mostly good. The film sets up a comparison between the gang leader brothers of the hero and heroine and Shahrukh definitely comes out on top.

          Speaking of intervening angels, that’s another clever little flip in the Zero script. The Katrina section could easily have been this magical Little Person coming into her life and fixing things and then disappearing. But instead Shahrukh is a real person with his own issues, not just there to fix her.

          On Thu, Jun 6, 2019 at 7:11 AM dontcallitbollywood wrote:



          • Aryan and Raees: dads to disappearing/re-appearing children? 🙂

            I think Aryan’s a good dad. I chalk it up to his daughter being half-asleep. Or maybe she thought it was just some other person but must be safe because otherwise he wouldn’t be in her parents’ bedroom?

            Yes, I love that Bauua’s and Babita’s relationship is a friendship first. A messed up one because they are both messed up, but still. In a way, Katrina is the intervening angel in Bauua’s life. If he had married Aafia under pressure, before he believed in his own worth or her love, he would have been a terrible husband and dad. I’m thinking of sad, divorced Bauua in Texas, or Florida, or wherever the hell NASR is supposed to be, visiting his lil one every other weekend while resenting step-dad Maddy. Ugh.


  3. I see your point about this construction/deconstruction running through his career, and I haven’t watched all the movies some of you have, but I still feel like he’s taking things further towards deconstruction lately. I guess when I say deconstruction in this case I think of intentionally breaking a character type that had become so closely associated with him as to be constraining. SRK talks about himself as a poet + a businessman, he says he makes commercial art. The commercial part of that is mass appeal, and that comes with constraints, with boundaries he can’t break while still appealing to the masses, and those boundaries seem to periodically chafe. Perhaps more now because of where he is in his career.

    I do like your category approach, because there has definitely been more than one character type he’s deconstructed. The truly boundary-busting roles, though, I think are not so many.

    My Name Is Khan – this one is really interesting to me. It’s a great performance, it would be a great performance if he were any other actor, but there is another layer if you know his history as the king of emotion. In some ways this is Karan and SRK deconstructing what they built together, with DDLJ, KKHH, K3G, KHNH, all movies that turn at key moments on SRK projecting pure feeling, pulling the audience through the screen with his eyes. In MNIK, all of those tools are stripped away, he barely holds eye contact. Yet it’s a love story, one of my favorite Kajol romantic roles.

    Jab Harry Met Sejal – this one is more subtle, but I see it as deconstruction of the virtuous lover. KANK probably fits in the same category, still haven’t watched that (and also seemed to make a lot of people mad). Almost the same list as above, plus Veer-Zaara, JTHJ. The type being deconstructed is the too good to be true, rich, upstanding, virginal, romantic hero who falls in love at first sight and is faithful thereafter forevermore, whatever obstacles are thrown in his way. Harry is not virginal, not rich, not a good match, does not much like Sejal when they first meet, has no family to speak of, has exactly one friend almost in spite of himself. He still has that inner tension you name, Margaret, where he falls in love in spite of himself, but he’s a bitter, flawed, washout of a guy. Sejal choosing him in the end is romantic because we see their growth as people toward one another, but on paper it’s a terrible decision. Yet we care about him and believe he deserves happiness.

    Zero – again deconstructing the perfect hero, but this time he messes with the physical beauty too. Bauua shares many of Harry’s personality flaws, though he’s at least rich and has an intact family, and a group of loyal friends. Here, though, SRK takes away our ability to objectify his body – that painfully carved physique he put on display from OSO through HNY. Let’s call him the Farah hero. Bauua can’t even jump up on a bar without help. The cowboy dream version is a throwback to peak SRK hero type, the humble guy with super strength and fighting skills – Main Hoon Na, Chennai Express, HNY, even Suri in RNBDJ – but the real Bauua gets mistaken for a child, can barely hold up a potted plant, gets manhandled by Kat while she’s wearing 6 inch heels. If the movie had leaned into that vulnerability more it would have been a better story.

    Fan – my favorite deconstruction, because it’s so unique. Hard to imagine another actor who could make a movie like this with all the elements it pulls in from his life. You and Molly already talked about the roles where he plays a version of himself as a star, but this one goes beyond the screen to deconstruct the whole star persona and the fandom that sustains/feeds off of it. Zero feels brave to me because of its refusal to give us what we want and let us objectify its main romantic pair, but Fan gets my nomination for bravest of all. It strikes right at the connection between SRK and his fans. The scenes between Gaurav and Aryan take a razor to the fantasy of fandom as requited love, if only we ever met and had a chance to talk. Aryan still gets to be kind of a superhero, but Gaurav is our stand-in, he is us in this story, and he is crazy and destructive, he won’t stop until he is destroyed.

    So now my question is why is he doing this? Where is he taking us after all our heroes are torn down? I don’t believe for a second that he wants to stop acting.

    (Postscript: Raees seems too heroic to be a character type deconstruction, but as a role it is on an interesting continuum with Chak De and MNIK…are there any other films where he’s explicitly played a Muslim character? In Chak De and MNIK, his characters are victimized for their faith but they are virtuous and non-threatening. Raees is neither, and he’s political and angry. More of a provocation to the real world SRK persona than to his onscreen persona?)

    Liked by 1 person

    • Thank you for commenting! I was waiting for your comments 🙂

      My Name is Khan: One thing Karan said at the time of its release is that they gave the main character Aspergers in order to make it more romantic, in a particular way. He wanted the epic gestures of love, but the audience is too cynical to to believe in the gestures any more. So he created a character who would still believe in those rules and absolutes. It’s another layer of deconstruction, questioning our easy belief in those romantic gestures from early films.

      JHMS: I agree that it is a deconstruction, but I see it is a different type, the carefree casual lover type. The charming experienced scoundrel who falls in love at first sight with the innocent heroine and charms her and goes on to a happy life. Shahrukh has played that over and over again. But this time he isn’t just a “flirt”, he is explicitly sexual. And he isn’t able to easily fall in love with the young innocent and forget his past, it weighs him down.

      Zero: Agree, and another element mentioned in the interviews in advance was that they wanted to see what remained of Shahrukh’s charm when they took the appearance away. Which certainly succeeded, we had a Shahrukh that was bursting with the same charm and confidence as usual, but without the body.

      Fan: Interesting how he attacks both sides of his stardom in this, the “real” person and the fantasy that the fans have built up, both are destroyed.

      Shahrukh has been talking for at least a decade about how he is tired of playing the same person onscreen over and over and over again, how he is worried about his legacy, that he has few roles he can be truly proud of. Now that his kids are growing up (and he has outlived the age his father was when he died), I think he is playing those roles. And maybe has realized that he can only play them if first he kills the “Shahrukh” that the audience already has in their mind.

      Shahrukh has only played a Muslim character those three times, plus a cameo in Hey Ram. I think of Raees as more provocative, especially the explicit reference to the BJP Yatras. I just wish it had been brave enough to more explicit in that message, lean into the politics and the abuse of the state instead of running away.

      On Tue, Jun 4, 2019 at 11:48 PM dontcallitbollywood wrote:


      Liked by 1 person

      • It could just be me but I feel like he’s spent most of his life chasing the clock because he was so fearful of dying early like his parents. Both his parents died exactly at 52 and the closer he got to the date, the more uncomfortable and unhappy he seemed. He worked feverishly IMO because he wanted to do it all before that age and build his empire so that it was there for his wife and kids and that they wouldn’t be left stranded like he and his mother and sister were.

        People are attributing his break to his films failing but I think it’s the complete opposite. He’s crossed that evil 52 number and I think he finally was able to let out his breath. Now he feels comfortable enough to relax and not worry about the clock ticking. For the first time in his life, he can sit at home and chill and just enjoy the moment. It will be interesting to see how he plans the next part of his career without the stress and fear of his earlier days. What movie will he consider good enough to leave his house for?

        Liked by 1 person

        • Love that framing of what will be tempting enough to convince him to leave his house. I hope you’re right. The age thing is plausible. My grandfather died at 50, and his father before him, and I know my mom and all her siblings had that in the back of their heads until they were past that mark. My uncle especially, the only brother, was convinced he wouldn’t live to 51. He’s 70 now.

          Liked by 1 person

          • Yeah, he passed two markers, his son is older than he was when his father died, and he has now outlived his parents. So this is all bonus time.

            Liked by 1 person

      • In response to your comment below that he’s also passed the milestone of Aryan (and now Suhana) being older than he was when his father died. I wonder if Aryan has that sense of being the oldest who will be expected to take on the leader/protector role of the extended family some day, as you’ve discussed on your Salman 101 posts. Shah Rukh and Gauri are so non-traditional in some ways, but very traditional in others…


        • One thing I noticed, from our vast distance, is that their parenting seems focused on making sure their kids can survive without them. There’s no protecting them from the world, instead it is teaching them how to survive in the world on their own if they need to. If SRK and Gauri are gone tomorrow, Aryan and Suhana will struggle, but survive. And seamlessly take over raising AbRam. That Vogue interview makes sense for a lot of reasons, but it also makes sense if SRK and Gauri are worried about not being there. Now Suhana has done her first interview, learned that lesson and will be better in her second.

          On Thu, Jun 6, 2019 at 7:18 AM dontcallitbollywood wrote:


          Liked by 1 person

          • There is such a big age difference between Aryan and AbRam that the elder one is almost like a second father. SRK even mentioned during an interview that Aryan is always complaining that SRK is too gentle with AbRam and spoils him and because of that AbRam won’t become tough. Aryan thinks it’s his job to toughen up AbRam. SRK was imitating him and joking…

            SRK (to Aryan): I was the same way with you! You turned out to be pretty tough.

            Aryan: I did it on my own, papa, no thanks to you.


            Liked by 1 person

    • So many good points!

      MNIK is such a unique performance from Shah Rukh. It was also interesting because it prompted a different kind of performance from Kajol too. To my taste, a better performance than her usual, and that could also be because she had such a strongly written character to work with.

      Zero was so interesting because Bauua was cocky and attractive while also being extremely vulnerable. His reactions to his father whipping him and later threatening to hit him (in public!) when Aafia shows up cut me to the quick as an abuse survivor. So very realistic. They played the whipping scene for laughs in the trailer, but I think all of the actors in the scene were playing it deadly straight.

      “The scenes between Gaurav and Aryan take a razor to the fantasy of fandom as requited love, if only we ever met and had a chance to talk.” Brilliantly put. So many of Shah Rukh’s responses in interviews about fan interactions in real life can be summed up as, “Be gentle with me, and treat me as an actual person, not your projection of me.”


  4. The other side of my wondering is do you think there are still roles he feels he can’t play, because of audience expectations or commercial viability? Does commercial failure in some way set him free? What kinds of roles do you think he’d be playing if he could do what is in his heart, with no concern for politics or box office or fan discontent? (Not what kinds of roles *we* want, I know we all have lots of opinions about that!)

    Hmmm…now that I write that out it sounds like the perfect set up for his Netflix deal. Except he’s not acting in any of the originals yet.


    • I think Shahrukh still has a basic awareness of “with great power comes great responsibility” when he is looking at his films. I don’t think he would ever play a role with a Muslim “terrorist”, for instance, or as a Muslim “terrorist”. Even if it was an amazing role in a great movie. And he wouldn’t take a role in a big budget film if he didn’t believe it could make back the budget and justify the screenspace. So on that level, I am sure he makes decisions on more than a simple artistic satisfaction point.

      But beyond that, I don’t think he necessarily has anything he wouldn’t do at this point. Playing a father, playing a villain, playing an ugly man, all of those things are on the table.

      On Thu, Jun 6, 2019 at 9:55 PM dontcallitbollywood wrote:



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