Is This The End of The Bollywood ‘Superstar’?

2023 was the year of Shahrukh Khan's renaissance. The megastar drew the crowds into near-empty theatres. He created a new box office benchmark with his films Pathan and Jawan minting 1000 crores and reinstated his superstardom just when he was about to be dethroned by naysayers and haters. Even though his last movie of 2023, Dunki managed to add to the hat-trick in the year, it had opened to mixed reviews. It passed the box office litmus test making 100 crores within three days.

Film critic and trade analyst Joginder Tuteja called it the comeback of comebacks. "For someone to be down for five years and make a comeback at age 57, and as the hero and delivering one blockbuster after the other, it has never happened before. People say he must have strategized it, but at the end of the day, it's a classic case of things falling into place. If strategies worked then we would have had solid comebacks by all."

Though King Khan calls himself a humble employee of the brand Shahrukh Khan, braving the vicissitudes of stardom, he has retained the position of superstar for three decades. In an industry which is constantly changing even more now, with a new star and superstar created every Friday, it seems no one has come close to recreating the stardom of Shahrukh Khan.

But the question everyone dares ask is King Khan the last of the superstars. His reign which after Amitabh Bachchan, who himself had taken the position from Rajesh Khanna in the mid-70s, remains uncontested.

Trade Analyst Sumit Kadel calls him the last mega superstar." I doubt anyone can recreate his legacy or the level of stardom like his.".

Joginder Tuteja reiterates the same, " No, I won't say he (SRK) is the last superstar, there will always be a new generation that will come in and have their superstar''

Though the statement that Shah Rukh Khan could well be the last of the superstars does evoke nostalgia, the nature of stardom and celebrity has changed over time.

Stardom transcends the rational explanation, as it exists beyond the confines of logic. In the present scenario, it's one whose presence ensures a reliable blockbuster opening in theatres, and a lot depends on the charisma of its leading actor. "Consistency is key", say critics.

The last decade has thrown up several names from Ranbir Kapoor to Ranveer Singh, Kartik Aaryan and Vicky Kushal. But the contest according to trade pundits begins and ends with Ranbir Kapoor. The actor has not only proved his mettle and range as an actor in diverse narratives from 'Rockstar' to 'Barfi', 'Yeh Jawani Hai Deewani', 'Tamasha' and 'Sanju' among others. He is also willing to take risks for his craft.

He decided to devote five years to the making of supernatural 'Brahamastra', many called it a professional risk. The gamble paid off, and the film which was one of the first to release in theatres post-pandemic made 431 crores, its success was followed by the rom-com 'Tu Jhoothi Main Makkar' made a little over 177 crores.

But he hit the ball out of the park with his latest 'Animal'. Sandeep Vanga Reddy's directorial which was panned by many for being toxic and misogynistic narrative, made over 500 crores and continues to draw in audiences.

"Ranbir Kapoor is the superstar of the generation. An actor who can constantly deliver big openers of over 250 crores and has delivered 3-4 Big Blockbusters in his career can be called a superstar is Ranbir who has done this and before him, it was Hrithik Roshan", says Sumit Kadel.

The non-PR savvy Ranbir Kapoor, who unlike his contemporaries is not found on any social media accounts, had admitted to taking a break post 'Animal', even though the makers have announced its sequel, the actor says it is time to recalibrate and understand the industry which is undergoing a shift.

In the Indian context, superstardom is represented as a cultural phenomenon which goes beyond an actor's film successes. Screen idols turned pop cultural icons and symbols of an enduring cultural legacy, the Indian film industry has had its fair share of superstars, from KL Saigal, Ashok Kumar, Dilip Kumar, Rajesh Khanna, Amitabh Bachchan to Shah Rukh Khan. The allure of these men transcended from screens to pop culture. However, the term was elusively coined for matinée idol Rajesh Khanna in 1970, who was popularly called, 'The Phenomenon' and was the true-blue romantic hero of Indian screens whose position remains unrivalled.

Film Journalist, Yasser Usman author of 'Rajesh Khanna, The Untold Story of India's First Superstar' says, In the context of Rajesh Khanna's stardom, a very interesting analogy was being used in the film industry: 'Upar Aaka, neeche Kaka.' [God above, Kaka below.] Such words had never been spoken for any other star before Rajesh Khanna, and haven't yet for anyone after him. Screenwriter Salim Khan, told me, 'He was the biggest star ever. Salman Khan, Shah Rukh Khan and many stars came after him, but his phase from 1969 to 1972 was different. The heights that he reached remain unparalleled."

However, the mid-70s saw the emergence of the angry young man, who fought against social injustices, a morally grey character who broke away from convention. The audience found a new screen idol and superstar in Amitabh Bachchan. 'Zanjeer', 'Sholay' & 'Deewar' were the game-changers. Amitabh Bachchan held this position longer than his predecessor Rajesh Khanna. But in the late 80s and early 90s, as his stardom began to fade, it saw the emergence of a new triumvirate. The Khans- Aamir, Salman and Shah Rukh. It was Shahrukh Khan who was anointed as the third superstar after the groundbreaking success of 'Dilwale Dhulaniya Le Jaayenge' in 1994, which changed the landscape of Hindi cinema as well as made him a prominent Global star. His charisma captured the hearts of millions, and his success was seen as one of hope and aspiration for many, the proverbial outsider who created a one-man industry.

From jubilees to the thousand crore club, from elusivity to accessibility, there is a paradigm shift like what is a star and his stardom. The shifts in culture, and audience preferences, as well as the emergence of new platforms and mediums for entertainment further influence the same.

"Stardom has to be organic with little or no artificial support. You can launch an actor with the greatest promotional strategies or PR but superstardom can only grow organically. Think about any superstar who has ruled Hindi cinema- they were not staging stunts for breaking news headlines but were simply part of a phenomenon akin to mass hypnosis. Generations going crazy over Dilip Kumar's tragic performances or Dev Anand's signature puff, girls pledging their love to Rajesh Khanna in letters written in blood; boys striving to imitate Amitabh Bachchan's mid-parting hairstyle, mannerisms and gait; or crowds who wait for hours to catch the merest glimpse of Shah Rukh or Salman, after which they scream and weep with joy", says Yasser Usman

Actor Emraan Hashmi says, "Stardom has lost its enigmatic quality, everyone is so available right now. It is all in your face, you are constantly bombarded by actors through their social media, pap videos, interviews by media outlets, umpteen reality shows, and even more award shows, that you've already seen and consumed so much and then the film comes out, that yearning is somewhere lost".

The mystique which long accompanied a superstar's aura has been replaced by a carefully curated public image, and your favourite screen idol has transported himself from the screens to the palm of your hand. They are literally in your bedroom no longer selling dreams but rather everything from phones to detergents. You can even dial a star and ask them to shake a leg at a wedding or host a birthday party, for a handsome amount,

Even, though the opening weekend collection is a primary tool to gauge an actor's stardom, in the current scenario where studios have created the personas of stars from actors, who are constantly marketed, they are akin to brands which can be sold, and many are unable to break through the glass ceiling of superstardom.

"When I saw Mr Bachchan for the first time, I froze. One never thought these people existed in real life, that was the magic, the mystery that surrounded them, that kind of superstardom is not possible in this era", says Manoj Bajpayee. He is quick to add that as long as there is box office, it will continue to throw up a new star for it to flourish.

But with the coming of the streaming platforms and a rich diversity in content that's being consumed, the lines between mainstream and parallel cinema have blurred. Every star is willing to showcase their range as an actor in narratives which do not necessarily translate as mainstream. Actor Naga Chaitanya reiterates that the definition of the star is the content one creates, every Friday is a new start based on our release. Beyond the top megastars, for the rest of us, it is the content that dictates our stardom.

Actor Pankaj Tripathi who has often been vocal about how the box office numbers are no gauge for good or bad cinema, calls the viewer the ultimate judge. "It is the audience who is the star of the show, they are exposed to content from across the world. OTT is constantly throwing up new talent, and because the audience has changed the stars or actors have been forced to change as well."

But in the ever-changing landscape and in a patriarchal industry which has long idolised its male superstars, one needs to keenly observe the changing gender dynamics. As the top male stars proved their box office and testosterone might on screens, it is probably the shift lens on the female actors. Though just 11 years old in the industry, Alia Bhatt has emerged as one of the most consistent performers across mediums. From 'Gangubai Kathiawadi' To 'Rocky Rani Ki Prem Kahani', 'Darlingss' on OTT, a Hollywood debut in 'Heart of Stone' and a national award for best actor, she was ahead in the race when it came to box office numbers and brand imaging. This year a Yami Gautam lead Article 370 overtook Hrithik Roshan's 'Fighter' and with the slew of female lead narratives maybe it's time to shift focus.