Audiences will hope that Rajinikanth’s Coolie, Lokesh Kanagaraj’s action film and Rajkumar Hirani’s Dadasaheb Phalke biopic are not marred by Aamir Khan’s disconcerting, repetitive performances.
Aamir’s real strength lies in championing stories that challenge conventions and are considered risky by mainstream filmmakers.
iMAGE: Aamir Khan Photograph: Hitesh Harisinghani/Rediff
When he sings Pehla Nasha in Jo Jeeta Wohi Sikander, you feel the electric rush of first love.
When he proclaims: “Mein apne mulk ko apna ghar samajtha hoon,” in Sarfarosh, it strikes a deep patriotic chord.
And when he quietly steps away to concede a painting competition to his dyslexic protege in Taare Zameen Par, you’re left with a lump in your throat.
For the past 40 years, Aamir Khan has carved out a career as an actor with his unique, off-beat choices.
Known for his impeccable work ethic and the ability to go against the grain, his oeuvre is an eclectic mix — from Dangal to Rang De Basanti, Lagaan to Dil Chahta Hain — traversing a dizzying array of genres.
In March this year, Khan turned 60. Four decades have passed since his first onscreen performance in Holi, which was released three years before his breakout role in Qayamat Se Qayamat Tak in 1988.
When his contemporaries were dancing in front of the Swiss Alps, Khan was busy doing films that held up a mirror to life.
‘I don’t follow logic … just do what my heart tells me to,’ the actor-producer famously remarked when asked about his film choices.
Last month, Khan unveiled his latest film: Sitaare Zameen Par, a coming-of-age sports drama that explores the theme of neurodiversity.
Khan calls this film a family entertainer and a spiritual successor to his 2007 directorial venture Taare Zameen Par. Khan left no stone unturned in promoting the film.
He was everywhere — on billboards, on television screens, popping up on mobile phones, and giving interviews to just about everyone.
In these four decades, Khan the movie star has also shown his penchant for innovation in film promotion.
In 2009, before the release of Three Idiots, he embarked on a Bharat Darshan in incognito mode.
He landed up in Ludhiana as a Mexican tourist and roamed the streets of Varanasi as a vagrant.
His detractors called it a gimmick. But the film went on to become a blockbuster, sending Khan’s stardom into orbit.
He was rechristened ‘Mr Perfectionist’ by fans and the media for his unwavering attention to detail and hands-on involvement in projects.
Perhaps, he took this tag a little too seriously. By then, Khan had positioned himself as the superstar with a conscience, but the cracks had begun to surface in his acting.
This has become more apparent in Sitaare Zameen Par, where he plays a despicable basketball coach.
While the film has been elevated by strong performances from the supporting cast, Khan’s portrayal is underwhelming — botched by odd mannerisms and bizarre expressions.
IMAGE: Aamir Khan in Sitaare Zameen Par.
It seemed like he was still stuck on a loop from the character he played in his previous film: Lal Singh Chaddha.
It was produced by Khan, a remake of the 1994 hit Forrest Gump, starring the inimitable Tom Hanks in the titular role.
Khan’s own performance in that film was loud, over-the-top, bordering on buffoonery.
It was a far cry from Hanks’ nuanced Oscar-winning portrayal.
Khan’s labour of love, which was over two years in the making, sank without a trace at the box-office.
The telltale signs were evident when in 2013 he did Dhoom 3, where he looked jarring and out of his depth as a circus entertainer. It showcased Khan’s limitations as an actor.
Lal Singh Chaddha’s debacle sent Khan into depression, to the point that he even contemplated stepping away from cinema altogether.
He is now back with Sitaare Zameen Par, which has had a decent run at the box-office. But it did little to mask Khan’s inconsistent performance.
Going forward, Khan has an interesting lineup. It includes a high-octane cameo in Coolie, a film headlined by Rajinikanth, an action film with Lokesh Kanagaraj, and the biopic on Dadasaheb Phalke, to be directed by Rajkumar Hirani.
Audiences will be hoping that these big-ticket films with seemingly interesting premises are not marred by Khan’s disconcerting, repetitive performances.
Khan’s real strength lies behind the camera, as a director and producer, championing stories that challenge conventions and are considered risky by mainstream filmmakers.
In doing so, he will continue to surprise and captivate audiences while cementing his legacy as one of Indian cinema’s most compelling storytellers.
Feature Presentation: Aslam Hunani/Rediff
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